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VICE Premiere: VICE Exclusive: Listen to Cold Cave's Haunting Deep Cut 'Nausea, the Earth, and Me'

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It's pretty hard to do anything new these days. The easiest cop-out is to make derivative garage rock or vaporwave and then, if you dress enough like Mac Demarco or Mike tha Ruler, you might end up getting a record deal. That said, some people have a special knack for hat-tipping past styles without being a totally derivative caricature. That's a real feat in 2015. Cold Cave, the electronic music project of Deathwish Inc. hardcore musician Wesley Eisold, is one such diamond in the rough.

Eisold has spent the greater part of eight years developing his own special blend of 80s-influenced darkwave, tinted with synth-pop and plenty of experimental noise and electronics. So we're proud to drop the exclusive premiere of "Nausea, the Earth, and Me," which will appear on Cold Cave's upcoming vinyl LP, Full Cold Moon, a compilation of Eisold's scantily-released EPs. This collection had a limited CD release back in 2014, but this is the first time it's getting put on wax. It'll drop on June 16 by Deathwish Inc. So put on your eyeliner and crucifix, say a prayer to your poster of Robert Smith, and listen to some Cold Cave.

Find more info about Cold Cave's vinyl release of Full Cold Moon visit DeathWishInc.com.


The Weird, Money-Making World of Parody Twitter Accounts

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[body_image width='700' height='394' path='images/content-images/2015/04/06/' crop='images/content-images-crops/2015/04/06/' filename='medievalreacts-and-the-weird-world-of-parody-twitter-accounts-909-body-image-1428338764.jpg' id='43352']

This post originally appeared on VICE UK.

We all like to have good, clean, safe fun on twitter dot com, and the best, cleanest, and most safe fun we can have is by following parody accounts. @Queen_UK talking about gin, that sort of thing. Who doesn't love a #whitegirlproblem! They're always falling in love and texting on their phones!

And, of course, there's Twitter account turned toad-human Piers Morgan, the parody that went too far and turned sentient, a set of jowls that grew a face. He loves Arsenal, but hates the loony left! Watch out, Alan Sugar—there's some fucking banter coming your way, son, and it's coming in the shape of a man slowly turning into a rectangle in front of our very eyes! Spurs are shit!

[tweet text="I want to die." byline="— Piers Morgan (@piersmorgan)" user_id="piersmorgan" tweet_id="242303672569188354" tweet_visual_time="September 2, 2012"]

But who is behind our favorite parody Twitter accounts? Sometimes it's just one person. Sometimes it's a shadow-y caliphate of shared social network accounts, connected together to form a group that team together to promote content, telling you to download apps or listen to songs. Prime example: have you noticed that many parody accounts have been posting jokes about the ASOS 20 percent off sale this week? Why do you think that is? Open your eyes, sheeple!

It's a new, sort of horse-before-the-cart model of advertising, basically: you follow a Twitter account, you share and retweet the hilarious, hilarious jokes, and then—hold on, TheLADBible wants me to download a new dating app? Whatever you say, TheLADBible. And lo, you are on the hook, here for the jokes but staying for the ads, and before you know it you have a load of apps on your phone that are like Tinder but are not actually Tinder, and a very real addiction to a Candy Crush clone, and a lot of clothes from ASOS.

[tweet text="20% off at ASOS Shut up and take my galleons" byline="— Hogwarts Logic (@HogwartsLogic)" user_id="HogwartsLogic" tweet_id="581187825971822592" tweet_visual_time="March 26, 2015"]

[tweet text="Why revise when you can spend hours on ASOS buying clothes you probably can't afford?" byline="— Student Problems (@ProblemsAtUni)" user_id="ProblemsAtUni" tweet_id="581188919489785856" tweet_visual_time="March 26, 2015"]

[tweet text="When the 20% ASOS sale ends tomorrow pic.twitter.com/rHmu32uQ1o" byline="— Year 11 Banter (@Year11Bants)" user_id="Year11Bants" tweet_id="581184357626290176" tweet_visual_time="March 26, 2015"]

Is this OK, I ask the founder of The Social Chain, the shadow-y social media caliphate behind @MedievalReacts, the latest blazingly hot twitter dot com phenomenon. Is this cool? "From my experience, our commercial pages are very seamless," Michael Heaven Jr. tells me. "We'll speak within the tone of the page, we'll speak as if the page is discovering it for themselves as each of the pages has a personality. So, the things that we mention will be relevant to our target audience."

Essentially: when an @student_problems or an @big_mad_sporting_banter Twitter account suddenly changes lanes and mentions an app, it's calculated to hit the target audience square in the middle of the Venn diagram. Marketing without being marketing. That sort of thing.

"We're an influential marketing agency," Michael tells me. "We provide a lot of the creative ideas as well, so we create a lot of media and we work with a variety of brands on an influencer basis. We have over 200 pages in our total network, then we've got agreements in place to activate, and we can reach up to 150 million audiences in our network across our pages. So rather than traditional media, we work on social media and distribute content that way."

I spoke to Cathal Berragan, the 19-year-old mind behind @MedievalReacts, the latest viral addition to The Social Chain's stable of #blazing #hot #content #creators, fully expecting some nerdy kid who is just crazy about medieval iconography. Instead, I found a world-ruling social media manager in waiting and asked him what it's like going from zero to 200,000 followers in a flat week, and what the best reaction so far is. Then we talked about copyright for a bit because everyone who painted all the pictures he uses are dead.

[tweet text="When you sort the squad out with a round of Jagerbombs pic.twitter.com/dwMNgNHMBf" byline="— Medieval Reactions (@MedievalReacts)" user_id="MedievalReacts" tweet_id="580718690104152065" tweet_visual_time="March 25, 2015"]

VICE: Hey. So who are you?
Cathal Berragan: I'm Cathal. I'm a 19-year-old student who sort of runs Twitter accounts as a hobby.

This whole thing came about just a couple of weeks ago, right? Can you give me a sort of vague timeline?
Yeah, it was about two weeks ago. I just noticed a few of these classic pictures being used and started to gather content, put some more online, trawled the web for various blogs that had these medieval pictures on, sort of wrote the content... and yeah, started the account on Tuesday, and it just snowballed from there.

How did it first start getting big?
Well, I'm part of an influencer marketing company called The Social Chain. Basically, there's quite a lot of these Twitter accounts and there's no real way of monetizing them. So some people came up with the idea of gathering as many as we can into a network, and what this network does is grow each others' pages and come up with new ideas together. In the past year or so we've accumulated a number of followers from this. The account I made was just one of those—I didn't expect it to be that big at all, really.

[tweet text="When the DJ plays an absolute banger pic.twitter.com/tvbCfZwa5Y" byline="— Medieval Reactions (@MedievalReacts)" user_id="MedievalReacts" tweet_id="577961667314733056" tweet_visual_time="March 17, 2015"]

You were saying that the idea came to you—I've seen a couple of tweets like it before. It's quite a well-worn format that Buzzfeed and the like tend to use.
Yeah, exactly. I saw a couple and I googled medieval pictures and there were already pictures flying around on the internet, but the real hard part was writing the captions. That took about a week because there were no captions there, and that changed in a short while as I was running the account. I noticed that the most engagement came from tweets dedicated to nights out, so I changed my angle halfway through and made them related to drinking. And then it sort of took off.

That's interesting in itself because, in a way, it all sounds quite calculated. Can you tell me more about what sort of stuff you've done before?
Well, two years ago I started an account called @examproblems, which gained about 50,000 followers in three weeks, and another guy I work closely with now set up @problemsatuni, which gained 100,000 in a few weeks. We got in contact and we figured that, because we had these big accounts, we could grow other accounts if we helped out and retweeted each other. In the course of two years we developed quite a big network of student-based accounts—every time we come up with an idea we have hundreds of existing accounts that can quickly help them grow.

So when you guys have a new idea do you put it up to a brain trust?
Not really—we're pretty free. If we think of a good idea we'll just go for it and we'll tweet it on a few accounts, and if it does well then it should grow organically by itself from there.

[tweet text="When the taxis coming in 10 minutes and you're not ready pic.twitter.com/fT5oLHfVTz" byline="— Medieval Reactions (@MedievalReacts)" user_id="MedievalReacts" tweet_id="577552373029142528" tweet_visual_time="March 16, 2015"]

This is similar to how stuff like TheLADBible essentially started out—they figured out how to get shared a lot, then turned into a website from there. Are there plans in the works for you guys to figure out your best account, turn it into a website people can click on and make money from there?
Yeah, no.

Cool, good.
We've never opened any website. The way we monetize at the moment is that apps—or whatever, really—will come to us, and we can get them trending within an hour or so by mentioning them across multiple accounts. We've got multiple apps to number one on the apps list doing that.

A lot of people are still trying to figure out social media; it's not even a cottage industry at the moment. Is that where you see yourself going now?
I plan on working full time on this, yeah. Not only do we use these parody accounts on Twitter, but we get in contact with bloggers, YouTubers, people with huge Instagram followings. Because these people have a huge amount of followers but no way of monetizing it, we figured we could create a huge network, get clients who want us advertising for them and grow from there.

You said you didn't quite expect the reaction.
Yeah, Medieval was a big surprise. I've never seen anything grow quite that quickly.

What's it like to watch something explode like that?
Very exciting. You end up becoming quite addicted to watching the numbers going up and up. But, at the same time, when you see the numbers grow, that motivates you to create more content constantly. You're never satisfied. Even if this hit stupid numbers, I'd always want more. So while it's super exciting, once you hit past 50,000, you think, Oh, I wish I was at 100,000, then once you hit 100,000 you wish you were at 200,000, and so on.

It's not quite on the same scale as what you're doing, but if I write something good, ever, and it gets a lot of hits, I find it impossible to look away from my computer.
Exactly. Especially with what people say and how they engage with it. I love reading what people have to say about it. I understand that the hype will die eventually and the account will peak, but it's going from strength-to-strength at the moment.

Do you feel much pressure? As some of your tweets have 12,000 retweets and then maybe one later it'll be 3,000.
Yeah, the way I measure my tweets is after a minute. If it's got 100 then it'll be good. In my past accounts, 30 in a minute was good, but right now my standard is higher, so I'll panic if I don't get 100 in a minute. I'll think, Oh god, I better delete this. It's going to be embarrassing. You do put a lot of pressure on yourself, yeah.

[tweet text="When you're so high you roll your mate into a joint pic.twitter.com/3mUXjnoAdk" byline="— Medieval Reactions (@MedievalReacts)" user_id="MedievalReacts" tweet_id="578232922727145472" tweet_visual_time="March 18, 2015"]

It's quite a strange situation to be in.
It's extraordinary, yeah. But what you don't quite appreciate is how many people are seeing it. It's coming up to tens of millions now, but you don't really fully appreciate that because it's only a tweet. If it was a TV show or a radio show it'd be a bigger deal.

It must be cool to write a joke that people enjoy so much.
Indeed. You're completely right. You sit back and think, People are sharing this with their friends. I get messages on my personal account saying, "This made me laugh." That's why we did this in the first place. That's why we start a Twitter account. You just fancy making people laugh, really.

There have been a fair few copycat accounts springing up, even in this short amount of time. What do you make of them?
In my opinion, I think if you put something on Twitter you've got to be accepting that it's going to be copied. The more successful it is, the more times it's going to be copied. People do get very angry when they have great ideas and they're copied, but I sort of think it's fair game. If you're putting it out on the internet to tens of thousands of people, you can't expect people not to save it and redistribute it. It's not how it works. The internet is just like that. The only way to get around it is to make sure you keep on top of yours and make sure it keeps getting bigger.

I guess it's hard to get too precious about stealing a 500-year-old painting and putting a funny joke on it.
Exactly. There's no point about getting upset about it. It happens pretty much all the time. I'm lucky to be part of a network that means I'm ahead of the game.

Thanks, Cathal.

Follow Joel on Twitter. Follow Cathal on Twitter. Follow @MedievalReacts on Twitter. Follow everyone on Twitter.

Ink Spots: Comic Book Slumber Party Is Making Fairytales for Bad Bitches

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[body_image width='1000' height='994' path='images/content-images/2015/03/30/' crop='images/content-images-crops/2015/03/30/' filename='bad-bitches-interview-body-image-1427736545.jpg' id='41215']

This article originally appeared on VICE UK.

If you really sat down and tried, you could turn a lot of pages in the space of 30 days. While we've spent over two decades providing you with about 120 of those pages every month, it turns out there are many more magazines in the world than VICE. This series, "Ink Spots," is a helpful guide on which of those zines, pamphlets, and publications you should be reading when you're not staring at ours.

A couple of weeks ago, Comic Book Slumber Party's Fairytales for Bad Bitches came to us in the mail. It took about two and a half pages for us to realize it's probably the best comic we've seen all year.

The Bad Bitches concept is simple: Take some classic fairytales and tell them through the eyes of the CBSP mascot, Greasy. She's the antithesis of the stereotypical princess in children's stories—drinking and smoking her way through her adventures that have weird names like "Greasylocks."

