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Look Hard Enough and London Can Be a Tropical Paradise

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Beach Riot bikini

This article originally appeared on VICE UK.

PHOTOGRAPHY: ANDI GV X MATE MORO
STYLING: KYLIE GRIFFITHS

Make-up: Lucy Wearing using MAC Cosmetics
Hair: Sami Knight using Unite
Stylist's assistant: Thomas Ramshaw
Models: Janette and Akville at Profile

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Zoe Karssen swimsuit

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O'Neill bikini

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Vintage visor and T-shirt, Stussy bikini bottoms; vintage visor and Zoe Karssen swimsuit; Stussy board shorts

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Bikini and swimsuit by Zoe Karssen

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Vans swimming trunks

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Vintage swimming hat, Stussy swimsuit

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Reef swimming trunks

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Vintage swimsuit


My Eating Disorder Had Nothing to Do with Barbie or the Media

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[body_image width='946' height='645' path='images/content-images/2015/02/20/' crop='images/content-images-crops/2015/02/20/' filename='my-eating-disorder-had-nothing-to-do-with-the-media-body-image-1424443973.jpg' id='29515']Image via Flickr user vaniljapulla

When I was ten years old, I had a Barbie doll. I had VHS copies of every Disney movie ever made, and a stack of Cosmo magazines I'd stolen from my older sister. Six years later, I had anorexia. None of these things are related.

You can hardly go online nowadays without coming across an aggressively angry article decrying something or someone for perpetuating "unrealistic body standards"—be it a Topshop mannequin, a Disney character's waistband, or, time and time again, Barbie dolls.

Paradoxically, in discussions of "unrealistic bodies," real women get the most stick for their stick-figures, be it flat-bellied celebrities on Instagram, or, most frequently, the entire modeling industry itself.

It is pretty obvious that the media does perpetuate unrealistic body standards. The most common example is that, if Barbie were real, she'd have no liver and walk on all fours, but the question is: does it matter? The implication is that unrealistic body standards lead to eating disorders, which is an argument I believe reduces a severe mental illness to a vain aspiration to be a runway model—something I have never personally aspired to.

"A lot of people don't see eating disorders as actual illnesses," Carrie Arnold, a 34-year-old freelance science writer, author, and recovered anorexic tells me. "They see them as choices. And thinking that eating disorders are caused by images of thin models really serves to drive home the point that they're all about vanity."

Of course, these arguments aren't unfounded. A University of Sussex study discovered that young girls who played with Barbies reported lower body satisfaction than those who didn't. But the question remains whether this, in turn, causes mental illness. It would be fair to say that most women are in some way unhappy with their bodies. But most women don't have anorexia.

Carrie suffered from anorexia for 13 years. Her disorder began when she went away to college at 18. She exercised to manage stress—a problem that was exacerbated when she developed depression in her junior (third) year.

"I was very depressed, very anxious, and frequently suicidal," she told me. "I just kind of latched onto this idea that if I lost enough weight then I wouldn't be anxious anymore, that I'd feel OK about myself." She compares anorexia to OCD, which she also suffered from at the time—both scrubbing germs and over-exercising were a way to purge herself of negative feelings.

Carrie has written extensively on her blog about how neither the media or Barbie dolls cause eating disorders, and how this argument is hugely trivializing. In her own words: "We don't connect Crying Baby Cupcake Doll and major depression."

[body_image width='903' height='652' path='images/content-images/2015/02/20/' crop='images/content-images-crops/2015/02/20/' filename='my-eating-disorder-had-nothing-to-do-with-the-media-body-image-1424444553.jpg' id='29522']Vogue US cover May 2007

Carrie isn't alone in her views. For every psychologist's thesis on the effects of photoshop on our psyches, there's a living, breathing eating disorder sufferer frustrated by this narrow-minded narrative.

"I'm about as good a counter-example to the myth that eating disorders are caused by unrealistic body standards set by the media, Disney, or Barbie that you will find," says Tom*, an executive at a software company in New England, now in is in his mid-50s.

"I'm male. I developed anorexia when I was 14, in 1977. I discovered by accident that, when I withheld food from myself, I got temporary relief from the negative feelings I had about myself. It had absolutely nothing to do with body image. I had no desire to become thinner, and I was only vaguely aware of how thin I had become."

Like many self-harming behaviors, Tom's anorexia was a form of relief. "Fast forward 30 years," he continues, "and my nine-year-old daughter suffered from anxiety, too. She also discovered that withholding food from herself made things temporarily a bit more bearable."

The same tale of relief and control is echoed in many of the sufferers I speak to.

Ruth Carter, a 35-year-old lawyer, author, and blogger from Phoenix, Arizona, developed an eating disorder after she was molested and raped by her brother as a child, then forced by her family to pretend nothing was wrong—an experience she discusses on her YouTube channel.

Carter says binging and purging food helped her cope with being an abuse survivor. She calls her disorder a form of escapism, a way to release anxiety. "When I was younger it probably gave me something I could control when so much of my family life seemed chaotic," she says.

"I would say that I didn't want to look like a Barbie or a Disney princess," she continues. "For one, Barbie has massive breasts. One of the things I like about being thin is that it keeps me small-chested. Given my sexual abuse history, I don't want to be somebody who is objectified by men."

[body_image width='1052' height='619' path='images/content-images/2015/02/20/' crop='images/content-images-crops/2015/02/20/' filename='my-eating-disorder-had-nothing-to-do-with-the-media-body-image-1424444639.png' id='29523']Still from The Little Mermaid.

I hope, by now, you've noticed something different about the way I am telling these stories. There is no discussion of weight lost and calories consumed, no haunting images of sufferers at their lowest weights, all razor-sharp ribs and sunken eyes. In my opinion, the real way in which the media is damaging isn't in the way it creates eating disorders, but the way it discusses them.

Articles about anorexia feature in the "beauty" sections of magazines, and publications compete to find the most extreme examples of living skeletons. If a woman's magazine were to talk about Amanda, a 27-year old legal assistant I spoke to about her eating disorder, would they prefer to discuss that she used to weigh her vomit after purging, or the fact that her disorder was caused by the stresses of living with her controlling mother?

When sufferers read these extreme stories they inevitably compare themselves, leading to denial. It gives them something quantitative to measure themselves against, instead of something more dimensional. I used to convince myself I didn't have a problem because I wasn't 55 pounds, eating laxative and lettuce sandwiches and living off a drip.

How can we solely blame the media for causing eating disorders when there are cases of anorexia in blind people and in places like rural Africa. It would also be difficult to explain why George*, a 17-year-old student I spoke to, was hospitalized for anorexia, because our media doesn't make a habit of printing gratuitous pictures of underweight men. But it is the narrative that we most often hear.

That said, it would be incredibly naive to assume that the media does not contribute to the increasing incidences of eating disorders. Anyone who's taken A-level psychology knows how eating disorders increased in Fiji after the introduction of TV in 1995. But doctors are constantly challenging the idea that eating disorders are caused by models and magazines. In fact, the first empirical study on the matter found that young girls were more concerned with copying the personas of princesses rather than their bodies.

Eating disorders are a complex, multi-causal picture, and it's dangerous to take a simplistic viewpoint.

I remember the night I thought I was going to die from my eating disorder. I woke up struggling for breath, my heart hammering in my chest. I promised the long-neglected deity in the ceiling that, if he let me live, tomorrow I would eat some yogurt. I'd gorge on a fucking tub of Yoplait to celebrate my continued existence on this planet.

The next day, happy to be alive, I went to the fridge. I took out the yogurt, saw the "168 calories" label, and couldn't do it. I was so fucking terrified of dying, but not enough to lift a spoonful of yogurt to my lips. It wasn't because I wanted to look like Kate Moss. It wasn't because I used to idolize Snow White. It wasn't because I wanted to look like a blonde, big-titted plastic doll. It was because my brain was fucked.

I had a mental disorder as real and as serious as schizophrenia, bipolar disorder, or depression. Like those illnesses, it was not a choice. We've come a long way in our discussions on mental health, but our perception of them doesn't seem to have changed that much. Not in my experience, anyway. It's not dolls, and princesses and models that need to be more realistic—it's our perception of eating disorders themselves.

*Names have been changed

For advice about eating disorders visit the National Eating Disorder Association.

Follow Amelia on Twitter.

Photographer Agustin Hernandez Creates Friendly Ghosts on 35mm

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I miss being a good weed smoker. Back in the day, I could go through an eighth in 24 hours with no problem. Now a couple puffs on a spliff will leave my mind churning at warp speed and I'll end up staying awake all night, stuck in a internet K-hole. The last time I let my judgment get the best of me, though, something positive came out of the experience. As I got increasingly lost in the Tumblr abyss, I came across the work of Portland-based photographer Agustin Hernandez.

Though he doesn't have a website and hasn't done any name-droppable "professional" gigs, so to speak, Hernandez's photos are sharper than your average alt-bro with a point-and-shoot and some hot friends. His shots look calculated but not forced, stylized but not gaudy. The young artist has a knack for juxtaposing metallic, shimmering objects with bleak interiors or environments.

He also frequently stages images so body parts appear to be disembodied limbs—often jutting out of scenery in a wraith-like fashion. The work's not creepy, though. If anything, it's as if Hernandez is creating friendly spirits with a sense of humor, like one photo where a gloved hand appears from behind a curtain holding a banana.

I got in touch with the budding talent over email to talk about his photography. We chatted about daydreams and deja vu. More importantly, though, Hernandez made me confident that sometimes good things happen when I smoke herb, even if it fucks with my sleep schedule.

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VICE: What was the first photo you took that made you think taking pictures could be more than a hobby?
Agustin Hernandez: It was more the good reactions I got from people that made me realize my pictures could be something more. It was probably a photo of some dried yellow roses next to a power outlet or a portrait of the Virgin Mary on a wall with a party streamer casually hung across her face.

How would you describe your photos to someone who hasn't seen them before? Is there a particular vibe or aesthetic that you feel connects all your work?
To me, my photos are sort of like an installation or a still life—staged but improvised, carefully but spontaneously thought out, dark but pleasant, raw but dolled-up. The more I think about it, the more I see one huge contradiction. They seem to all surround a make-believe scenario that inspires nostalgia in me. They feel like deja vu or a daydream. I live in daydreams.

Can you tell me about your creative process? Do you conceive the ideas for your photos prior to shooting? Is there a consistency in how you create your photos?
I have an impulsive trigger to rearrange or manipulate a situation or story into ideas that appeal to me. I tend to collect sentimental and symbolic objects that inspire me and I often use them throughout my photos. It's magical to me—the way things can embody an array of emotion. When I start shooting it's all very improvised and silly, yet I always have a specific vision that comes together.

