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VICE Premiere: VICE Exclusive: Listen to One of Geronimo!'s Final Songs

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These days it seems like there are almost as many record labels as there are bands. It's hard to find a good label, and it's even harder to find one with the sort of consistency and overarching vision that Mute and 4AD once had. Exploding in Sound Records is a rare gem—a messiah of a label, releasing record after record of thoughtfully invigorating rock music, from Pile to Krill to Geronimo!.

Geronimo! announced their official breakup last year, and this song, "They Put a Hook Inside of Me," is one of three final tracks to be released on their last EP, Buzz Yr Girlfriend: Vol. 4—Why Did You Leave Me? Thanks for putting out a final tease of an EP to make us all mourn your breakup, Geronimo! You will be missed.

The final EP is out March 31. Preorder it for $3 here.

Geronimo! are playing their final show on 3/28 at Beat Kitchen in Chicago. If you live there, you should go see it.


Calvin Klein: The Dyslexic Collection

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[body_image width='1000' height='682' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426015701.jpg' id='34791']

"In 1982, American fashion designer Calvin Klein launched his men's underwear line. The design of Calvin Klein's underpants was almost identical to competing brand Jockey's classic brief, except closer fitting in the behind, and produced by the same manufacturer as Jockey. The significant difference was that the name Calvin Klein was woven into the waistband. Klein himself had worn the several dozen sample briefs that were manufactured prior to the launch of the underwear, so that he could personally check the durability and fit."

—From Shaun Cole's The Story of Men's Underwear, 2010

On vacation the Middle East, Dutch photographer Jan Dirk van der Burg bought a couple of pairs of knockoff Calvin Klein underwear and noticed the name on the band had been misspelled "Calven Klain." Over the next three years, he visited markets in Tehran, Damascus, Odessa, Tbilisi, Zugdidi, Fethiye, and Bangkok, collecting different counterfeit Calvins along the way. The photographer has now released a book of his collection, in which each typo-ridden undie is photographed on a hunky guy, in the timelessly sexy of Calvin Klein ads. It also includes directions for how to find each pair, in case you're ever in Teheran, desperately searching for #mygalvins.

Buy the book here, and see a preview of it below.

[body_image width='1000' height='1528' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426015843.jpg' id='34793']

Calven Kliem
Kiev, Ukraine
10 Hryvnia ($0.44)
"Leave the metro station in a northerly direction towards Verbova Street. Turn left just before the DVD section and continue straight ahead for 400 metres. When you see the words 'Pынок Петровка' (Petrovka market) in metre-high letters, turn right at the FASHION VIP clothes store. Three stalls along, you'll find Sasha selling Calven Kliem."

[body_image width='1000' height='1535' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426015963.jpg' id='34794']

Calvni Klain
Isfahan, Iran
140,000 Rial ($5.01)
"The entrance to the Grand Bazaar of Isfahan is on the north side of Imam Square, opposite the Jameh Mosque. Ignoring the pushy carpet sellers, walk straight ahead past the souvenir shops. Turn right at the end along the lane with herbs and spices. Turn left at the T junction and you'll find three underwear stalls at the end. Mohammed sells Calvni Klain."

[body_image width='1000' height='667' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426016285.jpg' id='34799']

Colvin Kloin
Zugdidi, Georgia
5 Lari ($2.29)
"Walk behind the bus station towards the taxi rank. At the end, near to the minibuses to Kutaisi and Batumi, there is a market with two rows of women's clothing. Georgi's stall, brimming with underwear and socks, is about 50 meters along. He not only sells Colvin Kloin underwear (featuring the FC Mozdok emblem), but also iPhone underpants and Facebook perfume."

[body_image width='1000' height='1541' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426016367.jpg' id='34801']

Calven Kiein
St. Petersburg, Russia
60 Ruble ($0.96)
"Starting from the main entrance to Udelnaya metro station, take the first left towards the flea market. Turn right into the first lane of the permanent market, just beyond the railway lines. After passing three men's shoe shops, you will find a small underwear shop where Vasily sells Calven Kiein underpants."

[body_image width='1000' height='1604' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426016475.jpg' id='34802']

Galvin Klain
Teheran, Iran
50,000 Riaal ($ 1.79)
"Leave the motorbike parking area, cross the square, and join the masses heading for the entrance to the Bazaar. Walk past the tourist carriages and clandestine currency brokers, and on the right you'll see a group of traders on rugs selling just one product. One of them is Reza, who sells black and red Galvin Klain underwear."

[body_image width='1000' height='1408' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426016552.jpg' id='34804']

Kalvi Klan
Odessa, Ukraine
6 Hryvnia ($0.26)
"Go through the main entrance to the Privoz market and cross the food section. You'll see the clothing department at the end of the meat stalls. Turn right again after the wedding dresses and then take the third left. Sergey running the socks and pants stall on the corner sells Kalvi Klan underwear."

[body_image width='1000' height='1500' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426016699.jpg' id='34806']

Calven Kliem
Fethiye, Turkey
6 Lira ($2.28)
"If you stand at the canal side, you will see the market stalls on the left bank. Keep left and you'll find a sock and underwear-stall just before the next crossroads. In addition to a huge range of underpants with English texts such as 'I LOVE KISS', Burak also sells yellow and grey Calven Kliem underwear. (only on Tuesdays)"

[body_image width='1000' height='1500' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426016763.jpg' id='34807']

Calvin Klain
Odessa, Ukraine
15 Hryvnia ($0.65)
"Starting at the 'No photographs' sign close to the main entrance, take the third lane to the left and walk the length of the street with the pink containers. Turn left into the street with the phone covers until you find a small lane with underwear. In the third container on the left, Kirill is selling Calvin Klain underwear and washing instructions for Hugo Boss, Dolce & Gabbana and Versace."

[body_image width='1000' height='1414' path='images/content-images/2015/03/10/' crop='images/content-images-crops/2015/03/10/' filename='calvin-klein-the-dyslexic-collection-405-body-image-1426016910.jpg' id='34808']

Calvin Klain
Odessa, Ukraine
6 Hryvnia ($0.26)
"Go through the main entrance to the Privoz market and cross the food section. You'll see the clothing department at the end of the meat stalls. Turn right again after the wedding dresses and then take the third left. Sergey running the socks and pants stall on the corner sells Calven Klain underwear."

Model: Pascal at Mega Model Agency Hamburg
Female Model : Eefje Suijkerbuijk
Make-up: Klairung
Styling: Marloes Otker
Photography Assistant: Marijn Kuijper

See more photos by Jan Dirk van der Burg on his website, and order his book Calvin Klein: The Dyslexic Collection here.

Blurred Laws: In Defense of Pastiche and Robin Thicke

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Blurred Laws: In Defense of Pastiche and Robin Thicke

The University of Toronto Basically Forced Its TAs to Go on Strike for Some Reason

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On the picket line. All photos via Flickr user OFL Communications

On March 2, around 6,000 teaching assistants and course instructors walked off the job at the University of Toronto. After 14 months with an expired collective bargaining agreement and apparently uninterested negotiating partners in the university's administration, Canadian Union of Public Employees (CUPE) 3902 says its bargaining team was handed a deal it didn't like but was forced to approve it anyway.

Given a 15-minute deadline to unanimously approve the deal and hand it over to membership for a general vote (at 3 AM on a Friday, no less) or have the offer taken back, the bargaining team did just that. An overwhelming majority of the membership present rejected the deal, and now TAs and instructors find themselves on the sidewalk rather than in the classroom. (On March 10, the unit of the union representing course instructors reached and ratified an agreement with the university. As of that agreement, graduate students are the remaining group on strike.)

The financials at issue in this dispute are somewhat murky for outsiders. Graduate students are guaranteed $15,000 annually in take-home funding, which comes in part from scholarships and other grants, and in part from teaching assistant contracts. The wage for those contracts is $42 per hour, which would be impressive for a full-time job, but at ten hours per week it's not that much. That's roughly what they're allotted: they're guaranteed 205 hours of work in an eight-month school year to make up the salaried portion of their funding package.

If they manage to find extra work, such as an additional teaching assistant contract, then they earn $42 per hour beyond their funding package. But for the most part, graduate students are expected to live on $15,000 a year, leaving them thousands of dollars below the poverty line, which Statistics Canada placed at $23,298 for a single person in a "census metropolitan area" in 2011. In this case, that area is Toronto, where $1,000 a month gets you a basement apartment that may or may not be fit for a hobbit.

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Postal workers fly a flag while demonstrating in solidarity with CUPE 3902.

The university did not specifically answer any of VICE's questions either about these numbers nor the negotiations and strike. They did provide a fact sheet claiming that U of T students receive more funding than "comparable Canadian research universities," though there's no mention if students at those other schools are also funded below the poverty line.

What the students want is to live above the poverty line; however, negotiations between the university and the union haven't even gotten to that point. The union decided on a strike-vote deadline of February 27 back in November. When the union rejected the deal, which members Jennifer Gibson and Craig Smith characterized as basically forced onto the membership, the strike was automatic. Speaking to VICE, Smith—the union's outreach coordinator—said repeatedly that what the union wants is for U of T administrators to come to the bargaining table. They seem not to have even reached the point of being able to make demands at the table.

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CUPE strikers on the picket line

Meanwhile, it's hard to figure out what it is the university wants. Even a week after the union's strike began, the university has not sat down to bargain, preferring instead to say it's "in contact with the provincial mediator regarding CUPE Unit 1." When reached for comment, U of T's media department asked that all questions be sent in advance by email and then sent back a boilerplate response that didn't address any of the specific questions VICE posed.

"Negotiations between the University and the union did not break down; the University and the union reached a tentative agreement," wrote media relations director Althea Blackburn-Evans.

But what of the 14 months prior to the agreement, or the way in which the union says the "tentative agreement" was reached and sent from administration to bargaining team to membership? No answer.

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The Arts and Science Students' Union has expressed its support of CUPE both on the picket line and on its website.

The university shows little sign of backing down, but union members seem unperturbed by that institutional confidence. When VICE spoke to Smith this week, he compared the union's "hundreds of hours of outreach" with undergrads to the administration's tendency to refer to those same students as "basic income units." That term is also used by the Council of Ontario Universities, which may or may not mean anything to the students who have been reduced to dollar amounts.

Gibson, a union member and anthropology PhD candidate, said grad students have put a lot of effort into communicating that their work environment is the undergrads' educational environment, and that problems in one area spill over into the other. TAs and course instructors regularly exceed the amount of time they're allotted and end up working without extra pay in order to properly do their marking or see all the students at their doors.