Comics writer Hannah K. Chapman runs CBSP with a little help from artists Donya Todd of Death & The Girls and the Nobrow-published Jack Teagle. The collective also runs Slumber Party boot camps where established comic book creators hold talks and meet newcomers to share ideas, make comics, and generally try to inspire a new generation of comic book makers to get involved in the burgeoning small press scene.

The bad news is that Bad Bitches has sold out. The good news is that CBSP have just announced they will release Hotel World, a solo comic from Bad Bitches contributor Becca Tobin, at Toronto Comic Arts Festival in May (the images below are exclusive pages from that very comic). We recently sat down with Chapman and Tobin to find out all about the book and what else is happening at CBSP.

VICE: Hi Becca. Can you tell me what the new book is going to be about?
Becca Tobin: It's going to be a collection of comics revolving around the people at a hotel where nobody leaves; such as the person who paints the shitty corporate art there. It's a combination of funny gag comics and some weirder, more psychedelic stuff—a collection of five or six different short stories and one-page comics all revolving within that world.

Is it the first solo Slumber Party project?
Hannah Chapman: Yeah. So she better not fuck it up!

No pressure then. What was the thought process behind doing the solo book?
The anthologies are fun, but everyone's work feels short. Sometimes you meet someone whose work you admire so much that you want to see it in a longer form. The driving force behind CBSP is to get more women in comics. It doesn't have to be anthologies. With a solo book you can do something really strong. I hope it is the first of many.

[body_image width='678' height='960' path='images/content-images/2015/03/30/' crop='images/content-images-crops/2015/03/30/' filename='bad-bitches-interview-body-image-1427736411.jpg' id='41211']

Greasy is a great character. Why do you think there's a lack of female characters in mainstream comics?
I love Greasy and I hate her at the same time. She is very difficult to work with. She was a quick sketch that Donya Todd did. I told her she needs to be a smoking, leather-wearing, fierce dog thing. It's hard to see yourself in another girl, but every girl can see herself in a yellow dog!
Becca: Traditionally, women find it hard to get into comics because it's a boys club. It is getting better, but it has a way to go.
Hannah: Some of the stuff feels like they are trying so hard: "Hey! She's a girl! Look at her look at boys!"
Becca: A lot of the old guys writing comics are used to the way it works and don't want to change. But it will with the new people coming through and making comics.
Hannah: The argument is that there is no market for it, but it's absolute nonsense. It is the fear of something new. The reason they always do reboots is because they are characters that sell. There are so many creative teams that, if you asked them to make a new superhero, they would jump at the chance of making a woman.

Do you feel like it's a repeating formula then?
Becca: It has to do with the industry side of it. That's why you see more women doing small press and indie stuff; you can make and publish whatever you want.
Hannah: If it doesn't sell, you don't have 50,000 copies left.
Becca: Exactly.
Hannah: We just have 50 copies and have a bonfire!

[body_image width='1271' height='1600' path='images/content-images/2015/03/30/' crop='images/content-images-crops/2015/03/30/' filename='bad-bitches-interview-body-image-1427736636.jpg' id='41217']

So do you think independent publishing is giving comics a new voice?
Becca: It is giving a voice to people who wouldn't necessarily have been able to speak. That includes women, minority creators, and a lot of communities that didn't have a place to gain a voice. Everyone is on an equal footing. You don't need to be pitching to a big company to get interest. You can just make it yourself.

Do you think that's changing comics overall?
Becca: People are creating their own stuff, printing it, and taking it to shows. It means that you get a big diversity in creators and that all kinds of work holds value; it doesn't have to stick to one perception of what makes a good comic. The breadth out there at the moment is huge. To see so many people making so much different stuff is exciting.

Are you planning any more workshops?
Hannah: We're doing a girls takeover evening during British Comics Month at Gosh! Comics, and in 2016 we're doing the first Comic Book Slumber Party Academy of Sequential Art in Bristol. It will be a month of weekly lessons, each with a guest speaker. The idea is that everybody comes with an idea and leaves with a printed and bound book. All of the speakers will be women working in the small press industry. Obviously it's open to men and women, and it will be free.

I read that you're doing an alternative sex education book this year?
Hannah: I just got this image of Greasy eating the condom banana in my head. You'd put the condom on the banana and she'd just start chowing down on it.
Becca: Oh my god.
Hannah: I thought we could get people making comics about what they wish they had been taught and tell it from Greasy's point of view. I'm going to get some of the people from Bad Bitches back, but it will mostly be giving opportunities to new people. It will be packed with lots of boobs and willies and squelchy things.

You're not going to pitch it to be included on the national curriculum, then?
Hannah: Can you imagine if it did? There'll be so much swearing in it, and the dog smokes. It'll probably end up on the banned books list.

For more Greasy, visit Comic Book Slumber Party's website.

What I Learned Working a Summer Job at Buckingham Palace

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[body_image width='1200' height='933' path='images/content-images/2015/04/02/' crop='images/content-images-crops/2015/04/02/' filename='what-i-learned-working-a-summer-job-at-buckingham-palace-494-body-image-1427994662.jpg' id='42721']

Artwork by Kate Merry

This article originally appeared on VICE UK.

Summer jobs suck when you're young. Either you work at a suburban supermarket, getting paid $10 an hour to stack endless cans of soup only to blow it all on a few Friday-night tequila shots, or you wait tables at a chain restaurant, taking lukewarm plates of gravy 'n' food from kitchen to table and occasionally getting tipped with a wrinkled bill. (Tipping in England never quite caught on.) Those are the only two options, both horrible.

Not working is even worse, though. Months of unfettered freedom are spent marking time, watching Seinfeld reruns, and playing Call of Duty until you're obliged to go back to school. Such are the heady days of your youth.

One summer several years ago, I decided I wanted to break that cycle and applied for a job at Buckingham Palace. Not for anything important, like king—it was an opening for a warden, one of the 300 dogsbodies employed from July to September, serving the slavering Queen Lizzie–loving punters when a small section of Buckingham Palace opens its doors each summer.

Here's what it was like working at the world's most renowned royal home, dealing with feckless tourists, driving golf buggies around the grounds, and getting wasted after (and sometimes during) work.

PASSING THE INTERVIEW

The hardest part of the "Bucky Pally" interview process is being expected to recount genuine instances of customer service, because the breadth of most people's experience at this point in their lives extends to mastering the speedy refill at Yates's Wine Lodge.

Here's a tip: I didn't mention that I was a staunch republican. You don't go to an Amazon job interview and say Jeff Bezos is a dick or that Netflix is better than Prime. You just say something along the lines of, "My corporate morals are good, and I really like packing things." Done.

YOU DRESS LIKE A DOUCHE ALL SUMMER

Any preconceptions of looking like a spunky, medallion-wearing Prince William are dispelled, rather swiftly, by the outfit fitting. The starchy navy uniform makes everyone walk around like they're breathing through their belly button—a bit like Shane Warne post–Liz Hurley makeover. You've got a name tag, too, so tourists can mispronounce your name when posing their inane, driveling questions.

Everyone is assigned to a section; this decides which cliques you hang out in all summer. There are ones like security, audio guides, the garden, ticket sales, and the shop: all different but similarly menial, chipping away at the soul without ever quite destroying it. You may be working at Buckingham Palace, but it's essentially customer service on a grand scale. You can't go wrong, either—wherever you're put, you'll find like-minded students up for a good bloody laugh.

PARTYING LIKE A PRINCE

It was summer in central London, I was young and surrounded by like-minded, naive, attractive people, desperate for validation and VKs. Not quite everyone was my friend, but they sure as hell would be after we'd shared that big bottle of White Lightning in St. James Park and I'd lied about how much I liked Dizzee Rascal.

The nights were a blur of pubs, clubs, and house parties, always with far too many people crammed into beds or bouncy castles. Always with the bouncy castles. Employees get off with one other, strangers, even the occasional inanimate object. Sometimes it feels like you're at a week-long drunken sleepover, punctuated by shifts at the world's most famous palace.

If those visitors knew how close some guides were to vomiting Exorcist–style on priceless art the next morning, they'd shriek into their pendulous bumbags. But then I'm sure the Queen has had days where she wanted to stay in bed with a fuzzy gin head, watching Alan Partridge and eating Pop Tarts or Heinz beans and sausages cold from the can, rather than having to receive the President of Uganda. Right?

[body_image width='1000' height='509' path='images/content-images/2015/04/06/' crop='images/content-images-crops/2015/04/06/' filename='what-i-learned-working-a-summer-job-at-buckingham-palace-494-body-image-1428314320.jpg' id='43214']

Queenie ain't home, mates. Image via Wikimedia Commons

YOU DON'T ACTUALLY MEET THE QUEEN

One day, a little girl ran up to me and squealed, "I saw the Queen! She waved at me!" Cute. But she was lying through her tiny, underdeveloped milk teeth.

You won't see ickle Prince George, Kate, or William either: Queenie and the fam usually go off to the summer residence at Balmoral long before this annual tourism apocalypse starts. If thousands of people went round your house, surreptitiously fingering your possessions, looking at your old clothes, and taking selfies in your living room, you'd be long gone (and calling the police) as well.

Probably for the best, though. Imagine Prince Phillip around the ethnic employees ("Golly, that's an interesting accent!"). Buckingham Palace's HR team can only process so many complaints.

YOU END UP HATING PEOPLE

There are people everywhere. So many people. Four hundred thousand people visit the palace over the two-month opening period. This is Disneyland for militant monarchists.

One day a week, you're off the regular section and assigned to the main Buckingham Palace State Rooms beat, watching the merry, gasping masses shuffle through. Standing behind the red ropes, you have the dubious power of answering their questions and radioing for permission if they really need to use the secret toilet. You're basically a glorified primary school supply teacher, policing people's bladders and colons.

It's hard to be earnest after repeating the same directions to slack-jawed visitors a thousand times a day, though. Soon, you develop your own anxiety trigger: mine was an American accent saying, "Excuse me, Sir"—grating, obnoxious, and wafting strongly out of the throng like a potent fart. Whatever the comment, I ground my teeth, grinned, and answered it politely. You just have to stand there and think of the money.

IT PAYS WELL FOR A STUDENT JOB

$10 an hour might not sound like much, but bear in mind the long hours, generous overtime, and the era—this was several years ago. To a 19-year-old, this was wild riches. Never mind that half of it got blown at the local Wetherspoons. Curry Clubs all round!

YOU GET IMMUNE TO SPLENDOR

Caravaggio there, Vermeer here, Canova statues everywhere: Brian Sewell would have a screaming artgasm. The state rooms are like a rococo IKEA: once a tourist is through one section, they can't turn back. The difference is that nobody can afford a single chair here.

Bravo to the Royal Family for stealing and borrowing—gotta love playing imperial finders keepers—a shit-ton of priceless culture. It is, hands down, the finest "office" to work in on earth.

LOW-OCTANE THRILLS

There are golf buggies provided for mobility access. Teenagers obviously need no persuasion to see how fast these things go. Answer: quite slow, as it happens.

MEALS FIT FOR A KING

Work hard, eat harder. Employees get free lunch, so the 30-minute break was spent cramming as much palace food into my mouth as possible. Masterchef even filmed part of a competition in there once.

TALL TALES WITH TOURISTS

You get asked lots of well-intentioned questions by tourists because they've mistaken you for someone who knows meaningful information about the Palace. All you are given to satisfy their curiosity is a thin red book, containing mostly irrelevant facts for each section. (Did you know that the gravel on the Buckingham Palace forecourt gets cleaned daily? Did you?)

If I didn't know the answer, I'd stall and check this bible, while thinking up a guess or a lie. Just like when someone stops you on the street for directions, anything's better than that abject admission of failure, "I really don't know, sorry."

As weeks wore on, a game emerged between wardens of making up silly answers to difficult questions; the more ridiculous, the better. The best zinger I heard was that the Grand Ballroom electricity was powered by hamsters running underground on little wheels. God, we knew how to laugh.

YOU CAN'T have sex ON THE THRONE

The salacious summer ends with a boat party on the Thames. The rumor was that the Buckingham Palace demob "do" used to be held in the palace until some horny couples started boning on the throne.

So everyone gets dressed up, pays $18 for a vodka soda, and realizes London at night all looks the same. You stare into the cold river, knowing that, very soon, you'll be returning to university with a heavy heart and jaundiced skin.

You promise to maintain the lifelong friendships, but the memories of the best summer of your mediocre young life last much longer than the people, most of whom you never see again. Plus: you get to say you've taken a shit at the Queen's house.

How I Went From Being a Backstreet Boy Impersonator to a Sustainable Seafood Chef

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How I Went From Being a Backstreet Boy Impersonator to a Sustainable Seafood Chef

Meet the 20-Year-Old Who Wrote Rihanna's 'Bitch Better Have My Money'

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Meet the 20-Year-Old Who Wrote Rihanna's 'Bitch Better Have My Money'

Montreal’s Homeless Survey Highlights Lack of Awareness on Size of Issue

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Mario. Photo by Keith Race

For 18 years, Mario has been homeless. He sleeps in the day because at night when the temperature drops, it's too cold and dangerous—potentially fatal—to be out on Montreal's streets. Just last week a man lost his hand from frostbite, he told me; all it takes is one roll, one accidental exposure of skin to the cold outside their blankets to lose a limb. He used to sleep in Parc Emily Gamelin but can't any more because the SPVM have begun a campaign to keep the homeless out of the area, to keep them out of sight.