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What type of camera do you use and do you manipulate the images at all in post? Your photos have a distinct filter/tone to them.
I think my work has benefited from my simplistic process. I've grown attached to my point-and-shoot cameras. I'm somewhat impatient while shooting and prefer to snap away, rather than get all worked up with technicality. I use a lot of flash and natural light, or total lack of light. I prefer the undisguised quality of film to digital perfection.

Human limbs disappearing or reappearing as ghostly, disembodied parts seems to be a recurring theme in your work—flesh falling into these natural and synthetic abysses. Is the phantasmagorical aspect intentional?
Its all really fascinating to me—make-believe fantasies, illusions, and how our minds grow curious. I've always been a daydreamer, easily distracted, lost in fantasy. The playfulness and mischief in some of my work—vanishing or emerging figures—opens up a world of what could happen. I live for that sort of curiosity.

I love how you frequently juxtapose metallic or glimmering objects with mundane, cold interiors and settings. Is this intentional?
This repeated contrast is often coincidental. I think a lot of it is intuitive—my mind desires and is intrigued by the unfamiliar. I have a weakness for sparkle and glamor, but I'm drawn to the imperfections around it. To me, these flaws expose the true beauty and create a delicacy that is inviting and captivating. It's compelling, to see these contradictions intermix.

Even when your photos are ominous or moody, they are still frequently very funny to me. Do you want viewers to find these images funny?
I didn't pick up on the humor until someone pointed it out. I don't feel like it's intentional, but rather ironic. Irony can be humorous though twisted, cynical, or cruel at times. Still, I find it can be charming in an odd, innocent way. I think my images can be read with multiple interpretations—none that are foreseen.

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Follow Zach on Twitter.

Remembering '$pread,' the Magazine That Gave Sex Workers a Voice

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All images © of '$pread'

You might not have heard of $pread, the award–winning magazine by and for sex workers. But for a community that so often feel like pariahs, it was a lifeline.

Independently published between 2005 and 2011, $pread was essentially a community bulletin and lifestyle guide for sex workers in New York and beyond. But although the magazine initially began as a local handbook, of sorts, in its posthumous years $pread featured essays and first-person stories from sex workers around the world, ranging from the hilarious to the traumatic. It started a mini media revolution.

For a community whose specific literature pretty much consisted off the odd pamphlet passed around at activist events or small email listings groups, $pread provided a smart, funny platform for sex workers to make their voices heard in a publication that spoke at, about and for them. Everyone needed it and everyone read it—from sex workers to sex customers, sex readers, to sex writers. It didn't tell readers how to live—it showed them.

Next month, an anthology of $pread's best bits is being published, chronicling the colorful story of how an esoteric trade magazine become a cult international bible. It's hilarious, diverse, intelligent, scary, and completely eye-opening not just for anyone with an interest in sex work, but also independent publishing and civil rights activism.

I spoke to Rachel Aimee and Eliyanna Kaiser, two of the anthology's editors, ahead of its release.

VICE: How did $pread first find life?
Rachel Aimee: In 2004 I met the other co-founders, Rebecca Lynn and Raven Strega, through our activism in the sex worker rights movement in New York. We were talking about how we were all tired of seeing sex workers stigmatized and stereotyped in the media, and how we wished there was a space for sex workers to speak for themselves. Most of the writing that was out there written by sex workers at the time was academic, so we wanted to create something that was accessible to a wider audience, which is why we decided on a magazine format.

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Sex workers' timers

Did any of you have any experience in publishing?
No. And we didn't have any money to start a magazine so we taught ourselves as we went along. We sent out a call for submissions and were surprised to receive a bunch of stuff within a few weeks. We threw several benefit parties to raise the money to print the first issue.

Eliyanna Kaiser: I was one of those people who saw that call for submissions. I was on an email list for sex worker rights activists in New York, and when I read that first email the concept just blew my mind. The idea of a magazine where sex workers could actually speak instead of being spoken about was really revolutionary—I knew I had to be a part of making it real. Being a part of $pread, to anyone who was active in the movement for sex worker rights, felt necessary and very, very urgent.

What was the sex worker community like when $pread first formed?
Aimee: It was smaller than it is today and very fragmented—pockets of activism in a few liberal cities, but not much connection between them. The mainstream sex worker rights movement at the time was dominated, for the most part, by a more privileged cross-section of sex workers: white, cisgender women with relative class privilege who mostly came from a "sex-positive feminist" background and understood sex work as "empowering for women"—which is problematic in a number of ways, not least because not all sex workers are women. I think it's fair to say that many of us—$pread's staff and editors—came from that background and so did many of our early contributors. We began to realize as time went on, though, that we needed to make room for a wider range of voices.

Kaiser: The activism I was familiar with was NYC-specific and mostly focused around the annual Vigil for Victims of Violence, which is held around the world by sex worker rights activists on December 17. I also heard about some private email lists where prostitutes shared things like "bad date lists" and tipped each other off about new law enforcement practices and gave peer referrals for health or legal services.

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Why was $pread needed so badly? Was the media coverage of sex workers god-awful?
Aimee: Yes. Everyone thinks they know who sex workers are and why they do sex work, but people rarely give sex workers credit for being able to speak for themselves. We felt strongly that sex workers need to be telling their own stories and describing their own experiences—big part of our mission was community building. Many sex workers are isolated because they often have to hide their work from friends and family. $pread helped sex workers to see that there were others out there like them.

Kaiser: I know that I originally thought of it as an organizing tool, a way to bring together all these disparate activists and community members and get them—literally—on the same page. I hoped it would bridge connections and help create a more centralized, vibrant political movement. I didn't really care about the content of the magazine at first, to be honest. I just saw the political potential. $pread was most needed was because it was critical, on a psychological level, for sex workers to practice speaking and making their stories and opinions known.

Having a voice is like a muscle—if you don't exercise it, you lose it. Once that started happening it was contagious. Sex workers around the country started writing in to us about how grateful they were to read something written by other sex workers. And, little by little, we started to see that more and more people were speaking out. The blogging revolution and the growth of social media certainly helped, too.

What was the original content like? Where did submissions come from?
RA:
We sent out a call for submissions on various sex worker community email lists and among our friends and coworkers. In the first few issues the content was really slanted towards narratives of sex work as empowering—and we realized we needed to address that bias so started to actively seek out submissions from sex workers writing about negative experiences.

"$pread was never 100 percent sex workers. We were by and for sex workers and those that care about their rights."

We also realized we needed to make the content more like a "real magazine", as we used to say, so we came up with various ideas for regular columns, such as "Positions," where two sex workers with different opinions on a particular topic argued it out. "Indecent Proposals" was an illustrated column where a sex worker answered the question: "What's the strangest thing a client's ever asked you to do?" and "Consumer Report," where sex workers from different sectors of the industry reviewed products that many sex workers use for work, such as lipstick or false eyelashes.

Kaiser: We really embraced the women's magazine format in some funny ways. I think our quizzes and crossword puzzles were fabulous touches. Figuring out the regular departments was really critical because most of the people submitting work didn't have the skills to write long, feature-length pieces. They weren't professional writers, so clear instructions and a format was really helpful to them.

"Scene Report" was one of our most useful columns for people who wanted to write for the magazine but didn't have a specific pitch. The writer simply described what it was like to work wherever they worked. "Cunning Linguist" was another good one—sex workers listed some of the more unusual terms or slang used in their specific corner of the sex industry and provided definitions. "Double Take" was another favorite. It was a split-frame photoshoot of a sex worker juxtaposing their regular look with their at-work look. It was fun for sex workers to participate in and was humanizing for our other readers to see sex workers dressed down and looking like their neighbors.

We also gave sex workers an opportunity to point the camera in the other direction with our Onion-esque "Man on the Street" column. It featured sex workers and other $pread staff asking random civilians questions about the sex industry, like, "How much do you think an hour of professional sex is worth on the open market?" It yielded hilarious results without any satire required.

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What is your favorite part of the anthology?
Aimee: Lynne Tansey's piece "I Have Nothing to Say" is a really powerful and raw description of her experience of killing a client in self-defense. Mona Salim's "Stripping While Brown," a hilarious and disturbing account of the ways that narratives of race inform her experiences of stripping as a South Asian woman is fantastic. "Hell's Kitchen" by Syd V is a touching depiction of her experiences of growing up loving a mother who was a sex worker. Now that I'm a parent I wish we'd done a better job of covering parenting and sex work in $pread, because so many sex workers have kids and it's still something people are really afraid to talk about. Oh, also, for comic relief, Eve Ryder's Indecent Proposals story "Fucking the Movement," about a client who asked her to dress up as an anarchist protester, is hilarious.

Kaiser: I lived in Vancouver during some of the time that over 60 women—mostly Aboriginal street-involved sex workers—disappeared from an area known as the Downtown Eastside of Vancouver. A serial killer eventually confessed to 49 murders. So the Aboriginal folktale-inspired photo story, "The Unicorn and the Crow," is very special to me. I also can't help but mention "Menstruation: Porn's Last Taboo" by Trixie Fontaine, because it taught me something I didn't know anything about, all the while featuring a picture of a bloody tampon nailed to a wall.

Amazing. Did $pread have a wider audience outside the sex worker community?
Aimee: Yes, about 60 percent of our readers were sex workers but many other people read the magazine. Gender studies professors often assigned $pread as required reading for their students. We were popular among social justice activists of both radical and liberal persuasions. And, when we conducted our first reader survey, we were surprised to discover that many clients of the sex industry enjoyed reading $pread, too.

Kaiser: $pread was never 100 percent sex workers. We were by and for sex workers and those that care about their rights. Some of the staff and writers weren't sex workers at all, but rather the friends and family of sex workers. Even clients of sex workers helped out sometimes.

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Is it important for you to tie feminism with what you do?
Aimee: Feminism and sex worker rights should go hand in hand because both movements are about body autonomy and self-determination. But that's not to say that all sex workers do or should identify as feminists. The mainstream feminist movement has traditionally been hostile and patronizing towards sex workers, preferring to talk about sex work rather than listening to what sex workers have to say, so it's not surprising that many sex workers feel alienated by feminism. But that is changing and many younger factions of feminists these days are strong allies of sex workers and realize that any discussion of sex work must be led by sex workers.

Kaiser: One of the few rules we developed for $pread was that we didn't have an editorial position on anything beyond our basic mission statement. What's the point of being a platform for sex workers to speak for themselves if you only have one set of perspectives that are welcomed?