"I had a contract last semester where I was given 18 minutes per term paper," she said. "These are papers that were 15 pages... and I had 80 of those. And at 18 minutes each, that's barely enough time to read it, skim it, let alone add comments, which we're also expected to do."

While university vice-president and provost Cheryl Regehr recently referred to U of T students (presumably including those on strike) as "some of the very best and brightest in their disciplines," striking grad students are expressing their frustrations with their treatment at the school.

Referring to the university's attitude toward union members, Smith said, "It's inconceivable to us why the university would put the whole of the graduate and undergraduate student body through this strike."

Follow Tannara Yelland on Twitter.

"She Keeps Me Up" Isn't Even Close to Being the Worst Nickelback Video

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"She Keeps Me Up" Isn't Even Close to Being the Worst Nickelback Video

On the Edge of the Pit: Cockfighting in America

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On the Edge of the Pit: Cockfighting in America

The Curious, Magnificent Englishness of Danny Dyer

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[body_image width='2241' height='1362' path='images/content-images/2015/03/11/' crop='images/content-images-crops/2015/03/11/' filename='the-curious-magnificent-englishness-of-danny-dyer-303-body-image-1426078427.jpg' id='34973']

Illustrations by Dan Evans

This article originally appeared on VICE UK.

Imagine explaining Danny Dyer to an American. "So he's, like, a joke person?" He is not a joke person. "But he is, he is an East London kinda guy?" He is all of East London, distilled crystalline into one single utterance of the word "slags." You're reading "slags" in his voice. You always do. Read this in Danny Dyer's voice: a tiny Danny Dyer lives inside your fucking head, doing your tart nut in.

But who is Danny Dyer? Danny Dyer believes in aliens, so let's go with this analogy: aliens land on earth, hovering over Essex, bright lights and high sounds, and they hover over Danny Dyer's house—the kind of house, you imagine, that has those plastic covers on the sofas; the kind of house that has a gnome outside it and a rain-soiled box from a big new TV that Danny Dyer has not phoned the council to dispose of yet—and Danny Dyer cockney-walks outside, and he goes, "Here, aliens," and the aliens go, "Who are you?" And Danny Dyer adjusts his one-size-too-small Superdry leather jacket and he goes, "I'm Danny Dyer, aren't I?" and the aliens go, "But we don't know who that is," and Danny Dyer goes: oh.

Because you can't imagine Danny Dyer has really had to explain who he is to anyone in England for the past 16 or so years, since Human Traffic gave him his first big career break at the age of 22. You cannot imagine he'd need to on the Costa del Sol, either, or anywhere else where clots of British ex-pats assemble on plastic garden furniture outside pubs that are open till 2 AM. Danny Dyer appeals to all of us, yes, but most especially to that curious sub-section of the British public who, if they saw Paul Gascoigne in a pub, would buy him a pint. He seems like he would gladly pose for photo after photo with wave after wave of brassy nans, always doing the same weak, single-handed thumbs up, struggling to close his hand into a fist properly because of that one time he punched a wall and put a knuckle out.

Because he's salt of the earth, isn't he, Danny Dyer; he's one of us. And he's one of us in that honest way that Britain appreciates these days. Take your TOWIE cast members: sold to us as real people with real lives and fake weaves, they are like real people on reality steroids, muscular bulls of reality to Dyer's streamlined colt. You take a Gemma Collins, for example: Gemma Collins's life is that of a pantomime dame making an especially angry entrance into a Hell in a Cell match, forever. But she is sold to us—with her range of kaftans, and her autobiography, and her tan—as real: People look at her and go, "She's very real, and that's why I too will buy her broad-sized For Her range of muumuus, because I too like pasta and shouting, for I, also, am real." But she isn't real. She is a projection of a person shouted in front of an actual person. She is a cartoon supervillain that somehow managed to step out of the frame and the Toy Story toys are currently trying to figure out how to take her batteries out and, ultimately, kill her. But Danny Dyer just is.

Again, try explaining the following iconic tweet to an American: "Can't believe it's been nearly 11 years since them slags smashed into the twin towers it still freaks my nut out to this day." Unpackage: The word "slags" is spat instead of typed, Dyer's contempt for the terrorists responsible for the disaster evident like saliva in the sand; "freaks my nut out to this day" is Dyer's way of saying that the clumsy, basic implements of the English language are not fine enough tools to fully describe the enormity of the World Trade Center's collapse. There is the unsaid, too: back when he tweeted it in 2012, Dyer's unique memorial was made on September 10, a day before the traditional worldwide remembrance. The timing begs the question: How often does Danny Dyer sit alone on a sofa in his conservatory and just freak his nut out over 9/11? Where does he find the time?

A theory: Danny Dyer has the time to freak his nut out over 9/11 so much because, crucially, he doesn't even act any more. He lives Danny Dyer, he breathes him. Danny Dyer is so Danny Dyer that you just assume producers are writing "A Danny Dyer type" in lieu of actual character names, actual character descriptions. And Danny Dyer just goes there and gives it two barrels of Danny Dyer. If previously he was a parody of himself, he's now become something more inescapable: typecast, forever, as himself. Danny Dyer's existence reads, from the top down, like a punishment from an especially pernicious Greek God: chained to a red hot rock in a deep echelon of hell, cursed to be Danny Dyer, forever.

The answer, as he's found for the last year, is to embrace it: to play Danny Dyer on EastEnders, swaggering alpha male-like to the top of the show's roster as Queen Vic landlord Mick Carter. Your mom likes him now. Your mom's biggest fantasy is to have Danny Dyer sprawled across her sofa, and she brings him a cup of tea, and he turns to her with a cheeky wink and says, "Thank you, darling." Depending on how freaky your mom is, she might be imagining him calling her a "dopey tart," but the basics are always the same: Danny Dyer, sprawled on the sofa in some neat jeans and a long-sleeved polo, holding out his two savage hands to take the cup of tea, happily accepting a biscuit. Mums up and down the country dream in unison of such erotic frisson. "Got any bourbons going?" he's shouting through to the kitchen. "No, but I've got some Cadbury Fingers!" The scene has to end there.

[body_image width='2241' height='1362' path='images/content-images/2015/03/11/' crop='images/content-images-crops/2015/03/11/' filename='the-curious-magnificent-englishness-of-danny-dyer-303-body-image-1426078486.jpg' id='34974']

Nobody would have seen his career pan out like this. At 22, Dyer was Harold Pinter's protégé of sorts—he cast him in Celebration at the Almeida, and again in The Homecoming. His early film career was a string of bangers—brutal and twitchy in The Football Factory, cherubically violent in The Business—and his Deadliest Men documentaries, where Dyer would turn up to some renowned gangster's gaff in a double-collared polo shirt and then go out for a grim drive and a game of pool, played to his strengths. Then there were a few swings, a few misses, a few films called Pimp about a pimp, a few straight-to-DVD Tamer Hassan team-ups, a few projects where the tagline might as well have been "Danny Dyer Did Not Expect His Latest Tax Bill," and a slow slide into perpetually playing himself. Then, the much-derided, not-much-watched career nadir of Run For Your Wife, Dyer's Tyson-at-the-Tokyo-Dome moment: Dyer, cocky and out-of-shape, flat on his back in the tenth round, staring at the stars while Neil Morrissey peers over him like a surprised toddler.

With the right role, Dyer could've been a contender. Vinnie Jones has a Hollywood career, for fuck's sake. He resisted the lure of EastEnders for years—EastEnders is quicksand, it pulls you in—surely in the hope that a blockbuster would happen, that he could string some high-paying, low-working projects together, that he could be the go-to whenever Hollywood needs someone hard and exotically accented. If Vinnie Jones can stand in front of the world and say, "I'M THE JUGGERNAUT, BITCH," what's so outlandish about Danny Dyer, in a full robot suit that still allows him to walk like he's smuggling an assfull of cocaine into a Kasabian gig, grittily calling Iron Man a slag?

Because he has the chops— in the introduction to 2010's BBC Three madumentary I Believe in UFOs, Dyer is pure, jolting, movie star charisma: he looks like he's just bowled into the middle of Epping Forest from some gakageddon in Camden, his head tilting, his jaw clicking, nothing but contempt for the fine art of TV presenting; acting the part, not playing it. "My name's Danny Dyer," he snarls. "And I believe in UFOs."

Instead, he stays back and slowly takes the long route to national treasurehood. Last week, Dyer made two-part headlines: firstly, for accepting when his partner of 20 years proposed to him; then, for absolutely ruining Katie Hopkins—the closest thing we have to a spluttering, hateful, right-wing Fox News opinionator here in the UK—when she went after him for it. "I agree," he said, when Hopkins questioned why any woman would want to propose to a man so gruff and squinty, "especially when ya face should be on the side of a gothic building... have a nice day ya daft sexist ya."

The UniLAD caliphate quickly rallied to the side of Dyer, as, really, did most people who saw the exchange. Because you would, wouldn't you? On one side, Hopkins—all bluster and pretense, opinions loaded like bombs and flung into the general atmosphere, hoping one hits hard enough to garner her another appearance on This Morning, the ouroboros of modern media; and then you have Danny Dyer, who's so honest he's basically a caricature of himself. "I've always taken drugs and I probably always will," he said, in his 2010 autobiography Straight Up. "It's not like I'm a Blue Peter presenter is it?" The man has a figure 8-shaped astroturf lawn at home, is how much he hates a grass. He is as straightforward as it is possible to be.

Such is the root of his curious Englishness. Say "Maggie Smith" or "Judi Dench" to an international audience, and they know what to think: damely, matronly, cut-glass accents. Ian McKellen is Shakespearian projection and sincerely saying the word-pair "luvvie darling"; Michael Caine is a slightly hard butler. Even famed wife slapper Sean Connery has a sort of British shorthand abroad: gravitas, growling, four decades spent furiously clawing on to the remains of his hair. But what is Danny Dyer? How can he translate? There is no American equivalent. There is no British typecast beyond him. He is an anomaly in his pure, untranscribable Englishness. He is a Dads 'n' Lads haircut waking up a cul-de-sac by shouting "OI, OI!" He is tipping a cabbie a tenner and shaking the hand of everyone at the party before he leaves. He is standing in the freezer aisle at a big Tesco and saying, "What the fuck's a rosti?" He is honest and English in a way that is impossible to explain, and Hollywood's loss is our gain. He cannot believe it's been 11 years since them slags smashed into the World Trade Center.