Last week, volunteers of "I Count MTL" tried to shine a light on the people who are hidden, ignored, and ushered away by businesses and police and into the shadows where they're more easily ignored.

On March 25, Montreal undertook the first count of its homeless population in 17 years. A total of 800 volunteers combed through 600 km of city streets to try and find out how many of it's citizens live as Mario does. Surveys of this type have been done in cities across Canada, including Vancouver, Calgary, Edmonton, and Toronto, but this is certainly much needed for Montreal considering the last attempt to count the city's most vulnerable took place in 1998.

"It's a Polaroid photo of one evening," said James McGregor, describing the survey and why he and the organizers of I Count MTL chose their methodology. "[We chose this type] first of all, because it's the one that is generally used across Canada and the United States; so with it we can compare ourselves to other cities. And the second reason is that it's more easily comparable over time, so it doesn't necessarily matter if you're undercounting as long as you're undercounting in the same way. So, next year, and in two years time, we can do the same count using the same methodology and we can see if we're making progress."

The main thrust of the survey took place over four hours on the night of March 25. The city was divided into 221 sectors, mostly focusing on the downtown core. In each sector, a small group of volunteers walked the streets, and checked metro stations and homeless shelters to ask a simple question: "Do you have a place to stay tonight?" If the subject answered "No," the volunteers conducted a quick questionnaire then moved on to whomever next they came across.

The 1998 count of Montreal's homeless population estimated the total to be around 30,000. Though the city has grown since then, this new "point-in-time" survey might actually come out with a smaller number. The count only reflects the people who are able to be found in a short timeframe, so it's probably going to come out with numbers that aren't completely accurate.

"I think this count is going to be false," said Alexandre Paradis, who participated in the count and works with SOS Itinérant giving food and clothing to the homeless. "We can't get the right numbers because the homeless, three quarters of the time, don't stay in the streets. There were lots of homeless people who weren't counted, so the numbers will be erroneous for sure."

While it might not be the definitive number, the count will at least help provide a bigger picture of the issue at hand, which is otherwise only gleaned from anecdotal experiences or limited data collected by an archipelago of organizations geared towards helping the homeless. So while there are a lot of opinions on the matter, some actual comprehensive data will be able to help in a number of ways.

"We all have an impression that homelessness is increasing in Montreal, but we don't know it. We haven't measured it in any significant way," said McGregor. "When shelters collect data they don't distinguish between individuals, so they don't know if it's the same person being there for 30 days or a different person there for 30 days. By taking a point in time survey you give yourself a context. And a lot of funders, foundations, and people, more and more, are looking for data to support action. In the old days, it was sufficient to say, 'We're doing a good thing,' to get funding, but these days people are looking for results. So, in some ways, each organization can put their own action in context and point, hopefully, towards positive results."

Positive results proven with reliable statistics are important in today's environment of slimming budgets, but while they help organizations validate their work they don't, in themselves, solve the problems faced by their subjects.

Montrealers signed up with an alacrity to the project unexpected by the organizers; McGregor expected it to take eight weeks of dedicated work to find 600 volunteers, but instead closed down registration in 10 days after registering over 1,000 people. It seems there is no shortage of people interested in helping, despite the unlikely prospect that homelessness will ever completely disappear.

"I think we're heading backwards instead of forwards, said Paradis. "The homeless in Montreal are well treated by the shelters and organizations, [but] there is some backsliding; like McDonalds, who last week we criticized because they refused to serve homeless people under the excuse that the homeless smell bad, they have no business in a McDonalds, they sometimes sleep at the tables. They are human beings like you and me and should be accepted, and you should accept their business."

An updated number on Montreal's homeless population is long overdue, and if "point-in-time" counts are repeated this year's count will become an invaluable piece of data. But it's often easy to look at a spreadsheet and forget that each number is a life, a struggle, a person deserving of dignity.

"We are all human beings, we are all one species," said Paradis, who would rather see shelters and aid organizations bring their information and experience together to better help and advocate for those in need. "With homelessness, there shouldn't be competition. And we shouldn't calculate statistics, we should calculate people. That's the big problem that organizations have. But they are people, not statistics, and not sources of funding."

Results of the survey to be presented to the municipal government in June.

Comics: Megg, Mogg, & Owl - 'The Hot Dog with the Open Packaging'

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Follow Simon Hanselmann on Twitter and look at his blog. Also buy his books from Fantagraphics and Space Face.


The Blessing of the Animals

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Each year on Easter weekend, the Archbishop of Los Angeles leads a procession of animals down Olvera Street, one of the oldest avenues in the city, where he performs the traditional blessing of the animals. It's a tiny street full of stalls and stores selling traditional Mexican goods; on Saturday it became flooded flooded with dogs, cats, birds, snakes, cows, llamas, goats, and horses, followed by mariachi musicians, women and men in traditional costumes, and, of course, the Archbishop. He blessed a bucket of water, which he then used to individually bless each of the animals by touching them with a large brushed dipped into the bucket.

The tradition celebrates the importance of animals on earth and honors Antonio de Abad, the patron saint of animals. Afterward, there's a showcase of different dances, including charros performing traditional Mexican horse dancing.

See more of Michelle Groskopf's photography on her website and on Instagram.

Read the First Four Pages of Lord Huron's Comic Book 'Strange Trails'

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Read the First Four Pages of Lord Huron's Comic Book 'Strange Trails'

How a Notorious Counterfeiter Reinvented Himself as an Artist

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Arthur J. Williams at his gallery opening. Photos by the author

Arthur J. Williams Jr. is perhaps best known for being the counterfeiter who successfully replicated the supposedly impossible to replicate 1996 hundred-dollar bill. Secret Service agents doggedly pursued Williams as he printed what some estimate to have been as much as $10 million in fake money before he eventually landed in federal prison for six and a half years—the third time he was incarcerated for his criminal exploits.

That sounds like the biography of a career criminal, but during that last stint behind bars Art reinvented himself as a legit artist. Sticking to what he knew, Williams began by painting money, eventually branching out with a clothing line. It wasn't long before the art world took notice; late last month, the Meg Frazier Gallery in his hometown of Chicago hosted Art's first show, Creative Works Representing the Life of the Master Counterfeiter.

"When I was in prison, I never really thought much about hanging my art in a gallery," Art told me at the opening. "I was just doing it to pass the time... I like painting; it's peaceful, it grounds me."

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Art didn't begin painting until the final three years of that last bid. He always had an affinity for design—which may have helped him during his days as a counterfeiter—but never picked up a paintbrush until his facility offered a class on oil painting.

"When I first took the painting class, they made you pick a picture out and then paint it, and they gave us a bunch of flowers to choose from," Art said. "I couldn't believe it. Here we are in prison, and they want us to paint flowers. I gave it a shot, but I just wasn't feeling that imagery. I wanted to do something different."

The teacher—another inmate—asked what the problem was, but when Art floated painting an 1896 dollar bill, the teacher thought he was nuts. The level of detail was too much for a beginner.

He went for it anyway.

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"It was the first painting I did," Art said. "It took me a year. I just took off from there. I did the two-dollar bill, then I did the ten-dollar bill, and then I did the five-dollar bill when I was in the halfway house—which is my best one given that I was able to make it change colors."

When he hit the street, Art still had no inclination of being a professional painter—he was busy trying to get the clothing line into production. But then he met Stanley Wozniak, a longtime Chicago nightclub proprietor who founded the Red Head Piano Bar, Jilly's on Rush Street, and other well-known downtown clubs. Wozniak took an interest in Art's work, using his connections to help the just-released counterfeiter make a move. (And just in time—Wozniak was sentenced to one and a half years in prison in a corruption scheme just a couple weeks before the opening.)

"He introduced me to Meg Frazier," Art said. "Before you know it, we had a show. I never realized how much work went into showing your pieces. It's just not like throwing them on the wall. The first problem I had was that I didn't have enough pieces. For the last two months, I've been scrambling to create more. That's how the meter painting came into play." (The meter painting was the piece ultimately chosen for flyers promoting the opening.)

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"The meter painting is actually one of my favorites," Art said. "It has nothing to do with money. It's a little boy resting on a meter, and it was the first crime that I ever committed. I came home one day and my mom was crying, because she couldn't feed us. I went outside and started hitting the meters. I was hearing the change in them and I found a way to break into them. I went and bought some groceries and took them home. The reason I did that painting was a representation of that memory. I wanted to express the first thing that brought me into a life of crime."

Art moved on to counterfeiting around age 15.

"An old Italian guy took me under his wing," he said. "I was stealing cars and radios, hustling little dime bags of weed—out on the streets. He felt like I was smarter then that and he started teaching me how to print the old money, like the 1985 hundred-dollar bill."

Art took to the vocation eagerly, but during his apprenticeship, his teacher disappeared.

"I spent a good nine months with him and then he just vanished," Art said. "I tried to do it on my own, but at that point I was still a novice. I hadn't learned enough. I ended up going back to the street, started doing some pretty heavy stuff, hitting drug dealers. I got into some trouble in Chicago and went down to Texas to get away from it."

Still, he couldn't avoid the law.

"I was in the joint for hitting this jewelry dealer for like two years. When I got out, my ex-wife was buying a book for me and she paid with the new hundred-dollar bill. I saw that they marked it. I didn't know what that pen was [for]. I didn't know what the big deal was about the 1996 note."

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Retailers sometimes used a pen to see if a bill was a counterfeit or not. Art was intrigued.

"It was a long process, it took me years to get to that super-note quality. The first thing I had to attack was the paper, because at that time everyone was marking it with the pen. I had to find a paper that could defeat that, and that was a process in itself. I ordered paper from all over the world. Then I started to work on the hologram, the watermark that's in the paper, and the security thread. We made our own paper and embedded our own watermark and security thread within it. The last thing was the shifting color ink, which I now use on my paintings. That was the final thing. Then we just started printing. I use the same security technology in my paintings, which gives them a certain level of uniqueness."

Having mastered an illicit craft, Art didn't see much reason to go straight.

"What held me back for so many years is that I didn't have a goal besides making money," he said. "I would spend it and have to make more. With all the money I made, there were so many things that I could've done, but I had no respect for money. I knew I was going to have to make a change, especially when my son joined me in prison for the same thing. I knew that something had to give. I really started focusing heavily on what I wanted to do when I got out, which was the clothing line and my writing. I really didn't look at the art as a means of support."

But by applying himself to more legitimate pursuits, Art is hoping to reap the benefits.

"In my previous prison bids, I was always thinking of how I could beat the system and make money better," he said. "But even in those prison bids, I didn't think about what I would do with the money once I had it. I have a plan now, and the top of that plan is my clothing line, and everyday when I wake up, it's to reach that goal."

"I'm not so quick to go back to what I know and counterfeiting. I keep fighting."

Will Giving Kevin Bollaert 18 Years in Prison Finally End Revenge Porn?

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Photo via Flickr user black_claw

On July 12, 2013, a woman emailed the ringleader of UGotPosted.com begging for help.

"I am scared for my life," she wrote. "People are calling my work place and they obtained that information through this site! I did not give permission for anyone for anyone to put up those pictures or my personal information. I have contacted the police but these pictures need to come down! Please!"

Kevin Bollaert was apparently unmoved. After all, he received about a hundred such messages a day, and even though he would later claim in an interview with investigators that the desperate emails were overwhelming to the point of "ruining his life," Bollaert could be motivated to take action only in certain circumstances. When women agreed to pay around $250, their pictures would come right down.

On Friday, a San Diego judge sentenced the 28-year-old to 18 years in prison. A joint investigation between the Department of Justice and the California State Attorney's office found Bollaert ran a site that posted women's nude photographs alongside their real-life contact information, and a second site called ChangeMyReputation.com that made him about $30,000. Women testified that they had been disowned, become homeless, and lost their religious faith on account of Bollaert's actions. He was found guilty of six counts of extortion and 21 counts of identity theft; on top of his hefty sentence, he is also expected to pay back $450,000 to his victims.

It's starting to seem like revenge porn will soon be a thing of the past. Although there's no federal law against it, the government is coming up with creative ways to stop people like Hunter Moore, the inventor of the genre, who was arrested in January on hacking charges related to the now-defunct IsAnyoneUp.com. Soon after Moore was indicted, the Federal Trade Commission told Craig Brittain, operator of IsAnyoneDown.com, that he was never allowed to run a similar site again.

States are increasingly devising laws specifically directed at curbing the practice. Some, like Utah, have sent people to jail, and although California has proven to be one of the toughest on people who break it. Back in December, 36-year-old Noe Iniguez became the first person sentenced under its revenge porn law. He got an entire year in jail and 36 months of probation for posting a topless photo of his ex online. California is also the first state to go after a site operator, and the state's attorney general shows no sign of slowing down when it comes to squashing people like Bollaert.