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What writers would you commission in an issue of $pread today?
Aimee: Kate Zen, Monica Jones, Janet Mock, Melissa Gira Grant, Abigail Booties. Many of the writers who regularly contribute to Prose and Lore, the literary journal published by $pread editor Audacia Ray's nonprofit Red Umbrella Project, including Barbara R. Lee and Rachel Therein. And many of the contributors to Red Umbrella Babies, a forthcoming anthology about parenting and sex work.

Kaiser: Rachel already mentioned Melissa Gira Grant, but she's worth mentioning twice. She's really emerging as one of the most important voices of this movement. I've always deeply regretted not getting a meaty feature piece out of Caty Simon, who now blogs at Tits and Sass. I can't think of who is better at writing about drug use and sex work, which is such an important topic.

I'd want to get writing from the youth leadership at Streetwise and Safe, which is a group for LGBTQ youth of color in New York City. Every time I interact with the activists there, I'm really impressed with how they support each other, understand and articulate their experience with police and the criminal justice system, and engage in strategic activism. I mean, what was I doing at 16 or 17? Nothing that important.

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Why did the zine format work for you?
RA: I'm not sure if it did really. We got into publishing right on the cusp of the shift from print to digital. We modeled $pread on independent print magazines that we loved, such as Bitch and Bust, but we got into the industry too late to secure the kinds of bookstore distribution deals that would have allowed us to achieve their kind of sustainability. So what we ended up with were hundreds of boxes of magazines that were expensive to print and mail, heavy to cart around from printer to office to post office, and took up all the space in our closet-sized office. Things probably would've been a lot easier if we'd created an online magazine.

Kaiser: We knew that sex workers read magazines, that those were the things most commonly strewn throughout their workplaces. So even though it made almost no business sense to start an independent, print-only glossy magazine in 2005, this was exactly what we committed to doing. It felt important to create something tangible and in a "legitimate" format, and maybe this was fed by the general anxiety that people had in the mid 2000s about the digital shift coupled with the sense we had that the 90s-style zines were too alternative to be taken seriously by most sex workers who weren't alternative or activist-y at all—just normal people who read US Weekly or Cosmo. It was important to us that sex workers could actually hold something in their hands, something that seemed familiar.

$pread: The Best of a Magazine That Illuminated the Sex Industry and Started a Media Revolution is published by Feminist Press

Follow Anna on Twitter.

Cry-Baby of the Week: A Guy Allegedly Shot Someone Because They Wouldn't Roll Him a Cigarette

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

Cry-Baby #1: Robert Klemish

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Screencap via Google Maps

The incident: A man asked some people to roll him a cigarette. They refused.

The appropriate response: Rolling your own cigarette.

The actual response: He allegedly shot someone in the ass.

On Monday of this week, landlord Robert Klemish was at a house he owns in Scranton, Pennsylvania.

According to police, Klemish asked two of his tenants that were living at the property—a man named Michael Karasevich and an unnamed 17-year-old—to roll him a cigarette. They refused.

This is when, according to other people who were at the house, Klemish started threatening to shoot people.

Karasevich and the unnamed 17-year-old reportedly locked themselves in a bathroom to get away from Klemish, who allegedly shot through the door. A bullet hit Karasevich in the ass, causing non-life threatening injuries. The 17-year-old was unharmed.

Klemish was charged with aggravated assault and discharging a firearm. According to a report on WNEP, Klemish claims he fired the gun by accident.

Cry-Baby #2: Three unnamed Scottish women

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Screencap via Google Maps

The incident: Some women were asked to shut up during a screening of 50 Shades of Grey.

The appropriate response: Shutting up.

The actual response: They attacked the man who asked them to be quiet.

On Valentine's Day, the Grosvenor Cinema in Glasgow held a daytime screening of 50 Shades of Grey.

The screening, at which alcohol was available, reportedly began to get a little rowdy.

According to witnesses quoted in the Daily Record, people were shouting and "several incredibly drunk women [were] vomiting in the aisle."

Three women in particular are reported to have been getting very excited, and were allegedly screaming at the screen as the film played.

Witnesses say a man who was watching the film with his girlfriend asked the three women to be quiet. Instead of taking his advice, the women leapt out of their seats and attacked him.

The Daily Record interviewed a man named Michael Bolton (not that Michael Bolton, presumably) who witnessed the aftermath. "Besides being the worst film I have ever seen, three women were being arrested and put in a police van when we arrived," he said. "One woman was in handcuffs and another two were in tears."

He also claimed to have seen theater workers "tidying up the blood" as he entered for the next showing. "Only in Glasgow are police called to the cinema," he said.

Scottish Police confirmed that they had arrested three women for breach of the peace and disorder.

Who here is the bigger cry-baby? Let us know in this poll down here, please:


Previously: Someone cut a lady's brake line because she stole their parking space and a woman allegedly called in a bomb threat to her daughter's school because she failed an exam.

Winner: The brake line cutter!!!

Follow Jamie Lee Curtis Taete on Twitter.

‘This Is Your Brain on Terrorism’: Countering Jihadist Propaganda is Harder Than It Seems

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Screenshot of a tweet from @abu_muhajir1 (now suspended)

In January 2014, Calgary's Christianne Boudreau learned about the death of her son, 22-year-old Damian Clairmont, in less than 140 characters—a tweet from an Islamic State fighter.

As Boudreau told VICE, she believed her son had travelled to Cairo 14 months earlier to study Arabic. It wasn't until members of the Canadian Security Intelligence Service (CSIS) questioned Boudreau about her son that she discovered he had actually travelled to Syria to fight against the Assad regime with an Al Qaeda-affiliated rebel group and, later, for the ISIS. According to Abu Muhajir's Tumblr eulogy to Clairmont, the young man's path to Syria began with a chance encounter in a Calgary Tim Hortons, but it's likely that Clairmont had encountered online propaganda that made him susceptible to Abu Muhajir's extremist ideology. Ironically, it was that vast reach of ISIS propaganda that allowed Boudreau to learn of her son's fate.

It's also why she participated in Extreme Dialogue, a Canada-wide social media campaign launched earlier this week to reduce the appeal of extremist ideologies to young people. The campaign was funded by the Canadian government via the arms-length Kanishka Project and created by an "international consortium" of non-profits and charities. It's goal is to provide counter-narratives to those spread by violent extremist groups such as the Islamic State or white supremacist gangs. The Extreme Dialogue Facebook and Twitter accounts direct users to a website that hosts a ten-minute video about Boudreau and her son, as well as another video about Daniel Gallant, a former neo-Nazi from northern British Columbia who describes his indoctrination as a young man into white supremacist communities and his eventual "disengagement" from those activities and beliefs.

[youtube src='//www.youtube.com/embed/QBZSHAXhUyI' width='640' height='360']

According to Rachel Briggs, who worked on the campaign as a part of the UK-based Institute for Strategic Dialogue, the goal of the campaign is to provide young people with the critical thinking skills to interpret the extremist messages they may encounter online. "We can't stop young people from coming across this content," says Briggs, "so it's an attempt to make sure that they have got the skills and the knowledge to see that propaganda for what it is when they come across it."

When the Islamic State began showing up in headlines last year, it seemed to arrive with a professionally trained marketing team for recruitment, savvy in video production and social media. "Quite frankly, I think ISIS are offering us a master class in how to use multimedia and how to use social media to serve your aims," says Briggs.

One example of this is an English-language recruitment video released last July, replete with gorgeous images of Canadian wilderness ripped from tourism advertisements, which featured a 21-year-old Abu Muslim (aka André Poulin, another Canadian teenager-turned-IS-militant killed in battle in 2013) pitching fellow Canadians on the merits of joining the Islamic State. "They use incredibly slick, well-produced, emotionally engaging, well-messaged content," says Briggs. "They pump it out at a rate that we can only aspire towards."

[youtube src='//www.youtube.com/embed/oZ5GviBA5ts' width='640' height='360']

At the same time, their social media expertise is astounding, with a heavy presence on Twitter and an Android app that facilitates the spread of their message far beyond their military presence in Syria and Iraq.

"We've talked a lot about the need to tackle extremist propaganda," says Briggs "but we've done pretty much nothing more than talking." However, previous attempts by Western governments to battle ISIS recruitment on social media have actually backfired.

A French campaign called Stop Djihadisme was harshly criticized after spreading an infographic that suggested French citizens should report people to a hotline for not eating baguettes. In the United States, the State Department created a campaign called "Think Again Turn Away" that shares articles about atrocities committed by ISIS to a pitifully small amount of Twitter and Facebook followers. In a scathing criticism of the campaign, Rita Katz, director of SITE Intelligence, a company that tracks online extremist behaviour, accused the Department of State of providing ISIS supporters with a soapbox from which to spread their views by engaging with them directly on these platforms.

Briggs suggests that Extreme Dialogue differs from those examples in one critical way: "Extreme Dialogue is not a counter-radicalization tool. It's a tool for enhancing critical thinking so that kids, if and when they come across extremist propaganda, can see it for what it is." In addition to its social media presence, Extreme Dialogue is also being made available to teachers, parents, and community leaders as a resource for educating young people. "It is a program and a set of products that we want to get mainstreamed... we want this to reach the Canadian school system across the board."

However, there are concerns that the campaign videos don't do enough to address the nuts and bolts of how young people are actually recruited into extremist communities.

"Overall I'm pleased with it. It's good," says professor Lorne Dawson, a professor of Sociology and Legal Studies at the University of Waterloo who specializes in the process of radicalization in homegrown terrorist groups "My concern is that both of the videos concentrate a bit too much just on the personal stories of the individuals and they don't concentrate enough on debunking the message [of extremist groups]."

He's also concerned that the campaign, which will primarily be shown in school presentations, isn't reaching the marginalized individuals who are mostly likely to travel to Syria or engage in violence. "I'm not sure how this is getting into the hands of the right people," he says. Young people at risk often feel alienated and marginalized from society, and may have even dropped out of school.

Both Martin Rouleau and Michael Zehaf-Bibeau, the two men responsible for the attacks last year on Canadian military in Saint-Jean-sur-Richelieu and Ottawa, respectively, had histories of mental illness. Similarly, the Extreme Dialogue videos explain that Damian Clairmont suffered depression and dropped out of high school before travelling to Syria while Daniel Gallant was a victim of child abuse before being recruited by white supremacists. It is unlikely that a campaign such as Extreme Dialogue could have reached individuals like this before they committed acts of violence.

However, Dawson concedes that the campaign could be effective for younger Canadians who haven't been reached yet. "We all know that the cops coming in to school and giving the anti-drug lecture to the public school or the high school doesn't really stop all of the kids who are already stoners from using," he says. "But it does have an impact on younger, more impressionable kids, and it might turn some of them away from when they are first tempted by their friends or something."