Follow Joel and Dan on Twitter.

New Zealand Gangs Are Making Peace and Mowing Lawns

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[body_image width='1200' height='761' path='images/content-images/2015/03/11/' crop='images/content-images-crops/2015/03/11/' filename='new-zealand-gangs-are-making-peace-to-mow-lawns-body-image-1426036149.jpg' id='34880']Photo by Ben Thomson.

Members of New Zealand's notorious Mongrel Mob and Black Power gangs are looking to trade their switchblades for shears. In July the council of Dunedin City, located on the South Island's east coast, will begin trialling a system where the two gangs can apply for basic community work—such as mowing lawns, trimming hedges, and cutting back foliage.

Since forming in the 60s and 70s, both Mongrel Mob and Black Power have shared a violent rivalry spanning decades. The gangs have been involved in drug trafficking, alleged murder, and robbery—but last year the groups surprised everyone by suddenly making peace. The men then joined forces in a submission to the Dunedin City Council, asking for help in acquiring paid work to support their families.

Dunedin Mayor Dave Cull told VICE the work trial was a "breakthrough," as it kept the gangs reconciled. "It's remarkable they're working together. They've had a long history of just shooting each other," he said. "But I think they're both beginning to realize that violence won't provide them much of a future anymore."

The proposal was put forward as an employment solution for gang members who were struggling to support their families. Mayor Cull explained that as the men approach their 50s they've found their reputation and appearance have prevented them from finding traditional employment.

Speaking with the NZ Herald Black Power leader Albert Epere said both gangs were trying to integrate themselves back into the community after decades of bloodshed. "It's not about us, it's about our kids," he said. "We've made a path, and now we are trying to change it."

Despite its history of gang violence, the Dunedin community has been accepting of the program. The council's Events and Community Development Manager, Rebecca Williams, told VICE, "Only a few people have called me, and they're just locals who are being cautious." The few public concerns which have been raised were over jobs being taken away from other residents—rather than anxiety over having gang members in their yards.

But the contracts, which include basic gardening tasks, won't be exclusive to members of Black Power and Mongrel Mob. The council states it wants everyone to be able to find a job. "Anyone unemployed can bid for this work," Rebecca says. "We are including the gangs in the trial because they told us they wanted to leave their colored pasts behind, and we want to help."

David Brown, a commercial Landscaping Manager in Dunedin, told VICE that the introduction of gangs mowing lawns wouldn't threaten local business. "At the moment, the work they'll be doing is on too small a scale for it to be a problem," he said, seemingly OK with the scheme. "It'll be interesting to see where it goes though, if they start taking on larger and more important contracts."

In response to concerns that work is being spoon-fed to gang members, the Dunedin City Council said said it will ensure that both Mongrel Mob and Black Power have to meet standard expectations. This includes meeting state health and safety requirements and providing insurance cover like any other commercial landscaping company.

Follow Jack on Twitter.


Liturgy's Rap-Metalocalypse

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[youtube src='//www.youtube.com/embed/Vp5x2z7Nmwg' width='640' height='360']

All photos by the author unless otherwise noted

The snobby, precious metal community has treated Hunter Hunt-Hendrix as a punching bag since he formed the band Liturgy in 2008. The singer and creative force behind the project has been described as the David Foster Wallace of black-metal, the anti-Antichrist (metal humor), and is regarded by some as the poster boy of inauthentic, "hipster-asshole" music-appropriation acts. After all, he did publish a manifesto called Transcendental Black Metal, which VICE excerpted and described as "what happens when you approach the most inherently comical form of metal with absolutely no sense of humor or fun."

But for those who don't jerk off over original Mayhem pressings, Liturgy has always been an awesome (albeit brainy) band that makes awesome records. To many kids who didn't grow up idolizing OG Norwegian metal, Liturgy was a less intimidating entry point to a music genre where not knowing the difference between a blast beat and burst beat is more embarrassing than shitting yourself at prom. And thanks to the Brooklyn-based band, a bunch of people probably checked out the metal groups that purists claim Hunt-Hendrix has tainted with his didactic texts and nerdy interviews.

On March 23, Liturgy will release The Ark Work on Thrill Jockey, its first LP in four years, and undoubtedly it's most epic. Though Hunt-Hendrix describes the music as "rap-metal" (two genres appropriated in one this time!), the record could barely be categorized as anything other than a Liturgy album. It's reference points—the chantlike triplet flow of southern hip-hop acts like Three Six Mafia, Swans (who the band recently opened for), grandiose classical composers—are meaningless in comparison to the feeling of frisson that the ten songs inspire. And that's exactly what the bandleader hopes for.

Hunt-Hendrix talked to me about what he really means by "rap-metal," how he's attempted to tie art, music, and philosophy together in a seamless triangle, and the album being influenced by a Russian composer who had a mystic plan to unveil the apocalypse through sound.

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VICE: I was told the new album is really influenced by southern hip-hop and triplet-flow rap. Could you expand on that?
Hunter Hunt Hendrix: It's not a rap-metal record, but I really wanted to try to find a new basis for combining rap and metal. I thought that was interesting because rap-metal has such a weird reputation.

I loved Korn as a kid, but I don't feel like I'm above rap-metal. I was a huge Bone Thugs-N-Harmony fan when I was little—and Three Six Mafia and stuff like that, too. That's always been kind of with me. And I felt if I were to change the vocal style of the music, I would want to use that kind of triplet-flow language because it reminds me so much of liturgical chanting and things the super occults would chant.

Now there's like Migos and Kendrick Lamar, and triplet flow is all over the place. Interestingly, I planned on doing this for the new album before those guys blew up. It took a long time to write this record. As I was working on it, I saw A$AP Rocky come out with songs quoting Bone Thugs' flow. That older style is so popular and now it has a weird resonance with rap that's happening right now, which I didn't intend to reflect. And at first I was weirded out by the similarities, but now I think it's kind of cool.

It doesn't sound like you're trying to rap. It sounds more like you're influenced by it, or the religious chanting you mentioned.
You might not know if I was rapping unless I told you I was [laughs]. I want this album to be this alchemical fusion. It has all these parts that come from very specific places, but you wouldn't necessarily recognize any of them. You don't want it to be a mash-up or Mr. Bungle, where it's something like salsa-meets-industrial. It's hard to make music that is really eclectic but doesn't sound eclectic. So I don't think it would be in good taste to actually sound like I'm rapping. I think if you listen to it, it makes sense.

So why did you want to do triplet flow and shy away from screaming? How does the style apply to larger, conceptual goals of The Ark Work?
The main reason is that I liked it, and I wanted it to sound that way. Also, I didn't want to scream anymore. It's kind of bad for your throat. There are quotidian reasons, too. But there's something interesting to me about the challenge. Put it this way: Black metal is the kind of music that is known for racism, homophobia, political conservatism, and this closed-off hatred of The Other. To combine it with rap is really to do this violence to black metal, which is kind of interesting to me. It pulls it further away from its roots, and it's kind of a clash.

It challenges metal against something that it culturally opposes. But at the same time, you're appropriating from hip-hop and southern culture and combining it with something that relates to oppressing that culture. On one hand, you're manipulating the conservative, negative side of black metal for good, but on the other, you're appropriating a culture you're not a part of and meshing it with something it may not necessarily want to be tied to.
Yeah, and I'm not totally comfortable about that. Rap is a tradition that I'm not a part of, and I'm just dabbling in it. I'm not totally comfortable with anything that I do with this band. At this point, I'm not afraid of critics, but I'm not sure that I'm doing the right thing.

Why describe it as rap-metal, though? That feels limiting.
It's hard to know what to call something. I like calling this music rap-metal, in a way. But also there are rap-metal appropriation acts right now that I'm interested in, like Contessa Stucco of Cunt Mafia. It's time right now to reconsider rap and metal as bedfellows or whatever—and I don't shy away from saying that. There are so many genres and micro-genres and names. It's absurd, but so is saying, "I'm just gonna do my own thing. It has no name." That's absurd, too.

[Liturgy's] relationship to black metal has always been appropriation. It's not true black metal. My main musical background is classical music. What I like the most is Ligeti and Scelsi, and this weird, piano avant-garde, post-serialist, post-spectralist stuff. It's like that meets performance art or something. That's how this band started. It was kind of like this performance that incorporated black metal. While I was at Columbia, I planned on being a composer who used black metal. Then it turned into more of a band.

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How do you want listeners to feel when listening to The Ark Work? What's the ideal reaction?
I want them to be floored. I want to make music that's completely astonishing where you listen to it and your sense of ordinary reality is shattered. I want the music to be... bursting. And I like to use whatever rhythmic motifs or combinations of different arrangements to bring it to a place that's unusual and full of emotion. It's kind of like a torrent of cosmic sadness, like when you're crying, but you're not sure if you're happy or sad—or even mourning.

I think of [the album] as a total work of art. Music is one of three elements that are interconnected: music, art, and philosophy. The idea is to make music that is astonishing enough that it makes you want to philosophize and puts you in the philosophical mood. So it's like a triangle with music on top: Music goes to philosophy and inspires you to philosophize. Then you allow a new concept to be born through you, because you're philosophizing. And then what philosophy does is it legislates, and then once you have a philosophical foundation, you have the­ right to do something. You have a right to follow through with an idea. That's where art comes in. Art isn't like making a painting, necessarily. It is an endeavor of any kind that is faithful to a philosophical core.

So it's this three-part structure and you're constantly spinning around, moving through all three. It's called a perichoresis. And this is an appropriation of the Christian term. I think the career of the band is a work of art, like a sculpture. The career is like a drama. So for me, being able to make this music is kind of difficult. After the last record, I was kind of afraid to make this album because there were a lot of people who were waiting on the bleachers to be critical of it. But I wanted to follow through with it. So I had to put together this music-art-philosophy structure to feel like I had the right to make it.

So with this album, you want people's reaction to be inspired to start philosophizing?
The idea is that we're in this world where there's all this anxiety, and there aren't structures in place that are telling us how to live. There are good things about that and bad things about that. There's not as much social control, but in a context like that, it sort of falls to the arts to play that kind of role to give meaning.

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Sometimes what's frustrating though is a lot of art refracts some aspect of the modern condition, but it doesn't offer any solutions. So how do you get past just thinking about the anxiety and actually do something bigger?
You can make great art by itself or great music by itself, but that runs the risk of being doomed to merely reflecting. Or, to reach some kind of deep truth, and then expressing—but just expressing.