"Today's sentence makes clear there will be severe consequences for those that profit from the exploitation of victims online," California Attorney General Kamala Harris said in a statement. "Sitting behind a computer, committing what is essentially a cowardly and criminal act will not shield predators from the law or jail. We will continue to be vigilant and investigate and prosecute those who commit these deplorable acts."

Her next target is Casey E. Meyering, also 28. He was the operator of a site called WinByState.com and will go to trial on five counts of felony extortion in June. Although it's been taken down, archives show that WinByState was once "a community where you [could] trade/upload/request adult pictures and videos of your ex-girlfriend, your current girlfriend, or any other girl that you might know."

So what's next in the fight against revenge porn now that California is throwing the book at operators like Bollaert and the feds got Hunter Moore to plead guilty to charges that carry at least two years in jail? First, it's necessary for more states to pass laws, and for those laws to be specific. In September, the ACLU filed a federal lawsuit over a revenge porn law in Arizona that they argued could theoretically criminalize people selling art books, and lawmakers are currently revising the bill.

Adam Steinbaugh is legal blogger who used to work as a security abuse specialist for MySpace. The revenge porn watchdog says that after all the kinks are worked out in various state laws, most of the dedicated sites will shut down. At that point, a lot of the policing will move toward removing revenge porn from Facebook rather than places like UGotPosted.

He pointed us to the only active revenge porn site he knew of with the request that its name not be publicized. (Who.is records show the site is registered to the British Virgin Islands.)

"I don't think anything that's being done in the US is going to be able to stop them," he said. "Unless they wanna go try and pick up the guy who's running it."

Follow Allie Conti on Twitter.

Kenya Hits Back After University Massacre With Airstrikes on al Shabaab in Somalia

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Kenya Hits Back After University Massacre With Airstrikes on al Shabaab in Somalia

We Spoke to Charles Manson’s Guitarist About His Life Making Art and Music While Serving Time for Murder

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Bobby Beausoleil's 1969 mugshot. Photo via Wikimedia Commons

We need to get this out of the way right off the bat: Bobby Beausoleil was an associate of Charles Manson and he murdered Gary Hinman, a crime for which he was sentenced to death.

He's still alive and well, serving his commuted sentence in Oregon State Penitentiary.

I spoke with Bobby twice by phone recently, and this interview is not about Manson or the murder. It's about his life before and after. Because if you put all judgment about what he did aside, Bobby Beausoleil has led a fascinating, creative life.

Before the murder, he was an up-and-coming member of the Los Angeles music scene, a guitar player who had played with guys like Arthur Lee and, yes, appeared on Manson's album Lie: The Love and Terror Cult.

He's released multiple albums that he recorded during his incarceration using fellow musicians that he'd found behind bars. His prison output includes the soundtrack to Kenneth Anger's legendary underground film Lucifer Rising (a project that, at various times, had Mick Jagger and Jimmy Page connected to it).

Many of those albums were created with instruments he built himself in prison, including a guitar-like synthesizer controller that he dubbed the Syntar (and which in many ways the guitar industry is only now catching up to).

He's also a prolific artist, selling his visual art through his website, and he's also taught himself digital animation, last year releasing the first segment of a cartoon he calls Professor Proponderus, which aims to help kids whose family members are incarcerated come to terms with the situation.

This is a transcript of our two interviews.

VICE: You've put out eight albums during your time in prison. What can you tell me about making them?
Bobby Beausoleil: At least one of those is a compilation. Two of those, I think, are actually one, there's volume one and volume two, that is a compilation. Other than that, I think there are actually six distinctly different albums.

Can you tell me about how you got started working on those? Once you were in, how did you decide I still need to make music?
I don't think it was ever a decision that had to be made, because it was in me to make music. I was born to it. It was just a matter of putting myself into a position where I could make music again. After I went to prison, I was in death row for two years. Instruments were not allowed so I made no music at all. (It was actually a three-year period if you count when I was going to trial.) Then I was put on the main line in San Quentin, and immediately obtained a guitar, a little inexpensive Harmony acoustic guitar. I wish I had it now, I think it would be a collector's item. At the time it was a really cheap guitar and I started making music with the guys in San Quentin. Eventually we put together a little talent show that was a lot of fun. From that point, it was a gradual evolution or gradual navigation, I think is the better word to put it, to put myself into a position to be able to do music in earnest. That didn't happen until I was transferred to Tracey Prison in Tracey, California, and started working on putting together a music program there. There hadn't been a music program in Tracey since the '50s, and then it had been a brass band thing, they had some kind of brass band ensemble at the prison. I think it was the 50s—it's hard to say. I eventually found the instruments they had been using in the course of putting the new music program together at Tracey. I found a couple of working clarinets, a working sax and a couple of trumpets in the pile and all the rest went to salvage and we got the funds from that to pay for a couple of guitar amps and stuff. We eventually got a little bit of money from the business office for a PA system and a set of drums and we off to the races at that point. That's when I got interested in playing in earnest on a regular basis. I put a band together called the Freedom Orchestra.

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How did you find the guys?
There weren't that many people in the prison. It was pretty easy to figure out who was interested in playing music. When I first got to the main line at Tracey, there wasn't a formal music program of any kind but there was a group of guys who would get together. One of the correctional officers, a lieutenant, allowed them to go into the chow hall when it was not being used and play guitars. Some guys with acoustic guitars and a guy playing drums on a pan or something. And that was about what existed when I got there. So it was pretty easy to find out who the musicians were, who the guys were. Musicians are by and large a passionate lot, you know? It's a small percentage of the prison population, but it is one that is earnest. The guys who want to play music usually want to really, really, really want to play music, you know? (laughs) So it's not hard to find them. Out of that group, you find a few musicians you really enjoy playing with and out of there forms a band. Pretty much like on the streets. You have a smaller population to select from. It's surprising how talented some of the guys that you'll find in prison.

Can you tell me about the routine? Do they let you guys jam when you want to jam?
It was initially scheduled out. I was tenacious. Getting a music program started, you know, I had to do a lot of politicking with the administration as well as with the inmates, my fellow prisoners. I hate that term, inmate, by the way. The guys who wanted to play music were the easiest part, but the rest of it was negotiating for funding and negotiating a place to play, a place where we could get together, not just a town hall, but some location that would be a band room. And we did find one. I was fortunate to find a former barbershop that was no longer being used. It had windows to the control centre so that the staff could observe us while we were in there. Supervision is of course a major necessity. You have to allow for supervision, otherwise you can't get together. So we had to have a place where we could be observed, hopefully without being too loud for the people observing us, so it was a little tricky to figure that out. It was a barbershop that had windows, so I double layered the windows to isolate the sound to the room itself and that became our music room. For a while we had egg crates on the walls to try and treat the concrete blocks, like all prison rooms, a lot of concrete boxes. So we had to treat the walls in a way where we could play music in there without killing ourselves without the reverberation of the hard walls. From that point, once we had a room, we started scheduling. We had several different groups, had to be concerned about ethnic balance or ethnic representation in any music program in prison, otherwise you have situations where you have people who are jealous and there's strife, there's problems. So we had a soul band, and a rock band and a country band and a Mexican band.

Were you playing with all of them?
I played with a couple of them. The rock band was my band, the Freedom Orchestra. So that was the rock band. I didn't really play country that much so I kinda stayed away from that. I did fill in with the soul band every so often, playing blues and R&B, I like to play in those styles.

It's interesting that you were playing in the soul band. I read one of the transcripts from one of your parole hearings, and they asked you something like 'Are you a racist?' Where did that come from?
(Laughs) You know, that's a good question. There's not a racist bone in my body, man, there really isn't. As long as I've played music, I've been playing, you know, ethnic music. So, I don't know where that comes from.

Actually, I do sort of know where that comes from, but it doesn't come from any real place. It comes from this perception, or misperception. I should note that when I was just beginning to gig professionally and I was 17 years old, I played with Arthur Lee and Johnny Echols in a band called The Grass Roots, that would later become known as the band Love. That was a racially mixed band. The music that I was attracted to... I loved R&B. R&B and blues has been, from the minute I was exposed to it, I've been into it. It would be irrational to have that interest in that of music and then have a racist attitude towards black people. It's just absurd.

I do understand that there was a situation that developed in San Quentin in which I was involved. I was defending a friend of mine. There was a fracas, an event that became publicized as an in-house power struggle with a white, racist group. Because of that, that association developed.

And then there's also just being associated with Manson, who has been described as someone who wanted to start a race war, which is a complete crock, or once again a misrepresentation of what was actually happening—largely perpetuated by Manson himself, by the way. But, nevertheless, an association I think plays into the idea that I might be racist. But there isn't anything in my record that would indicate that's my orientation.

When did you start working with Kenneth Anger and when did you resume?
I met him in the spring of 1967 and he was working on Lucifer Rising. He was passionate about this concept that he had for a film that would be kind of the sequel and antithesis to his previous film, his most popular film: Scorpio Rising. He was very ambitious. This was going to be, for an underground film, epic. He wanted me to play Lucifer in the film, and I told him I would do it on the condition that I do the soundtrack. This was '67 and we worked together on the project for a while. I left the band that I had at that time, which was the Orchestra and formed a new band called The Magick Powerhouse of Oz and began work on our composition for the soundtrack, kind of a freeform mode of composing as my compositional with the Orchestra. There were some problems that developed between Kenneth and I. It's hard to describe, to be honest I don't really understand what happened, some kind of psychological breakdown that was going on with him. I can't really say what was the cause of it, but we had a famous falling out at that point. That was the end of that phase of the Lucifer Rising project. Years later, course I'm in prison and he had begun the project again. He'd renewed his approach to the project, got some funding and was working with Jimmy Page on the soundtrack, or at least Page was going to provide him with a soundtrack. I don't think Kenneth liked what he came up with, it was kind of amorphous, which I liked, actually. It was kind of an ambient. I liked it, it was a different direction than the direction I had taken, which had a lot of strong, melodic components rather than being strictly ambient or background music. I wanted something that was thematic, that had strong melodic component to it. I think that was more keeping with what Kenneth wanted for the project. Again, in 1975, I think, we were discussing it, I actually began work on the music itself for the soundtrack in 1976.

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You were doing that on your own, in prison. It's ambitious music, how do you get that kind of sound quality when you're doing it in the most DIY way possible?
Being a quick study.

Just reading as much as possible on sound and engineering?
A lot of it just came out of experimenting, but studying, reading, it was all seat of your pants, for sure. But I'm very passionate about this. I wanted good sound quality, I had a very limited budget going into it. Kenneth provided $3,000 and that included recording equipment. I got one good microphone out of the deal, and two recorders, one being needed to master two tracks from the master track. I had a four track and a two track. Almost all the budget when to recording equipment, leaving almost nothing for instruments. So I built instruments and you know, just hustled. A little bit came from Ken, but a lot of it was just hustling and getting bargain basement deals on parts and so on to build guitars and keyboards and amplifiers. Many of the instruments used on the soundtrack were actually handmade.

Do you feel that Lucifer Rising is your musical legacy?
I would say that a lot of people would say that it is, at this point. I think that it was an extremely ambitious, I guess is the right word, but it's not really what I mean to say. It was an ambitious project, it's a miracle that it happened under the circumstances that it did. It was very personal, it became a very personal statement and in that respect I think it is probably my most significant published work today. It was autobiographical, my own story being in my own life, I took a fall (laughing) a serious fall, as Lucifer did in his. I translated the Lucifer story into my own and told the story from the standpoint, musically, of my own sense of loss and defeat and my own hopes and desire for restoration, to reintegrate and restore myself to integrity is I think the better way to phrase that. And reconciliation with my loved ones.

Do you feel like you've accomplished that, gotten to that place of restoration?
I do. It hasn't translated to a parole, which is not necessarily a requirement, I don't think. I mean, it would be nice! (Laughs.) I don't think I belong in prison. I mean, I'm not a threat or a danger to anybody, so in that respect it doesn't make sense that I remain. But nor is it the nature of my success. So, yeah, I would say yes, I have restored myself to integrity, so yes I did fulfill the story I was telling in the music of Lucifer Rising.

When you look at your newer work, let's say the Dancing Hearts of Fire LP, where are you in your head when you work on this music? You talk about Lucifer Rising being about working through your own issues of redemption, but what's your inspiration now?
Dancing Hearts of Fire is a unique piece. It came out of a time when I was intensely grieving for my wife who had just passed away. She was a dancer, she had a dance troupe of Middle Eastern inspired tribal dance and I was composing some music for a collaboration between her and I for her dance troupe. I had just recently sent her some rhythms, some percussion that I had composed for her dance troupe and then she passed away suddenly, and I was left with these rhythms, so I wanted to do something with them and I needed some way of expressing through my work what was going on emotionally. It wasn't just all sorrow. There was some of that, but feeling bereft of someone who was nearer and dearer to me than anything I can possibly express in words. I needed some place to kind of put that energy. Dancing Hearts of Fire became that project and I used those rhythms that I had composed for her as the basis for, I think it's 35 minutes total on that album. So that's what that album is. In that sense, I don't know that it's necessarily an extension of Lucifer Rising, that was kind of an outlier in the sense of where I was at.