For Briggs, that is exactly what the program is meant to do, but for extremist propaganda rather than peer pressure. "We are very much further upstream in the preventative stage," she says. Though she doesn't want to negate the need for resources to help younger Canadians who are already on the path to radicalization, she views Extreme Dialogue as just one tool aimed at a large "mainstream" audience of young people.

"You definitely need other types of approaches that reach people who are already down the path to radicalization or are actually within violent extremist movements," she says. "But you need different things to reach different audiences."

Follow Alan Jones on Twitter.

Mike Tyson: the Panic, the Slip, and the Counter

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Mike Tyson: the Panic, the Slip, and the Counter

Walk Softly and Carry a Big Email List: Meet Robby Mook, Hillary Clinton's Secret Weapon

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On a joyous early November evening in 2013, newly-elected Virginia governor Terry McAuliffe celebrated his victory alongside hundreds of his loyal supporters. Despite having never held elected office, the former Democratic National Committee chairman had prevailed over the state's Tea Partying attorney general Ken Cuccinelli in a tight and vicious race. While McAuliffe had celebrity, the bigger force behind his impressive—and perhaps unlikely—win stood off to the side, out of the spotlight, exactly where he likes to be.

Robby Mook boasts one of the most impressive resumes in Democratic campaigning—out-organizing Barack Obama's 2008 team in Nevada, Indiana, and Ohio while working for Hillary Clinton's first campaign, and leading the Democratic Congressional Campaign Committee are among the highlights. But the 35-year-old Vermont native prefers he operates in the shadows, rarely talking about his political victories, or the politicians he's helped put in office.

In his next job, as the presumptive campaign manager for the presumed Clinton presidential campaign, Mook will face his biggest challenge to date, tasked with keeping a $1 billion effort of big personalities and bigger egos on track, on time, and on point. If he succeeds, Mook won't be able to keep his name from being mentioned alongside men like Jim Messina, David Axelrod, and Karl Rove—in other words, his years pulling the strings from the shadows of Democratic politics are coming to an end.

Robby Mook wasn't may have been born for this shit, but he wasn't born into it. The son of a Dartmouth College physics professor and a hospital administrator, Mook got an early start in politics, volunteering for the campaign of Vermont state legislator Matt Dunne at age 14. As a student at Columbia University, his organizational vision for the campus chapter College Democrats impressed his fellow students. Sam Arora, who was a couple years behind Mook at Columbia and went on to serve as a member of the Maryland House of Delegates, was an early convert. "Back in 2000, 2002, I remember Robby at College Democrat meetings advocating for the creation of a student voter file," Arora told me an interview. "That's Robby, thinking very strategically while living in a college dorm."

Mook quickly rose up the organizing ranks of Democratic politics, working as a field director for Howard Dean, and later as deputy national field director at the Democratic National Committee during the 2004 presidential campaign, and joining Clinton's primary campaign in 2008 before heading up the Democrats efforts to hold on to the House of Representatives. His candidates haven't always won—in fact, his record is pretty bad, when it comes to presidential races—but Mook has nevertheless impressed high-ranking Democrats everywhere he went.

"He would rather win races than, no offense, talk to reporters," said Kelly Ward, who worked under, and eventually succeeded, Mook as executive director of the DCCC. Noting his gift for organizing, Ward recounted memories of a weekend in 2012 when Mook was still executive director for the DCCC, and organized a canvasing trip for the staff. He spent the ride to the targeted district pouring over spreadsheets of voter information, Ward remembers, looking for an edge, and holding conference calls with pollsters. "Then he got out of the car, started canvasing, and was better at it than any of us," she said.

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Mook, speaking on a panel hosted by Democratic women's campaign organization EMILY'S List. Photo by EMILY'S List via Flickr

Among his operative acolytes, Mook seems to engender overwhelming loyalty and dedication. Former campaign vets remember that during the 2008 Nevada primary, Mook as treated like a cult figure whenever he stopped by the dive bar where Hillary staffers would spend what limited free time they had. "Robby does relationships," said Teresa Vilmain, a veteran Democratic campaign organizer. "He takes time to get to know people. He invests in relationships. He's not afraid to ask questions. He knows what he doesn't know, and hires people who are smarter than him in those areas."

Arora remembered canvasing in 2005 for David Marsden, a candidate for the Virginia House of Delegates, simply because Mook was in charge. "A bunch of us went down and knocked on doors for some candidate we'd never met because it was Robby and he said the candidate was going to do great things for Virginia. I didn't know the candidate but I was happy to give up a few weekends," he said. "You know if Robby is behind it, it's going to be a good effort."

For a Clinton campaign that has struggled with discipline and infighting, Mook's reputation for avoiding drama could be a crucial asset. And significantly, Clinton appears to trust Mook. "You can't have someone in such a pivotal and important position who is unknown," Ellen Tauscher, a former congresswoman, State Department official, and Clinton ally, told Bloomberg. "For people that want to be reassured about no repeat of 2008 issues, I think that he definitely answers the mail on that, too."

But Mook is not without his detractors. His campaigns are known for effectively defining the opposing politician—an essential strategy in today's political landscape, but one that can also have unintended consequences. In 2013, Time called he McAuliffe-Cuccinelli battle, " The Dirtiest, Nastiest, Low-Down Campaign In America," and while Mook's man won, the cost was high: McAuliffe has struggled to make political progress while in office, amid constant battles with an entrenched Republican legislature. "[McAuliffe] didn't have a mandate for having run on anything in their point of view besides 'Ken Cuccinelli sucks,' then they basically shut him down the first year," Benjamin Tribbett, a Virginia political blogger and strategist, told me. "It was like a dog trying to catch a squirrel. What was missing in that campaign was what happens once you catch the squirrel." Suggesting that the hype surrounding Mook may be overblown, Tribbett speculated that he may be good at putting himself on winning campaigns, and then claiming credit when demographics trend in his favor.

It's not hard to see a Mook-managed Clinton campaign playing out the same way. The 2016 presidential election will almost certainly get dirty and negative, but Mook's tactics could push things further in that direction. And in the event that Clinton is elected, a particularly savage campaign could make it next to impossible for her to get her agenda past congressional Republicans already predisposed to blocking her at every turn.

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Robby Mook, Hillary Clinton's mafia don. Photo by Douglas Graham/CQ-Roll Call Group

The closeness of Mook's crew of disciples could also be an issue. In November, ABC News revealed the existence of a listserv called the "Mook Mafia," a group of 150 or so Democratic campaign vets led by Mook and his buddy Marlon Marshall. The emails reported by ABC were relatively light blows—claims to "smite Republicans mafia-style" and "punish those voters"—but the attitude could raise larger issues as Mook gains a bigger national profile. Having a campaign managed by a man who openly compares himself to a mafia don might not be the best way for Clinton to distance herself from the perception that she is a political insider who sees her nomination as an inevitable coronation. And there's always the possibility that more damning emails or communications between the group have yet to be revealed—unflattering comments from Washington DC listservs have a way of revealing themselves at the most inopportune times.

While the structure for Clinton's as yet unannounced campaign is not yet in place, there are already number big-time names rumored to be in the running for key positions. Keeping that group focused on winning an election, rather than beating each other, will be exceptionally difficult tasks for Mook. Already, Clinton's supporters have devolved into petty infighting over money and influence—last week, the founder of one pro-Hillary Super PAC loudly resigned from the board of another pro-Hillary Super PAC, accusing its leaders of planting unflattering stories about his organization in the New York Times. And, again, this is a campaign that hasn't officially started yet. Once it does, the pressure, the opinions, and the egos will only grow. The campaign hierarchy won't be a straight line, putting Mook, the man responsible for keeping everything together, in competition with other Hillaryland allies at the top of the organization. "Having multiple people at the helm above Robby [Mook] sounds like a repeat of mistakes made in the past," a 2008 Clinton staffer told The Hill.

But fans say that if anyone can succeed in keeping the great Clinton juggling act in the air through 2016, it's Mook. "He is a throwback to a campaign professional of an earlier day. In his own way, he walks softly and carries a big stick. He's great at making the trains run both on-time and in the right direction," a former Mook deputy told me. "Robby is able to do the most modern, Obama-level data and analytics the smartest messaging, the best field tactics but then corral a big group of people to drive towards a common strategy and goal."

Regardless of how the campaign plays out, this is clearly Mook's moment—even if he'd rather you didn't know it. "Running maybe a $1 billion organization is going to be different from running something closer to the ground," Arora says. "But the way a campaign is run and how disciplined it is does trickle down. If Robby's chosen – I assume he is – we're going to see something that is very good."

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'Art With Cocaine' Is Exactly What It Sounds Like

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'Art With Cocaine' Is Exactly What It Sounds Like

Female Circumcision Is Becoming More Popular in Malaysia

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I meet 19-year-old Syahiera Atika at the mall. She spends most Sundays prowling Kuala Lumpur's mega malls like other women her age, but as she eagerly points out she's also different. Syahiera is a modern incarnation of Malay culture: She happily embraces Western-style capitalism, while at the same time strictly following the local interpretation of Islam. And as she proudly informs me, that also means she's circumcised.

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19 year-old Syahiera Atika (center), poses with her friends in front of a Kuala Lumpur mall

"I'm circumcised because it is required by Islam," she says. The Malay word she uses is wajib, meaning any religious duty commanded by Allah. Syahiera is aware of how female circumcision is perceived in the West, but rejects any notion that it's inhumane. "I don't think the way we do it here is harmful," she says. "It protects young girls from premarital sex as it is supposed to lower their sex drive. But I am not sure it always works." She giggles at this thought.

Female circumcision, as you may know, involves surgically removing part or all of a woman's clitoris, which is classified as Female Genital Mutilation (FGM) by the World Health Organization. FGM has no medical benefits whatsoever, and a WHO fact sheet says that it "reflects deep-rooted inequality between the sexes, and constitutes an extreme form of discrimination against women." In 2012 the United Nations General Assembly unanimously passed a resolution calling it a "human rights violation" and urged nations to ban the practice.

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A mother and daughter stand in the waiting room at the private Global Ikhwan clinic. Women from all over the region visit the Islamic clinic where FGM is performed regularly

Regardless of how cruel FGM is, the majority of Muslim women in Malaysia are, like Syahiera, circumcised. A 2012 study conducted by Dr. Maznah Dahlui, an associate professor at the University of Malaya's Department of Social and Preventive Medicine, found that 93 percent of Muslim women surveyed had been circumcised. Dahlui also discovered that the procedure is increasingly performed by trained medical professionals in private clinics, instead of by traditional circumcision practitioners called Ma Bidans.

Dahlui insists Malaysia's version of female circumcision is less invasive than some types practiced around the world—she says it involves a needle prick to the clitoral hood and is performed on girls between the ages of one and six. However, as I discovered, more invasive procedures are also widespread.