Then what is your bigger goal when it comes to creating art?
The highest expectation that you can have for art is for it to allow you to transcend. So my idea is that you can join the three together—music, art, and philosophy—and it will create this tornado of meaning so that you can transcend or just reflect.

My ideal for art is the German Romantic ideal: Wagner, or my favorite composer, Scriabin, who's kind of a caricature of Wagner. Wagner wanted to combine drama and music to create these new myths that would take the place of religion in order to lead society, or whatever. Scriabin sounds like Wagner but more extreme. His vision was to create a music and light opera that would be performed on a river, and the audience would all be involved. When it was performed, music would resonate in such a way that it would trigger the unveiling of the apocalypse, and would redeem the world just by achieving a certain sound-light ratio. I love that idea. He never finished it, though.

I just love things being uncertain. I love being unsure of what to do next, or being unsure that I did the right thing—or even talking about ideas that I can't back up. I kind of like being out there, always on the verge of complete humiliation.

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I read you say in another interview that The Ark Work is the most honest Liturgy album yet. Do you still feel the same way?
Yeah, definitely. What I mostly mean by that is that is this album sounds more like the way I hear Liturgy in my head more than any other album. I mean, I love the last couple records. But it was really hard to part with them because I wasn't totally happy with them. And with this one, I really sat down and made sure that it was like a full-on execution. It's not the end of the road. I feel like I can do more, but there's like a vague abstract version of what you want to make, and then you kind of just have to find the ways to execute actually making it happen. This time, we just kind of stuck with it, and went all the way in making it the way I wanted it to sound. This is the music I want to hear most.

The Ark Work is out on March 24 through Thrill Jockey.

Follow Zach on Twitter.

What Do Male Models Think of 'Zoolander'?

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Screen grab via YouTube

Yesterday, Ben Stiller and Owen Wilson walked the runway at Valentino's ready-to-wear womenswear show at Paris Fashion week. This is a big deal, and not because Stiller and Wilson are particularly fetching humans. This is a big deal because the runway cameo, in which Stiller and Wilson reprised their characters as Derek Zoolander and Hansel McDonald, served as the official announcement that the long-rumored sequel to Zoolander is on its way. The film's official release is slated for February 16, 2016, a cool 15 years after its 2001 release.

Among people of a certain age, Zoolander is an unimpeachable classic—a triumph of arch silliness that was as much a critique of the paranoia of the early 2000s as it was a send-up of a fashion industry that was all too willing to play along. It introduced a generation to the insanity of high fashion, and whenever we see Rick Owens sending models onto the runway with their wieners hanging out for everyone to see or people literally wearing trash as couture, we imagine Derek Zoolander's universe is brushing up against ours.

I was curious to know what actual male models thought of the classic, so in celebration of the coming sequel I called up a few to ask what they thought.

RANDY BOWDEN

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VICE: Did you hear they're making a sequel to Zoolander?
Randy Bowden: Yeah, I actually saw the little Valentino stunt [laughs].

Did you enjoy the first one?
Yeah. It's, like, amazing. I was waiting to see if the sequel was gonna come.

As a kid did it inspire you to become a model?
Yeah. I appreciate it more now than when I watched it as a kid. Like, retrospectively. I really appreciate the look and overall aesthetic of what they were wearing.

How do you feel it portrays male models? Is it realistic?
Male models... we are what we are. I think they pretty much got it. Some models are like that. I'm not your typical model like that, but yeah.

What's the most Zoolander-esque thing you've seen while modeling?
I had a show last season that was like... I can't say the designer's name, but there was just so much going on with what we were wearing, some of the models didn't know what was going on.

Have you ever participated in a walk-off?
Yeah, all the time. It's like, you and your model friends will try to do all those little crazy model moves. It's one of those things that just happens between shots, people will just start walk-offs.

Is there more to life than being really, really ridiculously good-looking?
Yes.

NICK MARINI

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VICE: How do you feel about the original Zoolander?
Nick Marini: I think it's hilarious.

What's your favorite scene?
The gasoline fight. Or the computer scene.

Do you think it's realistic in its portrayal of male models?
No. It depends. There are definitely some guys who are pretty stupid. I think there's as many people who are smart, interesting people as there are really dumb people. I've certainly had some dumb people talk to me.

The sense that I get is it's realistic in its articulation of the intense seriousness and silliness of fashion.
I was walking for a designer, and I had three outfits. And after my third outfit, I got off the runway, and the guy was like, "Hold on! I have one last thing for you." It was a full body-suit, except the only slit he'd made in it was from the neck-hole to the shoulder. There was no possible way to actually get in this fucking piece of clothing. There are a lot of designers whose true calling is probably not fashion. I knew we were fucked the moment that guy walked in. He was this chubby guy wearing sweatpants and a leotard/thong. He was wearing platform Converses with the toe cut off, and a du-rag. I was like, "If this is what the designer's wearing, I can't imagine we'll be wearing really cool clothing."

Have you ever participated in a walk-off?
Not professionally.

Is there anything more to life than being really, really ridiculously good-looking?
I'll answer that with a quote from Semi Precious Weapons: I can't pay the rent, but I'm fuckin' gorgeous.

Paul Berry

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VICE: How do you feel about the Zoolander sequel?
Paul Berry: I thought the original was cool. That's what modeling is supposed to be like. It's super tight.

What's your favorite scene from it?
When Owen Wilson and Ben Stiller face off.

Do you think the movie portrays male models in a realistic way?
It's realistic in a way. Back when that film was made modeling was a different thing. Back then modeling was more of a performance.

What's the most Zoolander–esque thing you've seen in your career?
Probably the people who work on the set. They've got the craziest attitudes. Sometimes there will be a makeup artist on set who has a thousand followers who won't stop Instagramming everything.

Is there more to life than being really, really ridiculously good-looking?
Is there? You tell me.

No, there's not.

Cale Kobler

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VICE: Did you enjoy the first Zoolander?
Cale Kobler: Yes.

When you were approached to model, did it inspire you to say yes?
What's funny is I definitely remembered Blue Steel, and I remembered it when I got the chance to model. When they were putting makeup on me I was looking in the mirror and doing it.

Do you think the movie is realistic in its portrayal of male models?
Yeah, actually. Definitely in terms of how ridiculous it is. When I was there, they were like, "Look mad. Look cool."

What was the most Zoolander–esque thing you've seen modeling?
My first show, I walked in and there was a chihuahua dressed in designer dog clothing.

Is there more to life than being really, really ridiculously good-looking?
I mean... yes? I want to design. But being a model is tempting because of how easy it is.

Luke Ditella

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VICE: Did you enjoy the original Zoolander?
Luke Ditella: Yeah, I thought it was hysterical.

Do you think the movie was realistic in its portrayal of male models?
I dunno. I'm not the dude who hangs out with male models. I'm engaged and did all the traveling stuff when I was younger. I've seen some stupid behavior on castings and on jobs, though.

What's the most Zoolander-esque thing you've seen through modeling?
Probably dudes telling each other how good they look while sitting for castings. There were a couple guys checking each other out, big dudes sizing up the competition and wondering if they're in good shape.

Is there more to life than being really, really ridiculously good-looking?
I'd be a total asshole if I said no. Of course there is, man.

Brandon Zablocki

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VICE: What did you think of the original Zoolander?
Brandon Zablocki: The original movie was what, 14 years ago? I thought it was funny, but I didn't get it. I didn't understand it or nothin'. Now that I'm in the modeling industry, it's interesting. I almost wanna watch it again now that I actually model.

What is your favorite scene?
Towards the end of the movie, where the reporter's asking him about his looks. Then he does Blue Steel. Then he does another one, and it's the same thing. It's funny how there are these looks embedded in models' souls.

Do you think the movie is realistic in its portrayals of male models?
I dunno. It's been so long since I watched the movie, I'd have to watch it again. I just started modeling a year ago. I'm pretty new, and I haven't seen the movie in so long.

What would you say is the most Zoolander-esque thing you've encountered?
I was in Brooklyn doing a shoot, and it was kind of a weird setup. It wasn't a very well-kept house. The people were real sketchy. They had me put makeup on, then they stuck a plastic bag over my head because they didn't wanna ruin my makeup. I was like, "Uh, I don't really feel comfortable about this." And they were like, "We'll hold the bag for you so you don't have to hold it when you take your shirt off." I was like, "I don't know about that." And then they took me into a room and there was a throne made out of concrete cinderblocks and asked, "How would you feel about posing nude on this?" I was like "Yeah, I dunno about that either."

Is there more to life than being really, really ridiculously good-looking?
Aw yeah, definitely. Not everybody is blessed with good looks. Just because you're not good-looking doesn't mean you can't enjoy your life.

Follow Drew Millard on Twitter.

How to Optimize Your Life in Just Four Weeks

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Photo by Flickr user Ian Burt

Enlightenment can rear its divine head in many ways. In my case, it came in the form of a postcard someone placed on my car windshield in a strip mall parking lot. For a mere $199, it said, I could attend a four-week "Life Optimization Workshop" and experience weekly sessions with "like-minded people," two 30-minute phone consultations "to get [me] on my A-game," recorded meditations to "keep [me] on point," and an "optional cleanse to look and feel bangin'."

Having not been banged in a while and being balls deep in a seemingly endless existential crisis, $199 seemed like a small price to pay for such a workshop, even if it was put on by a company called ChicGuru and irritatingly titled "2015: Like a Boss." I found it improbable that a lifetime of consciousness could be aligned with such an inane catchphrase, but hey—growth often springs from the strangest places. (Or so I've been told. I haven't grown since George W. Bush's first administration, mostly out of protest.)

My fellow attendees at the workshop's first session were all dressed for comfort, albeit cutely. Their slouchy, deliberate layers made them appear as though they had emerged from the pages of an Anthropologie catalog. These layers, I assumed, were meant to be representative of the layers they incorrectly believed existed within them. I did not feel as though I was surrounded by "like-minded people," but rather a collection of sentient sun hats. As a person who would rather die than brunch, I was wholly out of my element.

As they introduced themselves, I continued judging them, as I am wont to do. This crippling, overwhelming, and ever-present judgment was something I hoped the course could help lessen, as it is the bane of my existence and primary roadblock to inner peace. Seeing as the course had just begun, however, I gave myself a pass to think less of a woman when she described herself as a "creative empress."

"It is magical to work in a group," said one of our two shamans, a woman with the tattoo of a lotus on the palm of her hand, after we finished introductions. The more people we have in our corner, she said, the more powerful we become. I found it difficult to empathize with her impassioned musings on the self as they related to the group dynamic. I, after all, have never been a team player. I refuse to belong to any human race that will have me as a member.