A new album that I've just about finished is called Voodoo Shivaya. This is a double album, I'm working on the very last track now, and it will be released later this year, at least that's the plan. Voodoo Shivaya is, I would say, a extension of the Lucifer Rising project. I've done a lot of other music, a lot of it is mystically oriented, it has a lot to do with my spiritual advancement, I guess you might say, over the years. You'll hear aspects of paganism in some of the music or indications of it or higher forms of religion or shamanism and so on. A progression in my spiritual development that you can hear in some of my instrumental music, but some of my instrumental music is more about my experiments in electronics. Searching for new timbres and sounds through that medium, electronic instruments, I mean.

How do you get access to those electronic instruments? Are you able to get them from the outside?
I've got some pretty good ones at the moment, to be honest with you. I've got some really nice instruments at present, store bought, But at the time, a lot of the instruments that I had, I built myself. A lot of it came out of my experimentation in electronics...

When you say you were building your own instruments, you don't just mean acoustic, but full-on electric instruments?
Yes. I was very much into synthesizer circuits, effects pedal circuits and experimenting. I had a device called an EBow that I used on the soundtrack that I really loved and I was trying to figure out how to mount it on a guitar, in fact I did mount it on a guitar. There's a picture somewhere of me holding a two-string guitar that had an EBow mounted on the body. I built this instrument because I just really liked the sound of the rhythm guitar string using an EBow. I did a lot of experiments with devices, some that I bought, tore apart, rebuilt, added to, modified in various way. Cheap synthesizers that I took apart, experimented with and modified in various ways. I was a hobbyist, an experimenter. It sort of paralleled my interest in developing an electronic guitar called the Syntar. The Syntar is a device that was designed from the ground up as an electronic controller but modelled after the way a guitar makes sound. Or any kind of stringed instrument. The idea was to mimic the playability of a stringed instrument and apply it to a synthesizer. Guitar-player technique or string-player technique and translate it to the ability to control any sound, which is theoretically what a synthesizer can do. That was my passion, I was very much into that and spent years and years and years experimenting. By necessity I had to get into electronics in order to have instruments to use on the soundtrack.

What's nuts to me is that you were working on this, and digitizing guitars, combining them with synthesizers is something that only recently became a big thing the guitar world. You were 20 years ahead on this.
Yeah, I was in the vanguard, you might say, on a lot of that. I was looking for a more direct way to control synthesizers than some finicky, error-prone system that converted the pitch of guitar strings to the controls of the synthesizer. That's why they didn't really take off. Guitars didn't like them because they were finicky and you didn't feel really connected to the sound because there was this delay and a lot of other problems related to pitch to voltage instruments. The pitch to voltage converted instruments available today are much, much better. They're usable. But I prefer a more direct controller. Take a keyboard, reshape it into the shape of a guitar and then use that, instead of trying to take a guitar and adapt it to playing a synthesizer, which is always going to be an imperfect process. So that was just a different approach that I took, and now you've got products that can track an actual guitar much better than the earlier systems that were designed along those lines. But there is a guy that was also experimenting. His design is a little different than mine, but using the same principle, what you might call the solid-state electronic approach to using a guitar to control a synthesizer. His name is Harvey Starr, he's been doing it almost as long as I have. Maybe we started around the same time in our experiments, but he has a guitar called the Zeytar. You can find him online, his company is Starrlabs. He's actually turned it into a commercial product, which I never did. Being in prison, I could never do that.

Do you resent that you never got to take this technology to market, or not getting the credit of being a pioneer?
Well, I think there were times when I did resent it or felt frustrated because of it. I don't think I could really resent it, because there's nothing to resent given the fact that it's nobody's fault but my own that I'm in product. The only thing standing in the way of being able to market my designs is my being in prison. I can't really blame anybody else or give a sour grapes routine on that basis, so I just have to move on and accept that Harvey was in a position to do it. He didn't steal from me, we just had similar ideas. It's a piece of parallel thinking, you might say. So I'm grateful to him for bringing an instrument of that sort to the world. I don't look upon it with regret at all. It is what it is, I learned what I learned, and I'm richer for it. The technology is still available to other people. Yeah I didn't get credit, but you know, but credit's overrated (Laughs.)

But it's still nice.
Yeah, but you know, it's OK. That phase of my life has passed. I don't experiment in that way. I'm not building circuits. I may again someday. But right now, I'm just enjoying using really well designed electronic instruments that were manufactured, that had come out of all those years of experimentation. I wasn't the only one experimenting. There was a whole lot of us who were experimenting and trying different ideas, different ways of controlling synthesizers, or coming up with new circuits, or making new types of sounds. Now, all of those ideas have been incorporated into commercially available instruments that are stunning, really just amazing, and I'm enjoying the fruits of all that. I have an electric guitar that's made by Schecter and it was customized for me which has that sustainiac system on it, which means that I have that instrument I wanted many years ago, an EBow mounted on the body of the guitar, well that's what this is. I've got an amazing instrument.

What about working on computers?
I don't have access to that for my personal music, I'm not allowed to do that.

So what do you record on? Tape recorders?
I actually have a personal recorder, a small handheld 8-track recorder. It records 24 bits, so I'm getting really good... You know, I have in the palm of my hand now greater than the equivalent to what I had when I did the soundtrack back in the '70s. I've got all that in the palm of my hand plus digital effects built in, plus a lot of other things. That's what I use for recording, and I've got a really good synthesizer, a mini Nova that is just awesome. It's analog-style, emulated analog. Just an incredible instrument. And I've got a percussion controller device, sampler called the Beat Thing, which is awesome. I've got good instruments and I'm able to do what I need to do. I'm so proficient at programming that I can get any sound I want. I did so much experimentation that I know intrinsically how to develop a sound out of one's imagination.

Do you miss playing live? Do you have the opportunity to get in front of a crowd?
Once in a while I play live. I've been recording this thing called Ghost Highway, that came out of a live recording. Once in a while I get to get up on stage and play in front of an audience. It's a small audience, but it's still fun to do, I love to do it, I love playing live. There's really no replacement for it. I don't program my music. I do perform my music, so it's not as though I'm programming it, I'm actually playing it and I sometimes collaborate with other musicians here.

You replaced Jimmy Page on Lucifer Rising and you used to play with the guys from Love who used to jam with Jimi Hendrix....
I didn't get to play with Jimi, I was playing with Johnny Echols. He wasn't Jimi, but he was cool. Good guitar player.

Yeah, but do you feel you got screwed out of your proper place in musical history? Your contemporaries became legends.
You know, more power to them. I can't look upon my life with regret in that way and say, "Oh, if only I hadn't been so stupid that I put myself in a position of killing a guy and gone to prison, look at what I could have been." That would be ludicrous to do that, it would be a waste of energy. I can't spend the rest of my life doing sour grapes. You talk about Jimmy Page. I did an interview, him and I were featured in the same article, I think it was Classic Rock magazine, some years ago, and he was talking about the soundtrack, and he was all sour grapes, man. I was really surprised. I had this fantasy that he and I would put our versions of the soundtrack on the same album some day. I was thinking, how cool would that be? To put his music and my music on the same album so people could hear what he was doing, what I was doing, not competitively, but how similar yet different our visions for the soundtrack was. But that was my fantasy—turns out here's the superstar, the rock god, and he's envious of me, and I'm in prison.

It's weird how things work out that way.
(Laughs) Yeah, it is. I'll never be as famous as him for my version of the soundtrack. But I don't regret that. I can't look on my life with regret. It is, what is, man. Hopefully my music will continue to resonate with people who discover it and what else can I hope for? Is just to be able to connect with people through my work and I get a lot of nice feedback from people who have discovered my work. I don't have any major distribution network to get it out there, so it's up to people who are passionate about music to find me, in a way. As you did, you found me, so other people have. Just to be known on that level is enough. It is what it is.

One last thing I wanted to ask you about. The cartoon, Professor Proponderus. What was your involvement?
I made it.

You made the whole thing? The design....
I created the environment, developed the characters and did the voices and did all the animation and the music.

How did you do all that? I can't even build my own website.
(Laughs) Well, just over the years, I've been into doing videography for a long time. I started dabbling in a program in 1976 when I was in Tracey. I actually working on the soundtrack at the time and the feds bought some equipment for the state for an experimental program to put video for education purposes into all the prison cells for rehabilitation purposes. So I got into video way back then and stayed with it. I love the visual medium, I love film and filmmaking and video has evolved into a type of filmmaking. So, I've gotten good at it over the years. I was doing a number of training videos for a company that's associated with the department of corrections. You know, safety training and inmate training of various types, sometimes training that is used for staff. In between work on those types of projects I was able to spend some time on this series of animations called the Ask Professor Proponderus which is for the children of incarcerated parents. The idea is to use this sort of engaging way of communicating through cartoon characters. Complex, difficult issues. To communicate ideas and concepts in a friendly way that will help children who have a loved one in prison understand what is going on with their parent or their brother or sister.

What's the reception to the cartoon been like?
It's out there, it's part of a series. It hasn't been promoted to the extent that it should be or that it's planned to be. It's kind of on hold a little bit until we have more segments, there's more episodes. I'm working on the second one at present and there should be a few more after that. The idea is that it will be a series that's fairly comprehensive and it will be promoted more rigorously than it has been so far. It is out there on YouTube and available to be seen by anybody. It's on the Department of Corrections website, so it is out there, it just isn't promoted as extensively as it will be eventually.

You have so much going on, with the music and artwork and animation. How rigorously scheduled is your life? How do you find time to do all this stuff?
I've been working for the last six years for the business arm of the Department of Corrections, and we're working intently. It's a pretty rigorous job, it's a full day of work and it's OK. I work by myself, I'm a one-man production company. I work in a corner. Right now, I have left that company. I'm on vacation at present. My workstation will be moved to a new area. I'll be doing the same kind of work, but in a different location. Right now, I've got an operation coming up in a week and I've got an art show in Tasmania that's coming up May 5th, so I've just kind of been taking advantage of the time off to get some other things done.

How do you organize something like the show in Tasmania?
I didn't organize it. It's a group in Tasmania, the cultural arts centre there, they wrote to me and expressed an interest in showing my work. I guess I've got some fans down there. I've putting some new work together. It's not a lot of new work, it's a group show, so I'm part of this show where there will be a couple of other artists, but it's an honour to be a participant in something like that.

Is it frustrating to not be able to attend these things in person?
Of course (laughs). Yeah. A day doesn't go by that I don't wish I was in a more normal type of place and able to interact in a more normal way.

This interview has been edited for length and clarity.

Follow Adam Kovac on Twitter.

New York's Attorney General Wants to Know Why This College Isn't Free Anymore

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Cooper Union in Manhattan. Photo via Flickr user edenpictures

For over 150 years, Cooper Union in Manhattan's East Village existed as something of an enigma. The renowned art, architecture, and engineering college was located in one of the country's most expensive cities, yet even as students of neighboring private universities saw their tuition bills blow past 50 grand a year, Cooper Union remained free.

That all changed two years ago, when Cooper Union's board of trustees made moves to start charging tuition to incoming undergraduate students for the first time. Overnight, the school went from free to costing nearly $40,000 a year—kicking off student-led protests that continue to flare to this day.

Some current and former students argue that Cooper Union has grown corrupt and is ruled by a board more concerned with pleasing its own members—who often hail from the city's powerful real estate interests and Wall Street—than advancing their own education. These critics say the school is governed by a group of businessmen who are both nepotistic and externally unaccountable—and who didn't have to charge tuition, but did so anyway in order to pocket profits for their friends and themselves.

The accusations of foul play gained a sheen of legitimacy late last month when news broke that New York State Attorney General Eric Schneiderman's office had launched a probe into the financial decisions made by the Cooper Union board. The investigation could shed light on what went wrong—and whether there's a future for not-for-profit higher education in our modern gilded age.

The Cooper Union for the Advancement of Art and Science was established by millionaire philanthropist Peter Cooper in 1859. At the time, Cooper argued with his good friend, Andrew Carnegie, over the values of higher education and how it should be paid for. Cooper believed college should be a beacon of public education—free, and for the masses—while Carnegie, true to his capitalist philosophy, thought quality should be bought, not just given away. Cooper started Cooper Union and Carnegie founded Carnegie-Mellon in Pittsburgh.

To keep his dream alive, Cooper bought real estate all over Manhattan, and the college's endowment was bolstered by a never-ending stream of rent checks. These properties included the land beneath the Chrysler Building, which the school owns under special privileges of tax exemption due to its nonprofit status, as well as buildings along Astor Place, near the university. In a sense, Cooper was a real estate visionary who realized that if you own enough property in Manhattan, it's pretty easy to make money.