Obstetrician and gynecologist Dr. Mighilia of the Global Ikhwan private clinic located in Rawang, north of Kuala Lumpur, admitted that she performs a more drastic version with a needle or scissors. "I just take a needle and slit off the top of the clitoris, but it is very little," she said. "Just one millimeter."

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Dr. Mighilia demonstrates how she performs female circumcisions with scissors

Genital mutilation isn't banned in Malaysia, although public hospitals are prevented from performing the surgery. In 2009 the Fatwa Committee of Malaysia's National Council of Islamic Religious Affairs ruled that female circumcision was obligatory for all Muslim women, unless it was harmful.

That's not to say, however, that all Malaysians support it. Syarifatul Adibah, who is the Senior Programme Officer at Sisters in Islam, a local women's rights group, insists that sunat (Malaysian for circumcision) isn't once mentioned in the Quran. Instead she points to its popularity as stemming from an increasingly conservative interpretation of Islam.

"Previously it was a cultural practice, but now, because of Islamization, people just relate everything to Islam," she said. "And when you link something to religion, people here follow it blindly."

According to Adibah, FGM became more socially acceptable in 2012, when the Ministry of Health announced it was developing guidelines to reclassify the procedure as medical. To her, this misleads people into thinking mutilation is medically sound. "If you come up with the guidelines and you medicalize it this means you're OK with it, despite it having no medical benefit," she said. (The Ministry of Health did not respond to multiple requests for comment.)

Not that the "medicalization" of female genital mutilation is unique to Malaysia—the practice was recently identified as a new "disturbing trend" by the UNFPA, UNICEF, the International Confederation of Midwives, and the International Federation of Gynaecology and Obstetrics.

But some Malaysians believe that international organizations like those shouldn't be telling them how to live. "The problem with the West is that it's just so judgmental," said Abdul Khan Rashid, a professor at Penang Medical College. "Who the hell are you to tell us what to practice and what not to practice? A lot of women now do it in private clinics in safe conditions, but if you're going to make it illegal, the practice will just go underground."

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Dr. Ariza Mohamed is a prominent member of the Islamic Medical Association of Malaysia, which condones "Holistic ,edicine based on Islam"

Malaysian medical practitioners also defend the practice by passing judgment onto other countries. "We are very much against what is going on in other countries like Sudan," said Dr. Ariza Mohamed, an obstetrician and gynecologist at KPJ Ampang Puteri Specialist Hospital in Kuala Lumpur. "That is very different from what we practice in Malaysia," she added. "And there is a big difference between circumcision and female genital mutilation."

Photos by Thomas Cristofoletti

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The Soviet Union Dumped Thousands of Nuclear Submarines, Reactors, and Containers into the Ocean

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The Soviet Union Dumped Thousands of Nuclear Submarines, Reactors, and Containers into the Ocean

A Flowchart to Help You Learn if Drake Dissed You on "6PM In New York"

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A Flowchart to Help You Learn if Drake Dissed You on "6PM In New York"

The Bizarre and Confusing World of 1990s Hardcore Rave Music Videos

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The Bizarre and Confusing World of 1990s Hardcore Rave Music Videos

​My Mom Sent Me an NSFW Clip

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Still from the opening shot of 'IMG_0087.MOV'

For years, my mom had been talking about getting an iPhone, mainly to use chat apps with which she could text her friends, who have been haranguing her to get with the times. One of them, Angela, believed my dad had conspired to keep her off WeChat, an app predominantly used in China, to keep her from receiving gossip, presumably about himself. She finally bought an iPhone 6 Plus, which has the effect of an iPad in her small hands. The last time I visited (primarily as a field-service technician), she asked me to show her how to email a clip directly to someone in her contacts. The next morning, she emailed me "IMG_0087.MOV," a humorous skit about a man on a tram that keeps suddenly stopping, causing him to repeatedly ram his face into the large-breasted woman seated across from him. The 44-second clip ends with her face finally ramming into his crotch, followed by an erection, which he abashedly covers with a handbag.

The following is the subsequent email thread between my mom and I, slightly edited for privacy:

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My mom lives in a gated 50-and-over retirement community with my father, who sleeps in front of a 65" HDTV blasting CNN most of the day. Her sole contact with the outside world, aside from a few neighbors, and me, is now the internet. She's joined the world at large, we the distracted and connected, ceaselessly forwarding content in some state of existential curation. I'm solemnly lifted as her face brightens with each sound notification. "Someone texted you," I say. "I'm so busy!" she says cheerfully.

As her direct line to truth, it is my responsibility to tell her what is photoshopped, and what is not; what is spam, and what is not; who is literally a homosexual, and who is merely fabulous. At some point over the years, we have switched roles—I am now the parent, and she the relentlessly curious child. I remember when I was in grade school, asking her about the world outside, about its made-up rules, its mean people, scared to venture more than a few blocks away. She must have grown back into a little girl at the same rate that I became a grim man. She asks me what cocktail to order on the cruise happy hour; I immediately respond with an old fashioned, and she worries about my drinking. I ponderously explain the difference between her WiFi and 4G, how the latter can take her anywhere—away from her home, even at Safeway, and into the internet; she asks me if that includes pics.

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English as a second language gives Gertrude Stein a run for her money. There's a certain naive earnestness to my mom's appeals, the authority she has granted me. I was being facetious, but she had been taking the conversation way too seriously for me not to perversely explore. "Sexually funny" is my new favorite phrase.

Would you fire me for viewing a man face full in tits? Probably not. Would you make me meet with HR in the conference room, fill out some forms? Maybe.

NSFW presupposes a puritan work ethic—as first introduced in Max Weber's 1905 book The Protestant Ethic and the Spirit of Capitalism, from which free-market economic theory arguably arises—in that we, as an unsafe populace, are assumed to all be at work. Such a caveat betrays our greatest fear, that we'd be fired, or at least reprimanded, by a prudish management for our prurient ways. Most of the content tagged NSFW is fairly mild: maybe a sparkling thong, a politician's middle finger, or a bare ass here and there. As hardcore porn, school bullying, gang rape, and ISIS-beheading videos become more and more ubiquitous online, placating trigger warnings flash everywhere, as if by such means we were exercising some moral control in an increasingly insane world. For every anti-climactic celebrity nipple, thousands are slaughtered unseen for religious, economic, or psychotic reasons. I suppose if we can only protect one thing, may it be our sensibilities.

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She has yet to reply. Maybe she finally saw through my petty sarcasm and bitterness, and couldn't summon the energy to raise me anymore.

My mother may be contacting me from some void, from a large house that isn't really a home. They installed an automatic fountain in the inner courtyard, which they leave off, waiting to host a party. I am gone, and Dad is asleep. Lately I've begun to text her just to make sure there's always a little ping that pings, waking her iPhone into its soft light on the kitchen counter—this sudden notification that I imagine her leaving her room to check. I hope I'm not a disappointment.

Ten Years After Hunter S. Thompson's Death, the Debate Over Suicide Rages On

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Today, February 20, marks the tenth anniversary of Hunter S. Thompson killing himself with a .45-caliber handgun in his home in Woody Creek, Colorado. Since his suicide, the right-to-die movement has gained a stronger foothold in American consciousness—even if the country is just as divided as ever on whether doctors should be assisting patients in ending their own lives.

"Poling has always shown a majority of people believing that someone has a moral right to commit suicide under some circumstances, but that majority has been increasing over time," says Matthew Wynia, Director of Center for Bioethics and Humanities at the University of Colorado Anschutz Medical Campus. Wynia believes a chief factor in that change has been "more and more people say they've given a good deal of thought on this issue. And the more people tend to give thought to this issue, the more likely they are to say they are in favor of people having a moral right to commit suicide, under certain circumstances."

The sticking point is what constitutes a justifiable reason to kill yourself or have a doctor do so for you. In Thompson's case, he was suffering from intense physical discomfort due to a back injury, broken leg, hip replacement surgery, and a lung infection. But his widow, Anita, says that while the injuries were significant, they did not justify his suicide.

"His pain was unbearable at times, but was by no means terminal," Anita tells me via email. "That is the rub. If it were a terminal illness, the horrible aftermath would have been different for me and his loved ones. None of us minded caring for him."

A mix of popular culture and legislative initiatives have shifted the terrain since then. When Thompson made his big exit in 2005, Jack Kevorkian was still incarcerated for helping his patients shuffle off their mortal coil. He was released in 2007, and shortly before his death a few years later, HBO chronicled his struggles to change public opinion of physician-assisted suicide in the film You Don't Know Jack, starring Al Pacino.

Last year, suicide seemed to cross a threshold of legitimacy in America. When terminally ill 29-year-old Brittany Maynard appeared on the cover of People magazine next to the headline, "My Decision to Die," the issue was thrust into the faces of every supermarket shopper in the US. Earlier in the year, the season finale of Girls closed with one of the main characters agreeing to help her geriatric employer end her life, only to have the woman back out after swallowing a fistfull of pills, shouting, "I don't want to die!"

After the self-inflicted death of Robin Williams last summer, those with strong moral opposition to suicide used the tragedy as an illustration of how much taking your life hurts those around you. "I simply cannot understand how any parent could kill themselves," Henry Rollins wrote in an editorial for LA Weekly. "I don't care how well adjusted your kid might be—choosing to kill yourself, rather than to be there for that child, is every shade of awful, traumatic and confusing. I think as soon as you have children, you waive your right to take your own life... I no longer take this person seriously. Their life wasn't cut short—it was purposely abandoned."

A decade earlier, Rollins's comments might have gone unnoticed. As might have Fox News' Shepard Smith when he referred to Williams as "such a coward" for abandoning his children. Of course, both received a good lashing in the court of public opinion for being so dismissive toward someone suffering from depression. "To the core of my being, I regret it," Smith apologized in a statement. Rollins followed suit, saying, "I should have known better, but I obviously did not."

A 2013 Pew Research Poll found that 38 percent of Americans believed that a person has a moral right to commit suicide if "living has become a burden." But if the person is described as "suffering great pain and have no hope of improvement," the number increased to 62 percent, a seven-point jump from the way Americans felt about the issue in 1990.

"Psychic suffering is as important as physical suffering when determining if a person should have help to die."

Still, only 47 percent of Americans in a Pew poll last October said that a doctor should be allowed to facilitate a suicide, barely different from numbers at the time of Thompson's death. Wynia believes an enduring factor here this is the public's fear that assisted suicide will be applied as a cost-cutting measure to an already overburdened healthcare system.