Being "a boss," our gurus informed us, entailed taking full responsibility for our lives and actions, and not allowing ourselves to be victims. (This is true: Most bosses aren't victims, they're victimizers. Wake up, sheeple, and rise against your corporate oppressors). I was told I could accomplish this seemingly impossible goal by refusing to give my power away to things that existed outside of myself. But what, then, would I do with all this accursed power?

The topic of week one, "Releasing the Past," took us all the way back to conception (y'know, where life begins). Where we placed our minds, we were told, was where our life force went. Putting it in the past was a form of disempowerment, a noun and feeling I knew all too well.

We were told to look within ourselves and discern what our stories—as in, the tales we used to define ourselves—were. If we let go of those stories, we were asked, who would we be? The fear of that unknown is what controlled our lives, making us complacent and reticent to change.

My story? I'm a walking apology. I use the phrase "I'm sorry I'm like this" so much, I've started to get the impression I'm not actually sorry. Which makes sense. I've nothing to be sorry for, because nothing's my fault. My blame is ceaseless, and mostly rooted in the past. I can't be a decent, accepting human being because I wasn't raised to be one. That's what I tell myself, anyhow.

By saying I can't be a better person, however, I'm limiting myself. Living in the past, I can never enter the future. I was told to leave these reservations by the wayside and walk the fuck along.

As the weeks progressed, I began to acknowledge the power my complacency had over me. Should I send that passive-aggressive text message? Should I spend all afternoon lying in bed, telling myself I was crippled by my own procrastination? Should I keep stewing over the fact that someone brought a dog into a bar I was at a week ago? No, no, and no. I did those things for decades, though, because they were comfortable. Attempting to curb them was unspeakably difficult, but a necessity if I don't want to be miserable for the rest of my miserable life.

I asked Gianna, one of the gurus, why I was so judgmental. I wasn't actually judgmental, she replied—rather, I was intuitive and sensitive. I over-feel, more so than others; as such, I am quick to absorb other people's shit. When I judge, I do so for protection, in order to feel safe. I needed to realize, however, that other people's problems are exactly that—other people's problems, and worthless to me. She suggested the mantra What is mine is mine, what is yours is yours.

My phone session with Naada, her palm-tattooed companion, was equally enlightening. She said she found it vulnerable that I was taking the class; I concurred that it was. It's also vulnerable for me to tell you that I found worth in her advice. It's vulnerable for me to tell you that a class called "2015: Like a Boss" actually bettered my life. I mean, I'm one of the biggest misanthropes you've ever encountered. Larry David with tits.

I initially judged Naada and Gianna like mad, both aesthetically and personally. I did so to distance myself, so as to not associate with what I perceived to be their hippy-dippy bullshit. I did so to maintain the story I had created as a skeptic, as intelligent, as better than women who seek to better the lives of others. Not only am I no longer a fan of this story, I must say it hasn't served me well. It's exhausting, being so hypercritical. Which is why I'm trying to change it. Every day I write the book.

They taught me that embracing the acts and choices of others is a superfluous exercise. Absorbing the perceived failings of another person into yourself is unnecessary because they, in the grand scheme of things, don't matter—the only thing that matters is the way in which one chooses to accept this meaninglessness. By ignoring other people's shit, you get an opportunity to work on your own. It's easier to grow when you're not bogged down by worthless negativity. This is true positive existentialism, not the half-brained philosophy I had cooked up, probably while drunk.

The way in which Naada and Gianna have chosen to market their message is, of course, not the way I necessarily would, but that only dilutes the message itself to the extent I allow it. By letting my guard down and listening, instead of wantonly judging, I actually learned something and, in spite of it all, grew as a person. After all, who am I to judge? What is mine is mine, what is theirs is theirs.

Follow Megan Koester on Twitter.

The Film That Made Me... : ‘The Transformers: The Movie’ Was the Film That Made Death Seem Mundane

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Kids' films get death all wrong. When Mufasa dies in The Lion King, it's hammily tragic; Simba doesn't understand and the music rises around the teary cub, reducing the susceptible sops in the audience to blubbering wrecks. When Littlefoot's mother bites it in The Land Before Time, it's a similar scene: orphaned offspring unable to comprehend what's happened, the soundtrack swelling tear ducts to spilling point. When Ellie's gone in Up? even I'll admit to having to suppress the lump in my throat.

I appreciate they're cartoons, but these deaths have too much noise to feel real. They're painting a skewed reality for kids: that, come closing time, there'll always be words to say, songs to be sung, or a great adventure to embark upon in somebody's memory. Staged events following ceremonial protocol. And for me, despite the best efforts of Disney and its assorted ilk, death has never resonated like that. Death is cold and emotionless, just the slightest bump in a narrative that doesn't stop to pay its respects.

I lost my grandmother on my father's side when I was nine, on the day of my younger twin brothers' birthday. I can remember the police coming to the door. I remember my mother crying in the kitchen while kids cackled on, oblivious, in the living room. I can't picture my dad at the time, but he must've had to leave immediately, I guess. The next school day, I was asked if I wanted to go home, because of what had happened—that memory is clear as day, down to the exact place in the classroom I answered. I didn't. I wanted to be at school. Death was something that happens, that I can't change or have any influence on the repercussions of. My parents were in control of that department; it was better that I maintained.

I have my own children now, and the oldest has taken an interest in the vestiges of my own childhood. I've acquired DVDs of old cartoons over the years, and I was a big fan of Transformers in the 1980s—I collected the Marvel comics and annuals, played with the toys (Optimus Prime, Christmas 1985) and even had branded wallpaper up in my bedroom (just down one side, of course—nobody needs 360-degree Starscreams). I've got some episodes of the original animated series at home, nestled beside the current crop of cartoon favorites, and the 1986 animated movie, too. It's hardly a cinematic classic but, because I watched it on a loop once it'd received a home video release, I can still recall almost every line of dialogue. I wish I were joking.

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'The Transformers: The Movie'—the faction leaders, Optimus Prime and Megatron, slug it out

While its plot steals liberally from the first Star Wars, The Transformers: The Movie still won't make much sense to most. There are giant robots that change into cars and planes and (somehow, impossibly) pistols and microscopes. And then they fight each other.

You probably already know this because you've seen Michael Bay's CGI-rich 2007 reboot that grossed over $700 million worldwide. Seven. Hundred. Million. That is a lot of dollars. Its ancestor in 1986 made a fraction of that sum at the box office, and its story is utterly impenetrable in comparison to the one-boy-and-his-car, E.T.-with-fusion-cannons Spielberg-isms of Bay's blockbuster. It assumes you know who every character is before the movie starts. Before it begins to kill them off.

I've (re)watched The Movie with son number one a couple of times now, and it's helped me realize why I feel the way I do about death. I'm sincerely trying not to trivialize the passing of anyone close to me over the years, but the way the people behind The Movie approached death—the way that writer Ron Friedman and director Nelson Shin conveyed Hasbro's requirement to quickly replace original favorites with fresher-faced newcomers—went against all the kid-friendly reasoning of cinema then and now.

It cut cast members back to the blackness from which they'd come without the slightest pause for reflection. The ties that bound us to break-time role-play revelry were calculatedly severed. We barely even got a chance to say goodbye.

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'The Transformers: The Movie'—the death of Starscream

The Transformers: The Movie had its own grandstanding death scene. Indeed, it had a couple, as while others-of-that-age will certainly remember heroic leader of the (good guy) Autobots, Optimus Prime, going gray under the watchful eyes of a handful of newly introduced comrades, a bunch of other Generation 1ers met their demise in ways that, looking at them now, are pretty shocking for primary school audiences.

Starscream, a key member of the (evil) Decepticon forces and a wannabe leader of their operations, is executed in graphic fashion by a reincarnated version of his superior Megatron, now named Galvatron. At the climax, the biggest of all the bads, the planet-eating Unicron (the final acting role of Orson Welles), claws at his own crippled body before exploding across the entire screen. He's reassembled before the credits role, granted (a cheap trick on our emotions), but Prime's temporary successor Ultra Magnus is blown apart at one point too.

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'The Transformers: The Movie'—Ironhide and his crew is killed

I always liked the character Ironhide, a double-hard Autobot who'd beaten down enough 'Cons to write a triple-disc concept album about the inner workings of a Seeker. But he lasted all of five minutes in The Movie, as Megatron and his crew hijack a spaceship and slaughter the Autobots aboard. At least he got a line or two in the film before he bought it—neither the medic Ratchet nor Prime's strategic advisor Prowl managed so much. Both were first-wave characters kids like me loved, and both went down like smoking stacks of useless slag, the latter only opening his mouth in a silent scream of defeat. Death is dealt with instant effect, and the first to drop in the barely fleeting firefight is called Brawn, for fuck's sake. Brawn.

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The Decepticons travel to Earth, where they hope to spring a surprise assault on the Autobots stationed there. It doesn't quite go to plan as Judd Nelson's Hot Rod and his human pal Daniel spot them, triggering a battle that writes out more cherished characters—but this time, we don't even see how they die. And isn't this how we experience death in our own lives, usually? Through the after-effects, experiencing the shock and the sadness but rarely witnessing the moment that stirs such feelings.

Wheeljack, the first Transformer to appear in the television series and a mainstay up until the movie, is shown blasted to death beside another Generation 1 Autobot, Windcharger. Several of their companions are seen on screen just prior to the Decepticons launching their attack, but never again, including Huffer (confirmed dead in a later episode), while others aren't even afforded that respect: the ends of Red Alert and Trailbreaker were left on unanimated storyboards. The 'Cons lost personnel in the course of the film, too: the awesomely analytical Shockwave is written out when Unicron attacks the Transformers' homeworld of Cybertron (only verified in 2007's IDW movie adaptation!), while the same moons-munching menace turns a trio of jets into a light meal.

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'The Transformers: The Movie'—opening scene

The hard reality of death is served cruelly cold to children who, caught up in the demise of Optimus Prime, could be forgiven for skimming over the message laid down amid the stock-clearing corporate machinations: that you can mean everything to someone only to disappear forever in a final heartbeat, out of both sight and mind. But it's clear to me, now, that The Transformers: The Movie is darker than any film aimed at a comparable audience has a right to be—that its opening scene, which depicts the destruction of an entire planet, children and all, sets something of a precedent. Unnamed robots are melted down in the guts of a much bigger one. Slavery is rife on a bizarre world ruled by five-faced, egg-shaped overlords. There's only one robot designated as female and countless appendage-waggling drones chasing after her. As bleak as its multiple murders are, this movie explores some truly desperate themes beyond the piled-high bodies.