For over a century, this worked: The endowment was replenished by income from the properties, and the school was able to pay students' fees. But in recent years, that balancing act fell to pieces. Debts soared, and the trustees sought to improve Cooper Union's portfolio via common Wall Street protocols: downsizing, and investment in trustees' hedge funds. As Felix Salmon described in his in-depth analysis of the Cooper Union troubles for Reuters, this backfired.

"With more than $100 million in hedge fund investments in 2008, Cooper was paying more than $2 million a year in hedge fund management fees alone, never mind performance fees," Salmon wrote. "That's the kind of money the college desperately needs for operational expenses."

Cooper Union had to become something it never was, basically overnight: a business

For a while, Cooper Union kept itself afloat by leasing out its properties, even if they were going for below market price—a strategy, Salmon wrote, that was "clearly unsustainable." The most recent example was the $97 million, 99-year-long lease of 51 Astor Place, a Cooper Union–owned property that was auctioned off at a discount to millionaire developer Edward Minskoff, who students say happened to be a friend of the board of trustees. The developer found it difficult to immediately start construction and find tenants—both of which were necessary to pay Cooper the rent it desperately needed. But according to a petition filed by the Committee to Save Cooper Union, Minskoff was granted consecutive delays on rent commitments by the school. Now the black monolith that was erected on Cooper Union's property houses more classes for St. John's University students than it does for Cooper kids.

The Cooper Union charter mandates that the board of trustees be personally responsible for closing the school's deficits. That might explain the sales and investments—these were seen as viable options for the board to save face, albeit temporary ones. But it doesn't explain why the board took out a $175 million loan in 2006 to build the New Academic Building, a towering glass complex smack dab in the middle of Cooper Square.

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The New Academic Building at 41 Cooper Square. Photo via Flickr user Theodore Ferringer

In order to finance the loan, the Cooper Union board submitted something called a cy pres petition to New York State, which allowed the trustees to bypass the charter's rules and borrow money from MetLife against its property underneath the Chrysler Building. At the time, the school was publicly hailed for masterfully handling its portfolio, even if the petition suggested the school was facing a "grave financial crisis" and that a tuition-free future looked bleak.

"Someone had to understand that they were taking out a loan that they could not possibly cover," Victoria Sobel, a 24-year-old graduate affiliated with the activist group Free Cooper Union, told me. "It was an imminently bad decision, and when they made that, we all said, 'That can't be right.'"

The $175 million loan is yet another item that the AG's office is investigating, according to the Wall Street Journal, as it was first presented by the board as a means of expanding the school's brand and principles. The New Academic Building was supposed to elevate Cooper Union, not plummet it into near-bankruptcy. But in the end, the board decided it had to charge tuition to pay back the loan.

"There would always be a justification," Casey Gollan, another Free Cooper Union member who graduated in 2013, told me. "Charging for tuition was how we would pay for the $175 million loan, which was supposed to be good for the school. Now, taking out a $55 million bridge loan was how we would pay for charging for tuition."

Why would you have to take out another loan to charge students money? As Free Cooper Union member and alum Joey Riley sees it, Cooper Union had to become something it never was, basically overnight: a business, one that now costs $ 39,600 a year to the incoming undergraduate class of 2019. It had to create a financial aid office, a registrar, a bursar, and dedicate resources to build the infrastructure of this new corporate model. That stuff costs a lot of money.

"Before, teachers would sit around in rooms and debate who should be accepted into the school, and what should be taught," Riley said. "Now, the admissions office uses an algorithm to decide what the best price sensitivity is for students to want to go here."

In defending the school, Justin Harmon, the school's VP for communications, shared with me the latest "The State of the Cooper Union" report from mid March. In it, the administration details why the decision to charge tuition was made, as well as the benefits of the new revenue stream. "Without a disruptive intervention, the financial model I inherited was not sustainable, with escalating deficits projected into the future," current school President Jamshed Bharucha wrote.

"For the record, we have engaged in regular briefings with the AG's office since realizing that the Cooper Union's financial circumstances would likely require us to change its financial model," Harmon wrote in an email. "We initiated contact with the office again after the lawsuit was filed, so as to be available to answer any questions the allegations in the lawsuit might raise. We are cooperating fully and providing as much information and perspective as we can."

The lawsuit Harmon is referring to—the Committee to Save Cooper Union v. Cooper Union—may have provided the spark for the probe. The case, filed by a student and a professor in Manhattan Supreme Court last August, seeks to uncover why, exactly, charging tuition was necessary. (Faculty members from the Committee to Save Cooper Union would not comment for this story, because the lawsuit is still being fought in court.)

When I met Gollan, Riley and Sobel at an East Village diner, they handed me a large stack of papers, including a lengthy transcription of the court proceedings from the Committee to Save Cooper Union's lawsuit.

"It's like I keep asking myself, 'How much darker can this get?'" Gollan said. "And then I get proven wrong again and again. Now the people asking 'What's going on?' is the state of New York. Who knows what the AG will dig up."

The documents included a report from a working group that detailed numerous means by which the university might have avoided charging tuition. The group was formed by three trustees after the initial occupation of the President's office by students two years ago, but its findings were deflected by the board. The report included inquiries into the real estate assets of Cooper Union, specifically that of the Chrysler Building, the school's crown jewel.

Students also like to point out former President George Campbell Jr. was one of the highest-paid university executives in the country— he earned over $650,000 (including a $175,000 bonus) in 2009, just as the school began suggesting it had no money. (Campbell, who opposed the decision to charge students, stepped down as president in 2011 and has since moved on to another not-for-profit school on Long Island.)

A counter-report prepared by the Committee to Save Cooper Union, " The Real State of the Cooper Union," claims that it's unclear when the school will start turning a profit. President Bharucha predicts new revenues to reach $12 million by 2019, but Riley argued that it'll take five years for CU to recover from all the debt. That brings us back to the point of the AG's probe, which is focused on finding out why, even with the decision to charge, the school's finances still seem to be such a mess.

In an unofficial board meeting transcript leaked in 2012, students like Sobel, Riley, and Gollan were described by the trustees as being "influenced by the Occupy movement" and pissed off by the Wall Street barons who bankrupted the global financial market. "I think these students are very frustrated because they don't really have a handle," one trustee remarked, "And they're being influenced by some people who do have a handle, but who see political gain in this."

In that same meeting, another trustee, Peter Cafiero—who once wrote a scathing email to student protesters saying that they didn't have "the most basic knowledge of how to make their case, what their case is, or the realities of the world"—warned of future intervention by the AG's office. The board of Cooper Union clearly wanted nothing to do with Attorney General Schneiderman.

"They could basically make our lives hell by going through every dime spent on everything here," Cafiero said at the time. The statement is in stark contrast with what Justin Harmon, the spokesman for Cooper Union, told me: that the school looks forward to complying with the probe.

Peter Buckley, a humanities professor at Cooper since 1985 and the VP of the faculty union, told me he wasn't particularly surprised by the AG's probe. To him, it was a long time coming, as he believes the board itself had to expect legal blowback of sorts with the risky decisions they made—especially President Bharucha, who Buckley thinks resembles Andrew Carnegie, Cooper's old rival.

"It's not just a change in policy; it's a change in ideology," Buckley said. "Most faculty knew that the reason Bharucha wanted to charge was because he couldn't defend the existing tuition scholarships. He thinks education is a private good, and you should pay for it. By making education a quantifiable advantage, the board couldn't have expected that it wouldn't have an impact on the atmosphere of this school."

Using an analogy that he concedes to be "inept, but I'll stand by it," Buckley said the campus now feels a lot like the last days of the Vichy government in France, the puppet regime installed after the Nazis invaded the country during World War II. "There's this sense around campus of a desperation to get things done before it all falls apart," he said. "Something's going to happen."

When I spoke to Cooper Union students, both past and current, it sounded as if they were documenting a war fought on the streets of the East Village. Hadar Cohen, a senior-year engineering student, described the incoming freshmen as "post-occupation," and said she was hopeful that the new students would be "ready to fight." But for her generation, the upperclassmen who witnessed this whole saga took place, the AG's probe has reopened a new battlefront. Just last week, the board backed away from implementing credit caps a backlash from both students and faculty, who argued that the move was profit-driven.

"It's this reality that you've been sold that is completely unreal."

"After the decision to charge, there was this weird energy on campus," Cohen told me. "A sense of powerlessness; it definitely felt like the administration was taking advantage of us because we were young. We had did as much as we could, and we had lost hope about the future."

"But now," she continued. "There's this boost of energy with the AG's probe. Like, we enabled this to happen, and now the higher powers are getting involved. Things are finally going in a positive direction."

Since the decision to start charging tuition, the board has tried to appease its students, including efforts to diversify its own membership. A student representative has been appointed, even though the board shot down the idea of an Associates Committee, which would've been made up of faculty and professors as a check on the Executive Committee's actions.

Sobel, for one, feels betrayed by her alma mater, and finds it harder each passing day to dedicate time to the cause. Even though the tuition charges went into effect after she graduated, she feels the principles by which Peter Cooper built the school have been bought and sold.

"It's a financial scandal but a cultural problem," she told me. "Universities have to grow, have to be pro-expansion. But if you get through all of that, there's a layer of growth that is just incomprehensible here. It's this exceptionalism that has plagued schools everywhere, and it's just ridiculous. It's like you graduate into this plateau, and you find out everything you were told was essentially false.

"It's this reality that you've been sold that is completely unreal."

Follow John Surico on Twitter.


Post Mortem: This Is What Happens to Unclaimed Bodies in Washington, DC

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Mt. Carmel Cemetery. Photo by the author

According to the CDC, there were 5,337 deaths in the District of Columbia last year. One hundred twenty-five of those bodies were left unclaimed. This occurrence is not uncommon: With depressing regularity, local authorities encounter situations every year where next of kin are unwilling or unable to pay for burial services, or simply can't be reached.

There is no nationwide standard for what happens next. In Los Angeles County, which has one of the best-known public burial programs in the country, the coroner holds the body for about a month before cremating any unclaimed bodies. The cremated remains are held for up to three years before poured into a mass grave with a single marker for the year of death at an annual county-sponsored interfaith ceremony. In Maryland, unclaimed bodies are turned over to the State Anatomy Board if no one can be located through "reasonable search" to claim the body after 72 hours. The cadavers are then used for medical research alongside those of other body donors. Maryland state officials also pour cremated remains from each year into a single grave and hold an annual ceremony every June honoring their contribution to science. In Virginia, some counties pay for individual burials for unclaimed bodies.

Washington, DC, purports to have a system similar to these, referred to as " public dispositions." The Office of the Chief Medical Examiner (OCME) holds the body for 30 days, after which point any unclaimed bodies are handed over to DC–based W. H. Bacon Funeral Home for cremation and subsequent burial. According to the 2008 scope of work, which was provided to me by OCME's General Counsel Mikelle DeVillier and which "has remained substantially unchanged, except for the pricing," W. H. Bacon Funeral Home agreed to place cremains in properly labeled containers that would be interred in permanently marked graves fewer than 50 miles outside of DC. (The full document can be found here.)

But that's not actually what happens to unclaimed bodies in DC. In reality, the cremated remains are buried in an unmarked grave in a Baltimore cemetery; several hundred more from years past are located in a similar unmarked gravesite in Alexandria, Virginia.

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Piles of cremation certificates. Photo by Jenniffer Masterson

From what I could tell, the names of the cemeteries do not appear on any publicly available DC government website, nor are they listed in the agency's annual reports. So I submitted a FOIA request, spanning from 2008 to the present, to figure out where the bodies are buried. According to the documents provided to me on behalf of OCME, the bodies were buried in Coleman Cemetery in Alexandria, Virginia, from 2008 to 2013. Since then, they have been buried in Mt. Carmel Cemetery in Baltimore. After subtracting the bodies of veterans (which are buried in a separate process at Quantico), these two cemeteries account for 660 sets of cremated remains from the DC public dispositions program at a cost to taxpayers of over $350,000—with not a single above-ground marker between them to inform visitors of what lies beneath.

Coleman is a small, historically black cemetery located in an affluent part of Alexandria, across the Potomac from Washington. Findagrave.com lists 1,149 interments there, which seems about right based on my own visit. It's a fairly austere place with no on-site office and no phone number listed online. Tacked onto the side of a storage room, however, is the phone number for Ron Reaves, the point of contact for the cemetery. When I called Reaves, he gave me instructions on how to locate the unmarked area at Coleman where public dispositions provided by W. H. Bacon were buried.

In several areas, the graves are either hidden behind trees and weeds or next to heaps of trash.

He said there were "about five or six" burial containers which he estimated each had 50 to 60 sets of individual cremains (although when I provided my own higher estimate for how many sets of cremains were there, he seemed to agree). Reaves told me the cremains boxes are six inches high by four or five inches and that "[W. H. Bacon] just put a bunch of 'em in a casket or some kind of container and brought them out there and buried them. They were trying to find the least expensive way of entombing the bodies."

When I asked him if someone could come back and retrieve a specific set of cremated remains, he told me, "At this point, it would be very, very, very difficult. You could probably locate the vault that they were in, but there's paper writing on the top of each one of the cremains [and] every cemetery is waterlogged. It would be virtually impossible to locate after so many years and tell who's who."