"There is worry that insurance companies will cover medication to end your life, but they won't cover treatments that allow you to extend your life," he says. "And then the family is stuck with either ponying up the money to extend that person's life, or they could commit suicide. That puts a lot of pressure on both the family and the individual. Also, there is the issue of the doctor being seen as a double agent who isn't solely looking out for their best interest."

As with abortion before Roe v. Wade, when determined citizens are denied medical assistance and left to their own devices, the results can sometimes be disastrous. "There are people who try and fail at suicide, and sometimes they end up in much worse positions than they started," Wynia adds. "I've cared for someone who tried to commit suicide by drinking Drano; that's a good way to burn out your entire esophagus, and if you survive it, you're in very bad shape afterward."

A 2014 Gallup poll showed considerably more support for doctors' involvement in ending a patient's life. When asked if physicians should be allowed to "legally end a patient's life by some painless means," 69 percent of Americans said they were in favor of such a procedure. But when the question is whether physicians should be able to "assist the patient to commit suicide," support dropped to 58 percent. This has lead many advocacy groups to adopt the term "aid in dying" as opposed to "assisted suicide."

A statement on the Compassion and Choices website states: "It is wrong to equate 'suicide,' which about 30,000 Americans, suffering from mental illness, tragically resort to each year, with the death-with-dignity option utilized by only 160 terminally ill, but mentally competent, patients in Oregon and Washington last year."

According to Oregon's Death With Dignity Act—which permitted Brittany Maynard to be prescribed a lethal dose of drugs from her physician—a patient must be over 18 years old, of sound mind, and diagnosed with a terminal illness with less than six months to live in order to be given life-ending care. Currently, four other states have bills similar to Oregon's, while 39 states have laws banning physician-assisted suicide. Earlier this month, legislators in Colorado attempted to pass their own version of an assisted suicide bill, but it failed in committee.

In 1995, Australia's Northern Territory briefly legalized euthanasia through the Rights of the Terminally Ill Act. Dr. Philip Nitschke was the first doctor to administer a voluntary lethal injection to a patient, followed by three more before the law was overturned by the Australian Parliament in 1997. Nitschke retired from medicine that year and began working to educate the public on how to administer their own life-ending procedure without medical supervision or assistance. Last summer, the Australian Medical Board suspended his medical registration, a decision which he is appealing.

Nitschke says two states in Australia currently offer life in prison as a penalty for anyone assisting in another's suicide, and that he's been contacted by the British police, who say he may be in violation of the United Kingdom's assisted suicide laws for hosting workshops educating Brits on how to kill themselves. Unlike more moderate groups like Compassion and Choices, Nitschke's Exit International doesn't shy away from words like "suicide," and feels that the right to die should be expanded dramatically.

A proponent of both left-wing social justice and right-wing rhetoric about personal freedoms, Thompson had very strong feelings about the role of government in our daily lives, particularly when it came to what we were allowed to do with our own bodies.

Laws in most countries that allow physician-assisted suicide under specific circumstances do not consider psychological ailments like depression a justifiable reason for ending your life. Nitschke sees a circular hypocrisy in this, arguing that everyone should be granted the right to end their own life regardless of health, and that those suffering a mental illness are still able to give informed consent.

"Psychic suffering is as important as physical suffering when determining if a person should have help to die," Nitschke tells me. "The prevailing medical board [in Australia] views almost any psychiatric illness as a reason why one cannot give consent—but the catch-22 is that anyone contemplating suicide, for whatever reason, must be suffering psychiatric illness."

These days, Nitschke is avoiding criminal prosecution by merely providing information on effective suicide techniques. So long as he doesn't physically administer a death agent to anyone—the crime that resulted in Kevorkian being hit with a second-degree murder conviction and eight years in prison—he'll most likely steer clear of jail time.

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Philip Nitschke's euthanasia machine. Photo via Wikimedia Commons

"I think our society is very confused about liberty," Andrew Solomon, author of The Noonday Demon: An Atlas of Depression, wrote in 2012. "I don't think it makes sense to force women to carry children they don't want, and I don't think it makes sense to prevent people who wish to die from doing so. Just as my marrying my husband doesn't damage the marriages of straight people, so people who end their lives with assistance do not threaten the lives or decisions of other people."

While support for laws banning physician-assisted suicide typically come from conservative religious groups and those mistrustful of government-run healthcare, the idea that the government has a role in deciding your end of life care is rooted in a left-leaning philosophy.

"The theory used to be that the state has an interest in the health and wellbeing of its citizens," acccording to Wynia, "and therefore you as a citizen do not have a right to kill yourself, because you are, in essence, a property of the state."

This conflicted greatly with the philosophy of Hunter S. Thompson. A proponent of both left-wing social justice and right-wing rhetoric about personal freedoms, Thompson had very strong feelings about the role of government in our daily lives, particularly when it came to what we were allowed to do with our own bodies.

"He once said to me, 'I'd feel real trapped in this life, Ralph, if I didn't know I could commit suicide at any moment,'" remembered friend and longtime collaborator Ralph Steadman in a recent interview with Esquire.

Sitting in a New York hotel room while writing the introduction to The Great Shark Hunt, a collection of his essays and journalism published in 1979, Thompson described feeling an existential angst when reflecting on the body of work. "I feel like I might as well be sitting up here carving the words for my own tombstone... and when I finish, the only fitting exit will be right straight off this fucking terrace and into The Fountain, 28 stories below and at least 200 yards out into the air and across Fifth Avenue... The only way I can deal with this eerie situation at all is to make conscious decision that I have already lived and finished the life I planned to live—(13 years longer, in fact)."

Thompson's widow, Anita, was on the phone with her husband when he took his life. To this day, she feels that the situation was far from hopeless, that his injuries weren't beyond repair, and that he still had plenty of years left in him.

"He was about to have back surgery again, which meant that the problem would soon be fixed and he could commence his recovery," she tells me. "My belief is that supporting somebody's 'freedom' to commit suicide because he or she is in some pain or depressed is much different than a chronic or terminal illness. Although I've healed from the tragedy, the fact that his personal decision was actually hurried by a series of events and people that later admitted they supported his decision, still haunts me today."

In September 2005, Rolling Stone published what has come to be known as Hunter Thompson's suicide note. Despite being written four days beforehand, the brief message does contain the weighty despair of a man unable to inspire in himself the will to go on:

No More Games. No More Bombs. No More Walking. No More Fun. No More Swimming. 67. That is 17 years past 50. 17 more than I needed or wanted. Boring. I am always bitchy. No Fun -- for anybody. 67. You are getting Greedy. Act your old age. Relax—This won't hurt.

Seeing as he lived his life as an undefinable political anomaly—he was an icon of the the hedonism of the 60s and 70s, and also a card-carrying member of the NRA—it's only fitting that Thompson's exit from this earth was through the most divisive and controversial doorway possible.

"The fundamental beliefs that underlie our nation are sometimes in conflict with each other—and these issues get at some of the basic tensions in what we value as Americans," says Wynia. "We value our individual liberties, we value our right to make decisions for ourselves, but we also are a religious community, and we are mistrustful of authority. When you talk about giving the power to doctors or anyone else to help you commit suicide, it makes a lot of people nervous. Even though we also have a libertarian streak that believes, 'I should be allowed to do this, and I should be allowed to ask my doctor to help me.' I think this is bound to be a contentious issue for some time to come."

If you are feeling hopeless of suicidal, there are people you can talk to. Please call the Suicide Prevention Lifeline at 1-800-273-8255.

Follow Josiah M. Hesse on Twitter.


Could Malaysia's New Wave of Bold Student Activists Be on the Verge of an Uprising?

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Adam Adli (left) with a colleague from the activist collective Universiti Bangsar Utama. Photo by Scott Oliver

Clutching a copy of Molotov Cocktail, the collection of political essays he published last year, 25-year-old law undergraduate Adam Adli sweeps away a mop of hair and skips across the road to join the student protesters milling about outside the University of Malaya. Watched on one side by campus security and on the other by not-so-secret secret police, they've gathered in support of the so-called "UM8," an octet of students recently disciplined by university authorities.

Their misdemeanor was simply to invite Anwar Ibrahim—leader of the opposition coalition (Pakatan Rakyat) and a UM alumnus—to give a talk on campus, forbidden under Malaysia's University and University Colleges Act (UUCA), which bars students from being members of—or even expressing support or opposition to—political parties. Two of the UM8 were suspended from study—Fahmi Zainol being forced to pay back twice the amount of his scholarship (around $30,000)—while seven received fines and warnings about their conduct.

Meanwhile, last week Anwar Ibrahim was sentenced to five years in prison for "sodomy" (illegal in predominantly Muslim Malaysia), despite originally being acquitted by the High Court. He had previously been imprisoned for six years for the same offense, later overturned by the Supreme Court. Amnesty called it a "deplorable judgement," while Human Rights Watch, expressing little doubt the conviction was politically motivated, called it "a travesty of justice."

If, as Marx suggested, history repeats itself first as tragedy, then as farce, then the absurd, this Kafkaesque imprisonment of Anwar—the most high-profile opponent of the Barisan Nasional (National Front) coalition that's ruled Malaysia since independence in 1957—might light the touch paper in a country where progressive forces grow ever more impatient with the government's increasingly desperate and capricious cling to power.

"He's the only person ever to be convicted of sodomy," says Adli, laughing grimly at the real perversity of it all.

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Anwar Ibrahim, founder and leader of the Malaysian opposition coalition. Photo by Didiz via WikiMedia Commons

Quietly spoken and easygoing, Adli is perhaps an unlikely candidate to speak (alongside activists and opposition politicians twice his age) to the student throng encamped outside the country's most prestigious seat of learning. However, since himself being sentenced to 12 months in prison last May (pending an appeal) under Malaysia's notoriously draconian Sedition Act, he has become the poster boy for an emerging, increasingly vocal, increasingly defiant generation of student activists. His case even prompted a Facebook group, "We Are All Adam Adli," a self-conscious echo of the "We Are All Khaled Said" page that helped spark Egypt's January 25 Revolution.

A hold-over from the British colonial era, the Sedition Act criminalizes anything that "would bring into hatred or contempt or excite disaffection against any Ruler or against any government." Vaguely defined and arbitrarily applied, it's something of a Swiss army knife in the government's formidable tool-belt of repression, a law that has been repeatedly used to stifle freedom of expression and crack down on dissent, ultimately fomenting the (increasingly rickety) culture of compliant, docile self-censorship that has permeated the nation's political life.