But still, nobody cries for Huffer. Shockwave isn't mourned. Windcharger isn't avenged. There's no heroic theme playing as Wheeljack has his spark shot out of existence—or if there is, we don't get to hear it, instead treated to a bunch of cassette tapes duking it out while Mr. Microscope soils his steely jeans. These are the deaths that matter in The Transformers: The Movie, the ones that aren't ultimately relevant to a much bigger picture, and they've helped to shape my own relationship with mortality. I see that now, watching with my kid, him asking all the questions while I mouth lines I've had memorized since I was six or seven. "'Til all are one," are the movie's final words, and there's only one place where we share a common state. And you can bet we're all going there, with or without a touching something recited in the presence of our colorless corpse.

Follow Mike on Twitter.

Are You a Scottish Drug Dealer? This Is Why You Should Move to England

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Photo by Liam Turbett

This article originally appeared on VICE UK.

Crime statistics released recently by the Home Office revealed something of an anomaly between Scotland and the rest of the UK. Up here, it seems, we prosecute nearly twice as many drug dealers as England and Wales. Considering the drug laws in Scotland are exactly the same across the United Kingdom, this struck me as a little odd.

If it had only happened this one time I suppose it could be written off as a blip. However, one Scottish academic—Dr. Iain McPhee from the University of the West of Scotland—first noticed the inconsistency popping up in 2003 and has been researching it since then.

I asked Dr. McPhee what might be causing this anomaly, and he gave me three possible reasons.

"I guess the explanations that could be put forward are that there are more dealers in Scotland—which may be the case, but perhaps is unlikely given that Manchester, Birmingham, and London do have, in themselves, very well established drug scenes, as well as massive amounts of treatment agencies and police activity," he said. "Another reason is that the practices of the police themselves account for that. Or it could be that more drugs are taken in Scotland."

However, Dr. McPhee believes that the best explanation for the number of prosecutions is the reliance of the Scottish courts on the Statement of Opinion Unit (STOP), which is made up of serving and ex-drug squad officers. Their job is to tell the court if the drugs found on a person are for their own use or for onward sale. They are, effectively, expert witnesses for the prosecution.

Only, at no point in the Misuse of Drugs Act does it actually say how much constitutes a personal amount and what's considered a dealing amount, meaning it's down to the police to classify each individual case. And the amount deemed necessary to be charged as a dealer in Scotland does seem to be lower than throughout the rest of the UK. Having witnessed a number of court cases up close as an expert witness for the defense, Dr. McPhee puts the blame of the abnormal prosecution rates firmly at the door of these officers.

"I've been through the court process and had access to all the same materials as the police, in terms of surveillance logs, tapes, forensic analysis and the types of people who were prosecuted and for what amounts," he said. "It seems to me that [...] perhaps STOP themselves have set up unofficial tariffs about what they deem as possession for personal use or possession with intent to supply, created without any account of academic research, government benchmarks, or guidance.

"That, to me, examining the available evidence, accounts for the anomaly. Again, it's a theoretical perspective and might not account for everything, but if England, Wales, and Northern Ireland don't have dedicated STOP officers it seems to me that would be a useful conclusion to make based on that evidence.

"The [drug dealing] activity doesn't seem to be more concentrated in Scotland. What seems to be happening is that the police are more successful at persuading courts that the amounts are indicative of trafficking or dealing. These thresholds appear to be quite low. They've never released the tariffs because they themselves have, I think, created them. Whereas, if you look at Portugal they've created a tariff which they've applied nationally."

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Members of Strathclyde Police on patrol in Glasgow. Photo by Pstdlf via.

When I spoke to Kenny Simpson, a STOP unit coordinator, he rejected Dr. McPhee's theory.

"We are in a unique situation," he told me. "Our evidence is tested by the courts and is scrutinized quite severely. The STOP units assist the court, and it's thereafter a matter for the courts to decide if the information provided is a) credible and b) reliable. For it to be suggested that Police Scotland applies its own rules about anything is actually quite ludicrous. There's not a sheriff or a judge in the country that would allow a court to be misled by police targets."

According to Simpson, there is one obvious and easy way for a STOP unit to tell if drugs are intended for onward supply.

"Sub-divisions of controlled drugs is a clear indication that supply is inferred," he said. "Nobody would suggest to you otherwise. A heroin user or addict will not buy ten $15 bags; it doesn't make economic sense. People do not buy kilos of heroin for their own use. And you can quote me on that. When somebody buys for their own use, they buy what they need. They don't want to run the risk of being caught with significant amounts."

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Photo by Matt Desouza.

In 2013, Scotland's eight police forces were merged into one giant police force. This had a number of repercussions.

Firstly, local police boards—to whom the individual forces were accountable—were scrapped, replaced with the Scottish Police Authority, a new fledgling organization who have come under criticism for being not very effective at all.

Secondly, a man called Sir Stephen House became the Chief Constable for the whole of Scotland. Chief Constable House introduced the tricks he had learned as Glasgow's Chief Constable nationally, including the controversial and possibly human-rights-act-breaching, non-statutory stop and search laws.

Under this legislation, a police officer can ask to search you for no other reason than the fact he wants to. No crime has to be committed. You just have to say yes. What the police often did not tell you was that you can also say no. The practice, understandably, was banned in England and Wales in 2002. Now, after much pressure from journalists and politicians, it's also being phased out in Scotland. We've yet to see whether this causes a dip in the number of drug-related prosecutions.

Thirdly, the Scottish Drugs Enforcement Agency (SDEA) were taken into the fold. A separate force for many years, they were tasked with winning the War on Drugs in Scotland. As much as their job was to apply the law, it was also to warn of the dangers of drugs and to provide the mainstream media with a number of stories about bad people being caught with drugs.

When the SDEA became part of Police Scotland they took with them their internal targets.

Again, never published and never public, these benchmarks, according to Dr. McPhee, are why the reported "street price" of various drugs and the price you'll actually pay for them are often so different. If you're caught with a gram of coke, these guidelines would split that gram into lines, then value each line at the highest price possible—essentially the equivalent of buying a $15 bottle of Scotch and the police valuing each individual nip at $10.

If the police had to meet benchmarks on quantities seized alone, they would struggle. However, they also have targets based on the street value of the drugs seized. So not only does valuing drugs higher than they should be make them look more effective, it also makes them look cost-effective.

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Photo by Harrison Reid

Of course, it's very easy to blame the police and their stop and searches and their targets, but let's not pretend that Scotland doesn't have a drug problem. It does. And the problem here is generally much worse than throughout the rest of the UK. According to the UN's World Drugs Report, Scotland has a greater per-head use of heroin, ecstasy, and cocaine than almost any other country in the world.

In a recent poll of 31,000 Scots, taken to inform Police Scotland's annual plan, 38 percent of respondents said that their number one priority for the police was drugs. That's fine, and may also account somewhat for the inordinately high prosecution figures. However, it's not the coke-hoovering graphic designers of Glasgow's West End who the police are targeting. It is, almost unquestionably, those living in deprived areas.

Dr. McPhee believes this is down to results. "I think it would be reasonable to conclude that they must be targeting scarce resources, which may or may not be intelligence-led, about where they think most activity which infringes the Misuse of Drugs Act 1971 occurs," he said. "That would appear to be specific areas in Scotland that are also where there is most inequality and deprivation. I think it's no secret that by far the majority of people who are attending services for treatment and the majority of people who are incarcerated for infringements of the Misuse of Drugs Act invariably reside in areas characterized by deprivation, no matter what index is used."

Recently, as part of the deal for voting No in the independence referendum, Scotland was told it could have more powers. The Smith Commission was established and people were asked to submit proposals for the laws they wanted Scotland to have. Dr. McPhee and others argued that the country should take control of their own drug laws—to be more like the Portuguese, decriminalizing drugs and defining a clear difference between personal possession and an amount that would get you nicked for intent to supply.

As in Portugal, it's likely this would end up positively impacting the harm caused by drugs in Scotland. It's also a distinct possibility that it would stop so many people being prosecuted and punished for what, elsewhere, would be classed as minor drug offenses.

Or maybe not. Maybe Scotland really does have twice as many drug dealers as the rest of the UK and an extremely competent police force. But that does seem a little unlikely.

Follow Andrew on Twitter.

Ottawa Takes First Step Toward Regulating E-Cigarettes with Stiff New Proposals

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Photo via Flickr user TBEC Review

Although they are readily available from corner stores, supermarkets, and specialized shops and through online retailers across the country, it is presently against the law to sell e-cigarettes with nicotine anywhere in Canada.

Yesterday afternoon, the House of Commons Standing Committee on Health (HESA), took its first substantive step toward changing this and developing policy to govern the production and sale of e-cigarettes, which work by turning liquid, often containing nicotine, into a vapor the user inhales. In a report, "Vaping: Towards a Regulatory Framework for E-Cigarettes," the HESA made a set of recommendations that will shape Health Canada's approach to the issue and called on the government "to establish a new legislative framework ... for regulating electronic cigarettes."

The HESA study was conducted at the request the Health Minister Rona Ambrose and followed the World Health Organization's call for member states to develop policy that minimizes the risks associated with vaping. The report is a first step in bringing regulation to the e-cigarette industry, which presently operates in sort of a legal grey zone.

"We need new regulations for e-cigarettes," said Rob Cunningham, a senior policy analyst at the Canadian Cancer Society. "At the moment there is a regulatory vacuum."

Since 2009, Health Canada has advised Canadians against the purchase and use of e-cigarettes, which are not authorized under the Food and Drugs Act. E-cigarettes and the liquids used in them have been seized at Canadian borders and Health Canada has issued numerous cease-and-desist letters to e-cigarette retailers. The HESA report notes, between April 1 and June 30, 2014, 741 shipments of e-cigarettes were "recommended for refusal" at the Canadian-American border.

This restrictive policy has proven ineffective.

E-cigarettes are big business in Canada. Most major Canadian cities have more than a dozen devoted e-cigarette shops, where consumers can buy e-cigarettes, replacement parts, and liquids, with and without nicotine, in a variety of flavours. The trade is also booming online. According to a December 2014 poll by Toronto research firm Forum Research Inc., one in seven Canadians over the age of 18 have tried an e-cigarette.

Part of the difficulty in developing policy around e-cigarettes is the relative newness of the industry. A great deal is still unknown about the health effects of vaping, and the first of the fourteen recommendations made in the HESA report calls on the government to financially support more research into the subject.