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A heap of trash at Mt. Carmel. Photo by Jenniffer Masterson

Mt. Carmel, where unclaimed bodies have been buried since 2014, is just south of Interstate 95 in Baltimore. It's a much larger operation (Findagrave.com lists 5,854 interments) with an on-site crematory and an office in a nearby trailer that stays open on weekdays. The chain-link fence on its southern side is rusty and full of sections that are pried apart. In several areas, the graves are either hidden behind trees and weeds or next to heaps of trash.

Like at Coleman, the burial location is completely unmarked, discernible only by a bit of ground discoloration if you really know what to look for. According to the staff, there are two burial vaults with individual cremains provided by W. H. Bacon inside each of them. Mt. Carmel staff also said that, at their request, W. H. Bacon purchased a special liner to protect the cremains from the elements—although they stressed that Mt. Carmel's responsibility was only to take the cremains and bury them. The staff member did not seem to have a full awareness that these were public dispositions from the District.

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When I shared everything I'd heard and seen with Josh Slocum, executive director of the Funeral Consumers Association—a watchdog group for the funeral industry—and asked if he saw a disconnect between that and the service that W. H. Bacon is contracted to provide, he told me, "The scope clearly promises marked graves and a means to identify individual sets of cremated remains. If they're not doing that, they're doing only part of the job." He said their price of $560 per cremation is on the low end and would be "enough to turn a profit on with enough volume." (A complete breakdown by year can be found here.)

Slocum added that he didn't have enough information to opine on how fair a price this was. "It would be hard to say how fair the price is without knowing if they own a crematory," he said. "It's a question of whether the prices Bacon charges are reasonable given their costs, or if they've low-balled the price and decided to skimp on the identification and markers at the end. Were I in charge of this budget item, I'd want to know the details."

For their part, W. H. Bacon didn't have a whole lot to say about that all this. When I put the question to Wendell Bacon, who works at the funeral home and whose mother owns it, he said he felt that the work is being done according to the contract, but told me he was not allowed to discuss it in detail. Another W. H. Bacon staff member told me the same thing.

[body_image width='1200' height='676' path='images/content-images/2015/04/06/' crop='images/content-images-crops/2015/04/06/' filename='this-is-what-happens-to-unclaimed-bodies-in-washington-dc-406-body-image-1428350229.jpg' id='43441']W. H. Bacon Funeral Home. Photo by the author

It's fair to ask whether the current requirements in the scope of work that require marking and retrieval of individual remains in perpetuity are perhaps largely unnecessary. The question of how many people actually come back to claim the remains of their next of kin after 30 or more days have passed is largely an empirical one, the answer to which can inform how these remains are labeled in public. (The answer is not very many.) It's also important to consider the broader question of why one out of every 42 dead bodies in the District is unclaimed in the first place, left to be buried and cremated by the city. By comparison, LA County's ratio—considered on the high end nationwide—is one in 38.

However, that discussion is entirely separate from the question of whether the District's current vendor is following the terms stated in their contract for public dispositions. More broadly, the practice of burying hundreds of cremated remains of the District's unclaimed bodies using unmarked graves in hard to find locations reflects poorly on the nation's capital.

For his part, Ron Reaves doesn't want to wait for someone else. He told me he was planning on spending about $500 from his own pocket to put some grave markers in the area at Coleman where the DC public dispositions currently reside. When I asked him why, he said, "Why not? This is a historically black cemetery. It's the humane thing to do. I would suspect that most of the people who have been picked up in the District and eventually been cremated—I'd say 95 percent—were probably black folks. We want to create a really nice place there and hopefully be able to set it up in such a way that 50 years from now, or 100 years from now, someone will still be taking care of the place. And you know... be proud of it."

Jenniffer Masterson contributed reporting to this story.

Follow Simon Davis on Twitter.

Allowed for Performance: Punk and Rebellion in 1980s Siberia

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Allowed for Performance: Punk and Rebellion in 1980s Siberia

James Deen, Life Coach: I Asked Porn’s Biggest (Male) Star to Help Solve My Dry Spell

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Handsome porn star James Deen. Photo via Wikimedia Commons

As I've previously mentioned, I'm currently going through an odyssey that involves a laughable lack of human touch and tender, Instagrammable moments. I'm not blaming anyone. I can fully attest that this rut all comes it's me. However, while I've gone out on dates with some real doozies (one guy wanted to spend the whole time talking about how he "ate just like a little bird"), I'm far past the point of just planting myself down on any ol' dong.

But do I have the luxury of being so particular? My libido really wants an answer.

To gain some perspective, I called upon porn marvel James Deen. (Link obviously NSFW.) Anyone who's watched Deen perform will know the man has a unique quality of creating an almost palpable chemistry with anyone he inserts himself into—including those who wouldn't exactly be described as charismatic (Read: Backdoor Teen Mom). I get that he's a performer, but there's still something about the spark he emits that's completely awe-inspiring. I felt like he could teach me something about connection.

If we can apparently fall in love with anyone by asking 36 questions, can something similar be done with boning, particularly when it feels like love is unattainable? I hold Deen in high regard. I assumed he would have the answer(s).

Take the time to talk and listen
He doesn't have answers. Deen is clear of that off the top. I'm quickly relieved, however, when he tells me he also doesn't have heightened powers to make himself attracted to someone he's not attracted to.

He does, however, acknowledge the importance of communication. Deen always makes a point of talking to his partners to understand their intentions in order to get him to their level.

"Sometimes when I'm having sex with people, their desires and motivations to have sex is a physical thing, or an emotional thing, or just a fun thing," he says. "It's just about working with that person and then doing things together. But there's no trick that's going to work every time, with everyone."

There have been a handful of times he's worked with a performer who he didn't connect with—usually as a result of a delusion-based attitude problem—which will result in a scene where they're "physically engaged in the act of sex and nothing more, and it's disconnected."

He likens it to the differences between shooting softcore versus hardcore. "Sometimes the feeling isn't there. But it's what you bring to it, that you'll get out."

My takeaway: Usually, I have zero expectation, and in turn, little enthusiasm going into the majority of dates, by way of Tinder. I bring the same energy as I would if I were meeting a stranger that a friend from out of town wanted me to connect with—a standard, yet arm's length level of friendliness. I leave the real warmth at home with my dog.

If I realize we don't have much to work with, I tend to shut down pretty quickly, relying on the most basic pleasantries and niceties to get me through our (generally) short time together. I certainly don't bring depth to the table. That distant chilliness is my strongest defence mechanism at making myself clear that I'm not interested.

It's unquestionable that I should try to absorb Deen's open-hearted approach of emotional leveling. It's all about doing my best at connecting with anything regardless of if I sense something meaningful. It's all about just being human together.

Learn to be sympathetic
When it comes to getting intimate with someone who, let's say, doesn't have the greatest hygiene, Deen does his best not to let judgment rule the day. Again, it has to do with communication and understanding.

"It's not the thing I judge, but the motivation behind it," he says. "It's like, oh, you don't brush your teeth because you're a slob versus, oh, you don't brush your teeth because you have a horrible mouth issue that you're getting taken care of next week but you can't physically brush your teeth, then that makes sense. I'm happy you're taking care of yourself and I'm sympathetic."

My takeaway: Again, I can learn from Deen's sympathy and work on curbing my instinct to be put off by so many guys. I am guilty of shutting down a date in 20 minutes because he was a yellow-fingered chain-smoker (luckily, we met for a walk in my neighbourhood) and completely wrote off a nice enough fellow (albeit not professionally established enough for my taste) whose giant stye was the only thing I could focus on.

That's not to say it was these specific imperfections that were the deal breaker—it's just that they didn't help entice me further. Again, I will learn to take a page from Deen's book on sympathy, and listen more actively. That way, there's a greater chance to connect in another way, even if it's not romantic. There's no harm in that.

Just live, dude, even if boning isn't a big part of it
Even the guy whose artistic practice involves having sex with different women every single day can acknowledge that life is a constant challenge that will never stop throwing you more constant challenges. With that in mind, he says sex isn't the be all and end all.

"People grow up and get misanthropic and get down that life is tough, you have to do shit. When shit gets harder, it affects your life," he says. "So something as simple as wanting to go out and find someone to touch your genitals and to touch their genitals becomes a process. It's not as simple as going, 'Oh, I like them, they're pretty, let's go fuck.' The older you get, the more of life you get to experience and the more you experience, the harder shit gets. Life is tough."

Still, I wouldn't hesitate to label Deen as "posicore," in that he brings a Care Bear Stare to anything you throw his way. Even your all-consuming problems he doesn't have the concise answers you're desperately searching for.

"The fact that you're dealing with this not getting laid means you're living, you're living life. Embrace life and let shit just come naturally," Deen says. "Sex is important but it's not the end all and be all of life. The fact that we're able to have big enough brains to enjoy it, is pretty fucking interesting."

My takeaway: OK, imagine the sound of air being released from a tightly filled helium balloon. That's about the level of relief I feel when Deen—he who is famous for fucking regularly and vigorously for a living—assures me that sex isn't the most important thing.

While I do have the tendency to regularly get consumed (and panicked) with the thought of where I'm going to meet someone I get with, I can function on a manageable level when I just accept where I'm at. Until things shift, I take comfort in the words and captivating moving images that Deen, his open heart and remarkable erect penis, put out into this world.

Follow Elianna Lev on Twitter.

Photos: The Faces of Iowa Monster Arm Wrestling

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The Faces of Iowa Monster Arm Wrestling

On the Lam with Bank Robber Enric Duran

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Being underground is not a condition Enric Duran always takes literally, but one night in late January he went from basement to basement. At a hackerspace under a tiny library just south of Paris, he met a group of activists from across France and then traveled with them by bus and Métro to another meeting place, in an old palace on the north end of the city. On the ground floor it felt like an art gallery, with white walls and sensitive acoustics, but the basement below was like a cave, full of costumes and scientific instruments and exposed masonry. There, Duran arranged chairs in a circle for the dozen or so people who'd made the journey. As they were settling in and discussing which language they'd speak, a woman from upstairs, attending an event about open licenses, peeked in through the doorway. She pointed Duran out to her friend, trying, barely, to contain herself. After the meeting was over, she came right up to him. "You're the bank robber!" she said.

In that basement Duran held court. Slouching, the 38-year-old anticapitalist activist had a space between his two front teeth, grizzly hair, and a matching beard—black except for stray grays mixed in throughout. He wore a white sweatshirt. His presence was discreet and stilted, yet it carried authority in the room. While others made small talk he looked off elsewhere, but his attention became total as soon as the conversation turned to the matter on his mind and the opportunity to collaborate.

He had gathered the group to describe his latest undertaking, FairCoop, which gradually revealed itself to be no less than a whole new kind of global financial system. With it, he said, communities around the world would be able to trade, fund one another's growth, redistribute wealth, and make collective decisions. They would hack currency markets to fund themselves while replacing competitive capitalism with cooperation. He proceeded to reel off the names of its sprawling component parts: FairMarket, FairCredits, Fairtoearth, the Global South Fund, and so on. "We will be able to make exchanges with no government controls," he promised in broken English. To get the project going, he had hijacked a Bitcoin-like cryptocurrency called FairCoin.

The French activists indulged him with questions based on whatever hazy grasp of it they could manage—some political, some technical. How does FairCoin relate to FairCredit? What can you buy in the FairMarket? How many FairCoins go into each fund, and what are they for? Most of these came from the men, all more or less young, who stroked their chins as they listened. Most of the women left before it was over. Duran's voice was never other than monotone, but his responses nonetheless sang a kind of rhapsody. The answers to a lot of the various what-if questions were some variation of "We can decide."

The only reason that the group was willing to even consider this bewildering set of possibilities was that Duran was, in fact, a well-known bank robber—the man who expropriated several hundred thousand euros from Spanish banks during the lead-up to the 2008 financial crisis, for which he was still in hiding from the law. He had used the momentum from his heist to organize the Catalan Integral Cooperative, a network of cooperatives functioning throughout the region of Catalonia, in northeast Spain, which the activists in Paris were attempting to replicate throughout France. His undertakings tended to work. Perhaps even this.

Before robbing banks, Enric Duran networked. As a teenager he was a professional table-tennis player and helped restructure the Catalan competition circuit to be more equitable. He turned his attention toward larger injustices in his early 20s, when he read Erich Fromm's diagnosis of materialist society and Henry David Thoreau's call to disobedience. This was the late 1990s, high times for what is alternately called the global-justice or anti-globalization movement. The Zapatistas had risen up in southern Mexico in recent years, and just weeks before Y2K, activists with limbs locked together and faces in masks shut down the World Trade Organization meeting in Seattle. According to Northeastern University anthropologist Jeffrey Juris, in Barcelona "Enric was at the center of organizing everything"—so much so that he became one of the main sources for Juris's book about network culture. People called him el hombre conectado.