However, in the lead-up to May 2013's general election, Anwar's nemesis, Prime Minister Najib Razak—leader of UMNO (United Malays National Organization), the dominant party in Barisan Nasional (BN)—made noises about repealing the act. Instead, after a victory gained in controversial circumstances—for the first time, BN received less than 50 percent of the popular vote, yet still took 60 percent of parliamentary seats—Razak backtracked on his pledge, actually strengthening the law and placing the country's already scanty civil liberties in something of a choke-hold (there have been 20 sedition convictions in the last two years, compared to two over the previous four). Indeed, Amnesty International, in their most recent report to the UN for the Universal Human Rights Index, outlined "concerns with regard to the death penalty; freedom of expression, association, and assembly; arbitrary arrest and detention; unlawful killings by security forces, torture, ill-treatment, and deaths in custody; exploitation of migrants; and nonrecognition of refugees." To this can be added judicial independence.

Predictably, prosecution under the Sedition Act is not required to prove intent. Thus, Adli's "crime" was simply to publicly question the legitimacy of the 2013 election results (this while working for an NGO called Bersih, which campaigns for clean and fair elections) and to call for the people to take to the streets in protest.

Appropriately for someone aspiring to shake the country from its political culture of deferential passivity, he was using social media during the trial to keep supporters updated, at one point posting a courtroom selfie to Instagram with the status: "keep calm and be seditious."

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Adam Adli. Photo by Scott Oliver

It wasn't the first time Adli—who has been arrested more times than he can remember—had pricked the skin of the political establishment. In 2011, having burnt the UMNO flag at a protest outside the party's headquarters and been beaten for his trouble, he went into hiding after learning that party thugs were circulating his picture and phone number online in a bid to root him out. Ensconced for ten days in a rural hideout, he was fed by an old lady who recalled the student demonstrations that were once a regular part of young Malaysia's political life. It was an epiphany: "She said in the 1970s it was the students who made people believe things could change, and that I'd given her hope. That's when I realized people are pissed off with the government and we needed more people doing crazy stuff so that they would become afraid of us."

So what happened to that student radicalism? Meredith Weiss, in Student Activism in Malaysia, questions the conventional wisdom that Malaysia's students have become apathetic: "This apparent disinterest is not inevitable or natural, but... the outcome of a sustained project of pacification and depoliticization by a moderately illiberal, ambitiously developmental state," she writes.

That pacification is engendered in a number of ways.

Most insidiously, the Malaysian government operates an explicitly racial policy of affirmative action for ethnic Malays and indigenous tribes—the so-called bumiputra (67 percent of the population)—for whom there is preferential access to higher education and new housing, as well as favorable business rates and bank charges. It is brazenly discriminatory, fostering widespread resentment and complacency, depending on your racial category. And with bumiputra classification conditional upon being Muslim, there is also a government ministry—the Department of Islamic Development Malaysia (Jakim)—that monitors religious observance in Malays, prosecuting in special Shari'a courts. In the wake of a fatwa being issued to the Sisters in Islam—a group promoting rights of women in Islam—the deputy Prime Minister recently suggested that Malaysia's Islamic character was under threat from the discourse of human rights, which he sees as a façade to push through a liberal, secularist agenda.

Then there's the oppressive Security Offenses (Special Measures) Act, which allows for 28-day detention without trial, the first 48 hours of which can be incommunicado. It may not quite be Saudi Arabia, yet this is still a conservative, thin-skinned, paranoid regime apt to arrest anyone who speaks out against the systematic abuses—be they cartoonists, bloggers, politicians, academics, activists, lawyers, or students. For the latter, those "depoliticised" and "pacified" students, there's the double-pincer of the sedition dragnet and UUCA.

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Student protesters demonstrating in solidarity with UM8. Photo by Seth Akmal

Thus, Adli's speech in solidarity with UM8—alongside Anwar's fellow opposition coalition party leader Lim Kit Siang and his deputy Teresa Kok (charged with sedition after a satirical video that allegedly mocked Islam), as well as playwright Hishamuddin Rais (recently fined around $1,500 for sedition)—three times repeats the view of esteemed law professor Dr. Azmi Sharom (currently awaiting trial for sedition): The brightest and best among us are also the most oppressed. With campus curfews, no student union, a tortuous application procedure even to book a room (Anwar's UM talk was held in darkness, after authorities cut off the electricity), even having to wear ties to lectures—it's hardly an atmosphere in which an enquiring, free-thinking mindset can flourish.

Adli has retained his humor amid the absurdity, yet his determination is steadfast: "We can always pull another Ukraine, another Egypt. We know that with the resources we have, bringing down the government is quite easy. But to rebuild will be hard. We don't want to leave a vacuum. If Plan A—electoral reform—doesn't go well, we can always change to Plan B."

Fighting talk, maybe, yet this is no wild-eyed revolutionary grandstanding. There is a reformist caution, a willingness to play the long game—"we just want to open up a more democratic space"—and, equally, a sense that the time is ripe to drag the more reticent sympathizers away from the keyboards and out onto the streets.

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Volunteers at the soup kitchen. Photo by Scott Oliver

Adli's courage and tenacity have made him one of the most prominent student voices in a growing tide of frustration with the sham democracy, archaic laws, and autocratic whimsy of a de facto one-party state, yet this is no ego-trip. Indeed, from a base that's something between an oversized student house and a commune, Adli is part of an activist collective engaged in far more humble and mundane activities—offering free tuition to young and old; running the online Radio Bangsar, where philosophy discussions sit alongside homegrown Malaysian punk; and operating a soup kitchen taken out to Kuala Lumpur's neglected homeless each weekend—filling in where the state is unable or unwilling to provide.

While the hypermodern Kuala Lumpur skyline suggests a country that's all grown up, in reality the sci-fi skyscrapers are merely the uncertain adolescent posturing of someone too keen to project self-assurance, too sensitive to the slightest criticism. The fact is that Adam Adli is not the sort of person that a country truly sure of itself would need to hound and harass. Nor, for that matter, is Anwar Ibrahim. But then, it was always this way with repressive regimes: the more heavy-handed they get in trying to establish orderly obedience, the more they're inclined to see sedition everywhere—in a flippant tweet, an insufficiently deferential glare, a t-shirt.

If Malaysia's students are all Adam Adli, then his appeal decision, like the Anwar verdict, might nudge the country closer to a tipping point. Lose, and he could spend up to three years in prison; win, and it might show that the country is prepared to tap the potential of its young rather than spending all its energy preserving the status quo.

Adli himself is not optimistic—indeed, his lawyer was recently arrested (yep, for sedition) in his chambers by 20 police—but he remains philosophical, and unshakeable in his convictions. "Going to jail's maybe not a bad thing for me. I've got to the stage where I think them putting me in jail will help the struggle a lot. People will see more injustice in this country, and see the true nature of our government."

Follow Scott Oliver on Twitter.

Against Me! Frontwoman Laura Jane Grace on How to Be a Parent When You're Transitioning Genders

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Against Me! Frontwoman Laura Jane Grace on How to Be a Parent When You're Transitioning Genders

This Guy Filmed Himself Sneaking onto the Red Carpet at the 1988 Academy Awards

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If you had a portal to the 1988 Oscars and the only thing you were allowed to do is troll celebrities, who would be most fascinating in retrospect? Probably Nicolas Cage, the now-deceased Patrick Swayze, and 14-year-old Angelina Jolie, who attended with her father Jon Voight. That's exactly what the guys in the video above did. It earned them a spot on The Tonight Show with Johnny Carson, but somehow the stunt hasn't stayed in America's cultural memory.

The first half of the video above shows the two film students, Jack Saltzberg and David Teitelbaum, trying to sneak a camera and microphone into the 60th Academy Awards ceremony without press passes. In the second half, they find themselves unexpectedly getting onto the red carpet by just blowing past a barrier. It's a tactic so brazen it would probably get you waterboarded today, but 1988 was a more innocent time.

A few years ago, a guy went on the local news circuit because he had snuck into the Oscars and sat through the show but his documentary Crasher never found an audience. Teitelbaum, the guy on camera, doesn't seem to have ascended to megastardom either, but I tracked him down to see what effect it had on his career, and just to find out what sneaking into the Oscars was like.

VICE: So, how'd you pull that stunt off?
David Teitelbaum: We were film students at the time, and had no intention of actually getting in. We just figured we'd make a funny video about a supposed entertainment reporter who thinks he's part of the inside circle but, in fact, has absolutely no credentials. We thought we were making a video about not getting into the Oscars. After trying various entrances and knocking on limousine windows, I finally figured that maybe, if I walked past a guard while in the middle of a stand-up, he might pause long enough for us to get in. Turns out, that's what happened.

Did anyone ever notice you?
Once we were in, nobody bothered us much. We stayed on the red carpet interviewing celebrities for hours.

Was there anything going on that the home viewer can't see?
Off-camera, there were the usual throngs of waiting fans and security. We actually interviewed many more that weren't included on the Tonight Show piece. We made a longer video that includes a bunch more celebrities.

Did you notice Angelina Jolie in your footage?
Nobody knew Angelina Jolie at the time. I think she was 14 or 15, and in the midst of her one awkward year. Years later, I watched the tape and realized it was her. Anyone who thinks she's had her lips done should watch the tape. They're her lips.

So what happened afterward?
I probably received a hundred calls from agents, studios, producers. Class flavor-of-the-month stuff. I signed with an agent and started doing shorts for the Movie Channel, using the personae I created for the Oscar piece—but now calling myself "Harvey Shine." I did those for three years. I got to go on David Letterman's show the next year. After that, I hosted a bunch of pilots and did some acting in a few films and a bunch of commercials. I also did stand-up comedy for a number of years. Eventually, I went back to what I originally went to film school for. I started writing for animated shows (including Phineas and Ferb) and am now a producer on Deadliest Catch.

And that's all thanks to the stunt?
The Oscars stunt certainly gave me a launching pad. I got to do things I probably never would have were it not for that. My only regret is that I'm not sure it's ever gotten full recognition for the influence it's had. I've had major film directors tell me that they went to film school after seeing our Tonight Show segment. We interviewed Howard Stern while we were on the red carpet—and only then did he start sending out "Stuttering John" Melendez to do celebrity interviews.

Do you think you made an impact?
I think if it had a ripple effect, it was that it helped bridge the gap between professional video and amateur video. I think people may have seen the piece and thought, I'm gonna do something like that, too. This was the era when high-quality home video was just starting. We weren't celebrities and we weren't connected. But, we made a video and got to be interviewed by Johnny Carson. I'm not sure that had happened before.

Follow Mike Pearl on Twitter.

Lumberjack Chic Is Finally Played Out

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See any plaid here? Photo courtesy of N. Hoolywood

After several years of Americana and heritage-inspired clothes dominating menswear, designers have set aside their lumberjack plaids, vintage washed cottons, and bearded urban poet looks in favor of an aesthetic that's filled with the promise of the future. The 2015 fall/winter collections shown at New York Fashion Week offered clean lines, bold forms, and utility.