Many of the other recommendations in the report focused on health issues and keeping e-cigarettes out of the hands of children. It suggested that e-cigarettes only be sold to adults, a practice that many e-cigarette retailers already abide by; that they be shipped and sold in child-resistant packaging with warning labels; and that e-liquids with flavours that are likely to appeal to children (such as candy flavours), marketing aimed specifically at minors, and cross-marketing with tobacco products be prohibited. The report also recommended that all e-liquids should be clearly labeled to list their ingredients, and that their use should be banned in public spaces.

Melodie Tilson, Director of Policy for the National Non-smokers Rights Association, stated that her organization was pleased with the recommendations in the HESA report, but said that they had hoped for more. "We are disappointed that it is light in its analysis of the major issues—health effects and cessation effectiveness—and in specifics regarding the legislative framework."

One of the major questions that the report left open was whether e-cigarettes should be regulated as a tobacco product, as a general consumer product, as pharmaceuticals, or as a new type of good. This is a critical issue as the classification of e-cigarettes will be important in determining what types of testing and government controls they are subject to.

The HESA recommendations do not carry the force of law, and there is no specific timeframe for developing policy or legislation based on them. However, David Sweanor, a law professor at the University of Ottawa who studies health policy, suggests that the issue has become too big for the federal government to not act promptly.

Follow Jake Bleiberg on Twitter.

Canada Wants to Go to Space With Israel

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Artist's rendering of a ground- and space-based laser weapon. Image via Wikimedia Commons

While the US bickers with Benjamin Netanyahu over the fate of an Iranian nuclear weapons agreement, Canada is busy going to space with Israel—a country that's not wholly against the weaponization of the final frontier.

In a government tender issued on a procurement website, the Canadian Space Agency (CSA) asks for private sector study proposals on a potential "Canada-Israel Space Mission" looking into the viability of new "maritime object localization" and broadband telecommunications payloads.

The total available funding for the contract—which asks for Canadian academic and private sector thinkers to draw up potential joint projects with Israeli industry players—is set at $300,000 pending final approval from the CSA and Israeli Space Agency (ISA).

It's worth noting that both national space agencies have links to their respective defense departments, which oversee all military activities.

While interstellar missiles and X-Wing dogfights are still science fiction, in recent months Israel has signalled its intention to leave the door open to weaponizing space.

In a United Nations draft resolution put forward by the Russian Federation and China in October 2014, member states were asked to vote against the weaponization of space and the "threat or use of force against outer space objects," stressing an urgency to prevent an outer space arms race.

The only countries to vote against the resolution were the US, Israel, Georgia, and Ukraine, the latter two regimes heavily dependant on American support against Russian military aggression.

It's believed US military assets are starting to use space-borne telecommunications networks, while another iteration of the famous Israeli anti-missile systems—like the Iron Dome, a futuristic missile shield famously employed over the summer against Hamas rockets—is being developed to intercept missiles in space.

The space mission with Canada is further proof of warming diplomatic and industrial relations with Israel since Stephen Harper became Prime Minister—in 2014, he was the first Canadian leader to speak to the Knesset.

"Canada and Israel have had a long standing partnership in space cooperation," said Jake Enwright, press secretary to Minister of Industry James Moore. "As the only liberal-democratic state in the region, the government looks forward to continuing that partnership as we explore ways to ensure the global competitiveness of the Canadian space sector."

Enwright maintains the project isn't a joint military mission between both nations, but "civilian in nature."

In 2005, the Liberal government led by then-prime minister Paul Martin, signed a memorandum of understanding with the Israeli government inviting private and academic sector operators from both countries to cooperate on space-related projects.

In late 2014, the same agreement was reaffirmed by Moore and Israeli counterpart, Yaakov Perry, Minister for Science, Technology and Space, at a space summit in Toronto.

Follow Ben Makuch on Twitter.


​Disco Apocalypse: Charles Atlas Films the End Times

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"The world should end and then there should be a disco song," says video artist Charles Atlas, describing his current solo exhibition The Waning of Justice at Chelsea's Luhring Augustine Gallery.

Reflecting his apocalyptic disco dreams, The Waning of Justice–on view until March 14–combines a central video installation with footage of sunsets filmed at the Rauschenberg residency on Captiva Island, Florida with an adjoining video of iconic drag queen Lady Bunny as monumental as her enormous platinum blond wigs. Atlas's second solo exhibition at Luhring Augustine after his minimalistic and numerical The Illusion of Democracy, The Waning of Justice links Atlas's more recent conceptual installations with his longtime interest in over-the-top drag, recalling his collaborations with the late legendary drag performer Leigh Bowery.

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Charles Atlas, ' The Waning of Justice.' Installation view © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York.

In her video portrait Here she is...v1, Lady Bunny rants at length on politics, which will be no surprise to anyone who follows her outspoken blog. Adjusting her campy sparkling sequined dresses and giant fake eyelashes, she discusses topics like war, peace, energy, and gay marriage. Carefully staged as seen by the timer in the center of the gallery, Lady Bunny's pointed political critiques and the sunset videos such as Ethel's Fortune, which layers words such as forest, quinoa, and asshat over the disappearing sun, add a foreboding and ominous atmosphere to the exhibition—an atmosphere Atlas subversively shatters by concluding with a new and hilarious song by Lady Bunny.

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Atlas's work has often been associated with the underground; he's collaborated with choreographers Merce Cunningham and Michael Clark and his filthy films include Staten Island Sex Cult. However, this appears to be changing, as The Waning of Justice follows December's nightly projection of You Are My Sister (TURNING) , a video collaboration with Antony Hegarty from Antony and the Johnsons, on billboards in Times Square, as well as a recently published catalogue by Prestel.

I spoke to Atlas at the height of his current career renaissance about his conception of The Waning of Justice, checking Lady Bunny off his bucket list, his interest in drag, and his attitude toward his recent mainstream recognition.

VICE: Much of The Waning of Justice includes videos of sunsets at the Rauschenberg residency on Captiva Island, Florida. How did you approach making these videos?
Charles Atlas: I was at the Rauschenberg residency two years in a row by good luck. The first year I was part of a pilot program and the next year, one of my collaborators was invited and said he wanted me to go with him. I got to go to the exact same house the exact same month of the year. If you know my work, I'm very urban and not at all a nature person. So there I was—that was my view from the house. I just took advantage of the situation. I thought, "Well, I'm not really going to do sunsets but maybe I'll use it as the basis for something or disguise it in some way." The first year I shot it one way and since I had the chance to do it again, I did it slightly different. In 2013, I just did a continuous run from a half-hour before sunset. All together I did 44 sunsets.

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Charles Atlas, 'Kiss the Day Goodbye,' 2015 © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York.

Was it very different for you to shoot nature scenes? I usually associate your work with drag queens running around the Meatpacking District.
I never shot a nature scene before. I thought, "This is good" because I like to do something very different and surprising. The numbers pieces were very surprising to people who knew my work. I had this title in mind for a while and as with all my work, it accumulated meaning during the process.

Had you worked with Lady Bunny previously?
I've known her for 25 years. I wanted to work with her for a very long time. In the early days, she was very anti-political and anti-art. For her, the whole thing was about entertainment. I told her she was on my bucket list and I had to do a portrait of her. She was friends with Leigh Bowery so it is also a companion piece to my Leigh Bowery portrait.

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The title The Waning of Justice is very evocative. What is the significance of the title?
I think the whole piece has a mood of sadness and it's a little bit apocalyptic. It's the way I've been feeling for many years that things are not going in a good direction. I expected everything to be getting better and it's not. I don't make political pieces but it's the mood. Lady Bunny has also been in this political mode for the last ten years where she's been blogging and has a very cogent point of view.

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Charles Atlas, ' Here she is ... v1,' 2015 © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York.

I follow Lady Bunny's Facebook page so I was aware that she is politically active. Had you always planned on featuring her discussion of politics, as well as a song?
I was doing a portrait of her so I wanted to have all the elements. I even put in some of the rotten jokes. It's really tasteless but I had to put them in. I approached her and said, "I want to do a song. What do you want to do?" She said, "I just wrote this song and I don't know whether the arranger's going to finish it in time." I said, "Let's try." We had another song we also recorded but this is the one I really wanted to do. It's a great song. I think it's one of her best.

We had a bunch of conversations over coffee and I told her what the theme was. We shot on that snow day so it was a short shooting day. We had several more wigs and outfits but we didn't get to shoot them. At the end, she just talked for a half-hour straight.

What interested me about Here she is...v1 is the juxtaposition between the seriousness of her politics and the campiness of her drag.
It's sort of the opposite of the front, which is mediated nature. She is talking about something deadly serious but it's coming from a drag queen with the most artificial look. It wasn't a conceptual piece but intuitively, I knew I wanted to break the mood of the front.

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Charles Atlas, ' Ethel's Fortune or The Waning of Justice,' 2015 © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York.

There is some humor in the sunset videos, particularly with some of the word choices in Ethel's Fortune such as "asshat." How did you choose the words?
I couldn't resist "asshat." I spent a lot of time deciding what the words would be. I didn't want them to be too meaningful, but a little referential to things that were on my mind. It's called Ethel's Fortune—Ethel was my mother and "fortune" refers to The Wheel of Fortune. I didn't realize when I was making it but later it became clear that it was about my mother. The moral sense I have is from my mother.

From Leigh Bowery to John Kelly in Son of Samson and Delilah and now Lady Bunny, your work frequently features drag. What interests you about drag?
It's my world. It's not drag specifically that interests me but in the mid 80s when I was going out, that was the most progressive form of entertainment really. I was out four or five nights a week up until more recently than I'd like to admit. I used to go to the Pyramid and that's what was there and interesting. I also worked with Antony, which was different from me—from complete irony to no irony. The no-irony was really a stretch but I pursued it.

Speaking of your collaborations with Antony, your video You Are My Sister (TURNING), which featured portraits of women including The Voluptuous Horror of Karen Black's Kembra Pfahler and performance artist Johanna Constantine was projected on Times Square billboards . What was it like to see your work in Times Square?
It was really hard to take in. it was just so unbelievable to have these huge images. I wondered: Does it make any difference? Is it just absorbed? Can anyone tell this is different from the other stuff that's going on up there?

I feel like if you see a giant video of Kembra Pfahler in yellow body paint and her black shock wig, there's no mistaking the video as anything but an intervention.
Yes, I think if you see Kembra or Johanna, you can tell they're not Revlon beauty queens or anything.

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Charles Atlas, The Waning of Justice. Installation view © Charles Atlas; Courtesy of the artist and Luhring Augustine, New York.

From Times Square to a Chelsea gallery exhibition to a new catalogue, your work seems to be getting wider recognition even though you've always been associated with the underground. Do you think culture is changing to allow for more subcultural art into the mainstream?
No. The way my career has gone is sort of nice. I've just worked all along. I was lucky that I never had to think about my work getting out. It happened automatically because I worked with Merce Cunningham or it was on television. I never really had to think about it so I never really did. It's nice having recognition toward the end of my career rather than at the beginning and peter out.

I didn't start working with Merce until he was 50. He had received so many bad reviews and was ignored. Even in the beginning, there were no good reviews in New York. So he was beyond it—he didn't read them or if he did, it didn't affect him that much. Once you're at a certain point, you do what you do. As I said to someone, I'm too old to sell out. I just take each project as it comes.

The Waning of Justice will remain on view at Luhring Augustine's Chelsea gallery through this Saturday, March 14. Get over there before you miss it.

Emily Colucci is a New York–based writer and the co-founder of Filthy Dreams, a blog that analyzes culture through a queer lens. Follow her on Twitter.

Did Denver Police Really Shoot Jessie Hernandez Out of Self-Defense?

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Jessica Hernandez. Photo courtesy Ashley Pena

A recent autopsy report on 17-year-old Jessica Hernandez, who was shot to death by Denver cops on January 26 after allegedly driving a vehicle into an officer, has raised serious doubts about the cop's claim to have been acting in self-defense.

An eyewitness inside the car originally said that shots were fired before the vehicle ever moved, and the autopsy report shows that Hernandez was struck by bullets coming from the driver's side. That potentially contradicts statements from Denver Police Chief Robert White, who said the car was headed toward the officers, striking one of them in the leg, before they opened fire.

In a statement, Hernandez family's attorney Qusair Mohamedbhai said, "There is now objective evidence contradicting the Denver Police Department's claims that Jessie was to blame for her own death. These facts undermine the Denver Police Department's claim that Jessie was driving at the officers as they shot her."

Hernandez's body was found to have a blood alcohol level of 0.047, according to the autopsy, and tested positive for cannabis. This, along with the fact that the car was reported stolen, could be used to discredit Hernandez if charges are ever filed against the officers.

The issue is currently being investigated by the Denver District Attorney's office, though Mohamedbhai does not believe it will be reviewed with an objective eye, pointing out that the local DA has not prosecuted an officer in a shooting incident since 1992.

Both the District Attorney's office and a spokesman for the Denver Police Department declined to comment on the ongoing investigation.

"We want [Denver DA Mitch] Morrissey to step aside and have another agency come in," Mohamedbhai tells VICE, adding that the family has requested an independent federal investigation of the incident. "He's not impartial. He's shown a pattern of coming out in favor of police involved in crimes. This is a culmination of failures to discipline officers for shootings; when you don't create strong, understandable policies of when you can and can't shoot, these types of incidents occur."

Lonnie Schaible, an Assistant Professor in the School of Public Affairs Criminal Justice at CU Denver, says it's not uncommon for a DA to shy away from prosecuting police officers who claim self-defense, since it's a pretty universal policy to allow the use of lethal force if the officer feels his or her life is being threatened.

"They tend to shy away from difficult cases, because it's not rewarding to take something to trial that's not going to end up in a conviction," Schaible says. "If there's ambiguous circumstances and not a lot of clear evidence, or even conflicting evidence, it's not enough to get a conviction.... Their perspective is inherently political, since they're elected officials, and I think they feel it's easier to leave it to other mechanisms to deal with the wrongdoing, like civil suits for wrongful deaths, or federal suits for civil rights infractions."

Schaible adds that often police infractions are dealt with internally by individual departments.

"The officer could be found guilty of a policy violation, which could result in unpaid time off, some other sanction, or termination. Though as we've seen with a couple of other cases in Denver, termination is not likely unless there is a repeated pattern on the part of that officer where there found in violation of policy, or received a lot of complaints."

The controversy over Hernandez's death comes in the wake of a number of policy violations and civic complaints about Denver cops. Early this month, the Denver Post reported that one DPD officer named Shawn Miller has received "18 accusations of excessive force in his seven-year career," and was the subject of two lawsuits, one of which will result in a $860,000 payout to a disabled veteran after Miller "beat him so severely he had to be resuscitated." A few weeks earlier, local alt-weekly Westword ran a feature story reporting that DPD officers had fired on moving vehicles four times in the last seven months—and that three of those incidents involved the same officer. (He was not present at the scene of Hernandez's death.)

Mohamedbhai says that the city has spent millions of dollars on court rulings that find police guilty of bad behavior, yet somehow the Denver DA hasn't seen fit to prosecute a single officer in 23 years.

But Schaible clarifies that there is a notable difference between the two mechanisms at play here.

"It's much more difficult to get a criminal conviction than it is a civil conviction," he says. "When the prosecutor pursues criminal charges, one person can hang up the success of the prosecution, whereas in a civil case, you can get assignment of responsibility, so the jury can be more flexible, ruling that the officer didn't have ill intent, but they took a bad action, so the department and the officer may be financially responsible. So that's why you see a lot more civil judgements against a department, even though there aren't a lot criminal prosecutions, because the burden of proof is fundamentally different."

Mohamedbhai has experience with lawsuits involving police brutality: He's represented four women who were maced and subject to violence by DPD officers in a restaurant parking lot, and later a man who was severely tortured by jail inmates with the tacit cooperation of guards in the Denver Sheriff Department. "In that case the Denver Police were also involved," he says. "A federal judge found that Denver police had actively gone out and intimidated witnesses. The judge called for a pattern and practice investigation of the police and Sheriff's Department, and asked the US Attorney to investigate the Denver Police for their acts of intimidation."

The coroner who performed Hernandez's autopsy ruled her death a homicide, which is not a proclamation of guilt upon those who shot her, just a medical term that indicates she died at the hand of another person. (The death of Eric Garner, the Staten Island man placed in a police chokehold this summer, was also deemed a homicide, but a local grand jury declined to press charges against NYPD Officer Daniel Pantaleo.) Still, Denver DA Mitch Morrissey has been critical of coroners' use of the term in the past. In 2012, after DPD officers Tasered a man at the Denver Zoo who had been violent with the staff, the coroner determined that his cardiorespiratory arrest was the result of police action, and his death was ruled a homicide. There were no charges brought against the officer, and the Denver DA didn't feel the word "homicide" was justified.

"To use that, that's a flash term, that makes people angry," Morrissey told CBS Denver. "'Undetermined' should be the classification he uses here."

In the case of Hernandez, the people were angry long before the coroner ruled her death a homicide. In the weeks since the shooting that ended her life, numerous protests in her name have rallied the Latino, Occupy, and LGBTQ communities around Denver, along with other friends and family of Hernandez, many of whom have been dubious about the officer's self-defense claims from the beginning.

"We want to get her justice," Ashley Pena, a Denver resident who says Hernandez was "one of my best friends," tells VICE. Pena has helped organize marches in her name through a shared Facebook page, as well as crafting ribbons featuring a picture of Hernandez, the sales of which are donated to the victim's family. "She was only 17 years old. She had goals—she wanted to be in the Marine Corps, and that was taken from her. She was so outgoing; if someone was sad she'd bring them up. She had this smile..."

Pena's mother, Stacie Chavez, says that under different circumstances her daughter could have been in the car with Hernandez when the shots were fired. "It could've been anyone's daughter," Chavez tells VICE. Over the last month, Chavez has attended protests in the name of Hernandez and others with her two daughters.

On the evening of February 14, Chavez was driving away from one such march when her car was pulled over by the Denver Police, who she says told her she was driving the wrong way down a one-way street. "I would never do that," Chavez says, disputing the accusation. She had an outstanding traffic warrant, and was brought down to the station. But instead of being processed for the violation, Chavez says she was asked about her participation in the march. "Are you one of the people who spilled the paint on the police memorial?" an officer supposedly asked Chavez.

Earlier in the day, two protesters had dumped red paint down a memorial for Denver Police officers killed in the line of duty. The image of a blood-like substance dripping over the words "fallen officers" became a local media sensation, and was taken by the police department as an act of severe disrespect.

Chavez denies being involved in defacing the monument, but having "We Love You Jessie" written on her car window made clear she stood with the protesters. In the end, Chavez says that she wasn't issued a ticket for driving the wrong direction down a one-way, and was let go.

"If I did something wrong, why didn't I get a ticket?" She says. She believes cops only wanted to harass and interrogate her about the marches.

Denver's Independent Monitor has been engaged in an investigation of DPD's policy of shooting at moving vehicles since before Hernandez's death. Suffice it to say the findings of that investigation have explosive potential.

Follow Josiah M. Hesse on Twitter.

Kanye's Love Song for Kim Kardashian Just Appeared Online

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Photo via Wikicommons

There's been a lot of buzz about Kanye and his new album, So Help Me God, ever since he decimated the Brit Awards with the debut of "All Day" and a bunch of flamethrowers. The album is almost finished and everyone is hungrily awaiting the surprise release that Ye says is imminent. After hearing the studio version of "All Day," complete with that so-bizarre-it-works Paul McCartney whistle finale, hopes are high for So Help Me God.

Today, Noisey reported that a new Kanye song appeared online, following the alleged theft of Kanye's laptop. The song, "Awesome," is a cringeworthy love ballad about Kim Kardashian. Kanye croons lines like "Baby, you're awesome / You don't need to listen to your manager / You're way too hot for them to handle ya" drenched in auto-tune. The song was first performed in 2013 and a low-quality recording of the song has been on YouTube since September, but this is the first time we're hearing the finished studio version.

We don't know if the song was just meant for a Valentine's Day mixtape or if it will end up on So Help Me God—but there's a Twitter account for Kanye's laptop hinting that it will release the full record, so we might find out soon. The account says it will drop a song called "YZ 2.0" once it hits 100,000 followers.

Want Some In-Depth Stories About Kanye?

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From Studio 54 to a Bumper Car Birthday: the Legacy of Disco King Nicky Siano

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From Studio 54 to a Bumper Car Birthday: the Legacy of Disco King Nicky Siano

Anti–Islamic State Forces Cut Key Supply Lines in Iraq and Syria

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Anti–Islamic State Forces Cut Key Supply Lines in Iraq and Syria
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