This new wave was very recognizable in Tim Coppens. Belgian-born and -trained, Coppens served as the design director for Ralph Lauren's RLX activewear line before launching his own collection a few years ago. He's since garnered praise for his luxurious take on performance wear, adapting its specialized materials and constructions for everyday use. Color blocking, fabric paneling, zips, and other trimmings are all part of his repertoire, which he showcased at Made Fashion Week at Milk Studios. All of these elements coalesced to create a modern uniform that's as stylish as it is practical.

But a modernist point of view doesn't preclude romance. Duckie Brown's Stephen Cox and Daniel Silver played with feminine fabrics like silk satin, using them for bombers and funnel neck pullovers. It was sensual and seductive, but at the same time crisp and clean.

Siki Im, a former architect and one of the most stringently modern designers in New York City, showed a more vulnerable side too. In a show that involved his heroes, artist Clayton Patterson and hardcore legend Walter Schreifels, Im put together a film screening and impromptu punk performance at a downtown gallery. Patterson designed embroidery for Im based on his own graffiti work, and the results added a folky accent to Im's angular aesthetic.

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Photo courtesy of General Idea

Like Im, General Idea's Bumsuk Choi also proved that modernism doesn't need to be cold and distant. His collection had a strong edit of superb tailoring with architectural coats that featured the now-trendy drop shoulder. It took notions of the past and filtered them through the mood of today, creating a look that could make perfect sense with track pants and sneakers.

Patrik Ervell, a mainstay in the menswear scene who has outlasted many of his peers, also served up his incrementally evolving vision of menswear. He took the classic shapes of Patagonia and the North Face and stripped them down to give them a raw, blunt feeling. The show, held at Made Fashion Week, was inspired by brutalist architecture and featured an abstract sculpture installation. Ervell always uses some of the most interesting technical fabrics out there, and this season he partnered with Maharam, the maker of high-end interior textiles, for outerwear and jackets. You couldn't think of anything more appropriate for Ervell's eternal styles, many of which could be traced back to his first collections but still look incredibly fresh.

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Photo by Koury Angelo for Made

But the most compelling iteration of this new attitude may have been presented by Japanese designer Daisuke Obana's N. Hoolywood brand. Looking to the functionality of garments worn for ski and mountaineering, Obana repurposed them for the street, cleaning them up with a clear modern line. His penchant for authenticity (Obana will not hesitate to geek out over infinitesimal details) only helped the clothes, whose fabrics and construction could easily stand up to a Colorado winter: Hooded pullovers and funnel neck base layers in tech fabrics, turtlenecks galore, athletic pants, and unassuming cold-weather outerwear.

The philosophy at work here was to make the best of the necessary, to elevate the realities of daily life to the exceptional. No extras, no superfluous details, no gimmicks, no tricks. The beauty was in their refinement and their proximity to real shit people wear when it's beyond bitter cold. The collection also saw a collaboration with New Balance, which you can be sure will be sought after by all the sneakerheads come fall.

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Photo courtesy of N. Hoolywood

Hiroki Nakamura's Japanese cult label Visvim made a strong counterargument for vintage. As always, his clothes—washed and worn, sanded, patched, deconstructed, and reconstructed—were incredibly beautiful in their precious detail. But in the wake of the exciting new experiments by designers like Tim Coppens and Patrik Ervell, a garment that's been artificially aged and decayed just doesn't feel as compelling. Of course it's beautiful, but its decadence carries with it the strong and off-putting waft of yesterday.

Follow Jeremy on Twitter.

VICE Vs Video Games: This Was the Week in Video Games

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TIM SCHAFER'S STICKING UP FOR PETER MOLYNEUX

Populous designer Molyneux announced last week that he was done talking to the press after a handful of interviews and one painfully revealing Eurogamer feature made it clear how mishandled his Godus game has been, and how his reputation has been irreparably shredded.

Some might say he's been unfairly treated by interviewers, with plenty of criticism aimed at Rock, Paper, Shotgun's John Walker, who appeared to lead with the question of, "Do you think you're a pathological liar?"

Schafer (pictured above, via), founder of Double Fine Productions and interviewed on VICE here, has come to the defense of Molyneux, signing off the latest video update on his studio's ongoing Broken Age project by saying the below (which is presented as an edited transcript):

I'd like to send our support to our friend and fellow developer, Peter Molyneux. In the last few weeks we've seen some really rough treatment of Peter... and I think it's really unfortunate, and unfair, and unhealthy. I'm not saying that developers like Peter and I shouldn't be responsible and accountable for deadlines; I'm just saying the reaction to recent events, and the tone of that reaction, is really way out of proportion to the seriousness of the events themselves.

The problems that Peter is having are not unique to him. They happen on many, if not most projects. I hope that if we keep doing what we're doing, and stay transparent... more and more people will start to see the process and understand how games are made, what goes into them, the effort and the expense, and why game production often goes the way it does. And knowing what goes into the games they play will help players enjoy them even more.

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THE LAST GUARDIAN IS STILL IN DEVELOPMENT, PROMISE

Some panicked when it was revealed that Sony's trademark for Team Ico's long overdue Shadow of the Colossus follow-up The Last Guardian had, again, expired. But fret not, fans of uncommonly affecting video games featuring small boys and big beasts, as it transpires that the game is very much still a work in progress.

An admin error is to blame for the trademark oversight, as Sony confirmed to GameSpot that The Last Guardian isn't going anywhere. Well, indeed: we've been waiting for it since 2007, with no fresh footage revealed since 2009. Director Fumito Ueda said in December 2014 that the game was progressing under "completely new conditions," no doubt referring to a transition from PlayStation 3 to PS4.

I don't recommend holding your breath for an E3 update in June—but come September's Tokyo Game Show? Even the vaguest of release dates would make for a convention-owning announcement.


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IF YOU'RE A US GAMER, YOU'D BEST WATCH YOUR DATA...

As reported by Motherboard earlier this week, American gamers probably can look forward to their console of choice sharing personal data with the federal government, with or without the introduction of new cybersecurity legislation.

President Obama himself has been campaigning for better methods of sharing information between companies and consumers alike, with an emphasis placed on protecting parties from future cyber attacks, like the hack on Sony Pictures in November 2014. The Entertainment Software Association, which represents video games departments at Sony and Microsoft, is on board with Barack's thinking, but the likes of Facebook and Google are, so far, less engaged.

Congress will likely have to approve any move to full information sharing set-ups, to private details of gamers the country over. As Motherboard says: "It's not necessarily time to panic." But all the same, it's something to monitor closely as gaming culture becomes ever more connected by transcontinental hardwiring.


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THE WORLD VIDEO GAME HALL OF FAME IS NOW A THING

The Strong National Museum of Play, in Rochester, New York, has announced details of the World Video Game Hall of Fame, reports Polygon. The objective of the initiative, much like other halls of fame from music to toys, is to "recognize individual electronic games of all types... that have enjoyed popularity over a sustained period and have exerted an influence on the video game industry or on popular culture and society in general."

There are four criteria that games are measured against, for potential inclusion: icon status, longevity, geographical reach, and influence. You can put forward suggestions at the World Video Game Hall of Fame website, here, with the first wave of games inducted in June 2015. I'm voting Sensible World of Soccer (pictured), obviously.


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ESPORTS IS TAKING OVER London

VICE already told you that esports is going to take over the world—but before it gets quite that massive, it's transforming a London theater into the UK's first-ever esports arena.

Fulham Broadway's Vue is to become the Gfinity Arena next month, providing space for some 600 spectators as it hosts an array of live competitions, while simultaneously streaming footage across the world.

Gfinity is a growing player in British esports, set to host the Call of Duty European Championships at London's Royal Opera House from February 28 and possessing a pretty comprehensive "about us" page right here. If the Fulham arrangement works well, there's the potential for Gfinity rolling out more eSports spaces in other Vues across the country.


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SOME NEW GAMES CAME OUT

If you're reading this in the US, you can get your hands on Kirby and the Rainbow Curse right now. Which makes me pretty jealous, as the beautiful, claymation-style platformer, a Wii U exclusive, isn't due out in the UK until... actually, I've no idea. I asked a guy who works in PR for Nintendo over here when it's out, and he didn't know. "Q3/Q4" says Wikipedia. I guess I'll pop it on my Christmas list and hope for the best.

Dead or Alive 5 Final Round is the third update for Team Ninja's fighter, which initially came out in 2012. It features four characters from Sega's Virtua Fighter series, including the frequently box-adorning, Ryu-recalling Akira Yuki. Hands up, I don't think I've ever played Dead or Alive, mainly because it doesn't have the words "street" and "fighter" in its title. Final Round isn't about to change that situation, but if incredibly well researched breast physics are your thing, don't let me stop you from getting involved.

American Truck Simulator is the successor to European Truck Simulator 2, which VICE contributor Andy Kelly played for a good 30 hours recently. You can hazard a guess at what it's all about. Handsomely hirsute PS4 exclusive The Order: 1886 is finally out now, too, and has proven quite the divisive proposition. On the one hand, it's very pretty. On the other, it plays like a dog that perhaps should have been put out of its misery years ago. Read our interview with creative director Ru Weerasuriya here—it's like he knew a kicking was coming.

If The Order's getting you down, here's a mobile pick-me-up: Alto's Adventure is a very attractive endless runner which casts you as a snowboarder, but it has a Journey vibe to its launch trailer (below). It's out now for iOS, and I'll probably be picking it up because there are llamas in it and, as Jeff Minter made clear years ago, llamas are freaking great.

[youtube src='//www.youtube.com/embed/Wk5JupHelAg' width='560' height='315']


[youtube src='//www.youtube.com/embed/Jl-yGsqNtBo' width='560' height='315']

SPEAKING OF ENDLESS RUNNERS

Here's a trailer for the forthcoming freemium Sonic mobile game, Sonic Runners. I literally have nothing else to say about this (you can read my thoughts on the state of Sonic here), but the Guardian's Keith Stuart has written a good piece on how Sega's mascot has been reduced to this kind of release.


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'GAME' IS PREMIERING IN LONDON NEXT WEEK

Game is a new theatrical production by Mike Bartlett, premiering at London's Almedia Theatre on February 23 and running until early April. Videogamer says it's "inspired by POV gaming," and "invites audiences to spy on a family as they explore a dangerous new way to live." Sounds just super. The show lasts for an hour and "nudity, startling noises and acts some people may consider violent" are promised. Tickets can be booked at the theater's website, and check out the trailer below.

[youtube src='//www.youtube.com/embed/GYFttgAH5i0' width='560' height='315']

Follow Mike on Twitter.

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