Duran helped organize the Catalan contingent for protests at the 2000 World Bank and IMF meetings in Prague; a cop there whacked him on the head in the streets. He called for ending reliance on oil and for canceling the debts of poor countries. He was then living on a small allowance from his father, a pharmacist, until using the remainder of it to help set up a cooperative infoshop in Barcelona called Infospai in 2003. He'd hoped to support himself with Infospai, but it was soon plagued with money problems, like the projects of so many activist groups around him. They needed new streams of revenue that capitalism was unlikely to provide.

Robbing he banks was a spectacle, but one that created networks and built momentum for other projects. 'This is not the story of one action,' Duran said. 'It is a process of building an alternative economic system.'

Duran had been studying the nature of money, which he came to see as an instrument of global debt servitude on behalf of financial elites, carrying the stain of their usurious dealings wherever it went. He became convinced that big banks were the chief causes of injustice in the world. But, he thought, maybe they could be a solution too.

An entrepreneur friend of Duran's first suggested the idea of borrowing money from banks and not giving it back. At first they talked about organizing a mass action, involving many borrowers, or else just making a fictional film about it. After the friend died in a car accident, Duran decided to act by himself. In the fall of 2005 he began setting up companies on paper and applying for loans. Soon, he had a mortgage from Caixa Terrassa worth €201,000 (then nearly $310,000). It was the first of 68 acts of borrowing, from car loans to credit cards, involving 39 banks. The loans, he said, totaled around €492,000—€360,000 not including interest and fees along the way. That was more than $500,000 at the time.


Aurea Social is the Barcelona headquarters of the Catalan Integral Cooperative. Photos By Daniel Molina

For almost three years, Duran worked steadily and methodically. "My strategy was completely systematic," he wrote in his testimony, Abolish the Banks, "as if my actions were part of an assembly line in a Fordist production system." He'd carry a briefcase to meetings with bankers, though he couldn't bring himself to wear a tie. For a single item—say, a video camera—he'd get the same loan from multiple banks. As he acquired more cash, he funded groups around him that he knew and trusted. He backed the Degrowth March, a bicycle ride around Catalonia organized in opposition to the logic of economic growth, and equipped Infospai with a TV studio.

The beginning of the end came in the summer of 2007. Duran noticed signs of the mortgage crisis forming in the United States and decided that it was time to prepare to go public. During the next year, he assembled a collective to produce a newspaper detailing the evils of banks and what he had done to trick them. The people who helped organize the Degrowth March could become a ready-made distribution network throughout Catalonia. He selected a date: September 17, 2008.

The timing was pretty amazing. On September 15, Lehman Brothers filed for bankruptcy, marking beyond doubt the arrival of a global financial crisis. That morning Duran flew from Barcelona to Lisbon, Portugal, and then the next day from Lisbon to São Paulo, Brazil, where his friend Lirca was living. On the 17th—three years to the day before Occupy Wall Street protesters took over Zuccotti Park in New York—volunteers across Catalonia handed out 200,000 copies of his newspaper, Crisis. Until the day before, most of them had no idea what news they'd be spreading. The international media picked up the story, and Duran became known as the Robin Hood of the banks.

He now refers to this as his "public action." All along he'd planned it that way—a spectacle, but one that would create networks and build momentum for other projects. "This is not the story of one action," he said. "It is a process of building an alternative economic system."

In Brazil, Duran set up a website for supporters to discuss the next move. At first, the plan was to mount a mass debt strike. People around the world started organizing to renege on their loans, but the scale of participation necessary to hurt the banks seemed overwhelming, and the plan was scuttled. In the last months of 2008, Duran, Lirca, and their friends pivoted toward another proposal—the Integral Cooperative and, eventually, the Integral Revolution.

Like the bank action, the idea was both political and practical. Duran had financial difficulties with Infospai, but it also taught him that there were certain benefits to organizing as a cooperative. The Spanish government normally exacts a hefty self-employment tax for independent workers—on the order of about $315 per month, plus a percentage of income—but if one can claim one's work as taking place within a cooperative, the tax doesn't apply. Amid the cascading crisis, people were losing their jobs, and the tax made it hard for them to pick up gigs on the side to get by—unless they were willing to join together as a cooperative. Duran wasn't planning a traditional cooperative business, owned and operated by its workers or by those who use its services. Instead he wanted to create an umbrella under which people could live and work on their own terms, in all sorts of ways. The idea was to help people out and radicalize them at the same time. The rich use tax loopholes to secure their dominance; now anticapitalists could do the same.

The group chose the word integral, which means "whole wheat" in Spanish and Catalan, to connote the totality, synthesis, and variety of the project. It emboldened Duran, and he began making promises of his return to Catalonia. He devoted much of the remaining money from his loans to a second newspaper, We Can! While Crisis had focused on the problems of the banking system, We Can! would be about solutions. The cover declared, "We can live without capitalism. We can be the change that we want!" It outlined the vision Duran and his friends had been developing for an Integral Cooperative. On March 17, 2009, exactly six months after Crisis, 350,000 copies of We Can! appeared throughout Spain. The same day, Duran surfaced on the campus of the University of Barcelona, and he was promptly arrested. Several banks had filed complaints against him. The Spanish prosecutor called for an eight-year prison sentence.

Duran was thrown into jail, but he went free two months later, after an anonymous donor posted his bail. Thus began almost four years of freedom and organizing with his friends. They made sure to set up the cooperative legal structure at the outset, so that the tax benefits could draw people into the system. Then the priority was to arrange for necessities: food from farmers, housing in squats and communes, health care by natural and affordable means. By early 2010 the Catalan Integral Cooperative (CIC) was real, with commissions and monthly assemblies. The following year, when the 15M movement, a precursor to Occupy Wall Street, installed itself in city squares across Spain to rail against austerity and corruption, protesters swelled the CIC's ranks. Replica cooperatives began to emerge in other regions of Spain and in France. None of the money from Duran's loans actually went to forming it, but it grew with his notoriety, his networks, and his fervid activity.

A few blocks from Antoni Gaudí's ever-unfinished basilica, the Sagrada Família, sits Aurea Social, a three-story former health spa that has served as the Barcelona headquarters of the CIC (pronounced "seek") since February 2012. Past the sliding glass doors and the reception desk is a hallway where products made by members are on display—soaps, children's clothes, wooden toys and bird feeders, a solar-powered reflective cooker. There are brochures for Espai de l'Harmonia, a hostel and wellness center, where one can receive Reiki treatments or take aikido lessons. Beyond, there is a small library, a Bitcoin ATM, and offices used by some of the 75 people who receive stipends for the work they do to keep the CIC running. On certain days, Aurea Social hosts a market with produce fresh from the Catalan Supply Center—the distribution warehouse in a town an hour or so to the south, which provides this and the cooperative's other markets throughout the region with about 4,500 pounds of goods each month, most of which come from the cooperative's farmers and producers.

Each of the enterprises advertised at Aurea Social operate more or less independently while being, to varying degrees, linked to the CIC. At last count, the CIC consisted of 674 different projects spread across Catalonia, with 954 people working on them. The CIC provides these projects a legal umbrella, as far as taxes and incorporation are concerned, and their members trade with one another using their own social currency, called ecos. They share health workers, legal experts, software developers, scientists, and babysitters. They finance one another with the CIC's $438,000 annual budget, a crowdfunding platform, and an interest-free investment bank called Casx. (In Catalan, x makes an sh sound.) To be part of the CIC, projects need to be managed by consensus and to follow certain basic principles like transparency and sustainability. Once the assembly admits a new project, its income runs through the CIC accounting office, where a portion goes toward funding the shared infrastructure. Any participant can benefit from the services and help decide how the common pool is used.

Affiliates can choose to live in an affiliated block of apartments in Barcelona, or at Lung Ta, a farming commune with tepees and yurts and stone circles and horses, where residents organize themselves into "families" according to their alignments with respect to Mayan astrology. Others move to Calafou, a "postcapitalist ecoindustrial colony" in the ruins of a century-old factory town, which Duran and a few others purchased after he found it for sale on the internet. (Further details about Calafou cannot appear here because VICE does not publish under an open license, a requirement the colony's assembly has for press wishing to cover it.) Not far from there, a group of anarchists runs a bar and a screen-printing studio in a building that once belonged to the CNT, the anarcho-syndicalist union that ran collectivized factories and militias during the civil war of the 1930s, orchestrating what is almost assuredly the modern world's largest experiment in functional anarchy. Like the CNT, the CIC is making a new world in the shell of the old—so the utopian mantra goes—and, to a degree that is not at all utopian, creating livelihoods for themselves in a place where livelihoods are not at all easy to come by.

For years now Spain has been sunk in a perpetual downturn, with an unemployment rate exceeding 20 percent for the general population and hovering around 50 percent for those under 25. The exasperation has given rise to Podemos, a new populist political party that opposes austerity policies and is poised to displace the establishment. But the less-noticed side of this uprising is movements like the CIC, working closer to the ground and reshaping the structure of everyday life.


The rooftop garden at Aurea Social

The office of the CIC's five-member Economic Commission, on the first floor of Aurea Social, doesn't look like the usual accounting office. A flock of paper birds hanging from the ceiling flies toward the whiteboard, which covers one wall and reads, "All you need is love." The opposite wall is covered with art made by children. The staff members' computers run an open-source Linux operating system and the custom software that the IT Commission developed for them, which they use to process the incomes of the CIC's cooperative projects, handle the payment of dues, and disperse the remainder back to project members upon request.

If the taxman ever comes to CIC members, there's a script: They say that they're volunteers for a cooperative, and then point him in the direction of the Economic Commission, which can provide the proper documentation. (Officially, there is no such thing as the CIC; it operates through a series of legal entities, which also makes it less dependent on any one of them.) Insiders refer to their system, and the tax benefits that go with it, as "fiscal disobedience," or "juridical forms," or simply "the tool."

Accounting takes place both in euros and in ecos, the CIC's native currency. Ecos are not a high-tech cryptocurrency like Bitcoin but a simple mutual-credit network. While the idea for Bitcoin is to consign transactions entirely to software, bypassing the perceived risk of trusting central authorities and flawed human beings, ecos depend on a community of people who trust one another fully. Anybody with one of the more than 2,200 accounts can log in to the web interface of the Community Exchange System, see everyone else's balances, and transfer ecos from one account to another. The measure of wealth, too, is upside down. It's not frowned upon to have a low balance or to be a bit in debt; the trouble is when someone's balance ventures too far from zero in either direction and stays there. Because interest is nonexistent, having lots of ecos sitting around won't do any good. Creditworthiness in the system comes not from accumulating but from use and achieving a balance of contribution and consumption.

The idea was to help people out and radicalize them at the same time. The rich use tax loopholes to secure their dominance; now anticapitalists could do the same.

The CIC's answer to the Federal Reserve is the Social Currency Monitoring Commission, whose job it is to contact members not making many transactions and to help them figure out how they can meet more of their needs within the system. If someone wants pants, say, and she can't buy any in ecos nearby, she can try to persuade a local tailor to accept them. But the tailor, in turn, will accept ecos only to the extent that he, too, can get something he needs with ecos. It's a process of assembling an economy like a puzzle. The currency is not just a medium of exchange; it's a measure of the CIC's independence from capitalism.

A word one often hears around the CIC is autogestió. People use it with an affection similar to the way Americans talk about "self-sufficiency," but without the screw-everyone-else cowboy individualism. They translate it as "self-management," though what they mean is more community than self. It's like what used to be called commoning—the sharing of common resources, like a forest nobody owns, or the air. This kind of ethic is more cherished in the CIC than any particular legal loophole; the tax benefits just draw people in. The more they can self-manage how they eat, sleep, learn, and work, the closer the Integral Revolution has come.


Espai de l'Harmonia, a CIC-affiliated hostel and wellness center

From project to project, the CIC enterprises and their respective members seem to bear an uncanny resemblance, the way dog owners are said to look like their pets. These are the projects they created, not just a job they happened to get, and it shows. To make a new economy, you need all kinds. One of the feats of integration that the CIC has managed to accomplish among Barcelona's subcultures is the relatively peaceful coexistence of two opposing identity types, the punks and the hippies. They stay separate but in a way that's mutually supportive.

Didac Costa is unapologetically a hippie; he claims the label in a way that's a bit cringe-inducing in American English. Lately, he has been planning a new CIC-affiliated commune, temporarily code-named Walden Bas, after Thoreau's pond and an old local word for forest. The land he's in the process of buying is a rugged mountainside, with the ruins of a few old stone farm buildings mostly reclaimed by vegetation. He showed me around like a well-worn Sherpa, explaining his plans for where everything will be—from the swimming hole to the Wi-Fi antenna—with such familiarity and exactitude as if they were things of the past that had come and gone. This is where he said he wants to end up for good. A "non-dogmatic libertarian," sociologist, and spiritualist, Costa bears an imposing, circumspect presence, honed by ayahuasca sessions with Brazilian shamans and the marijuana he keeps in a tall tequila tin. His enthusiasms come with references to thick books, though he does not consider himself above spending a week digging in the mud to make a few feet of road by the ruins he not yet owns; he claims to relish it as meditation. At 39, he is a few years younger than his graying head of curly, chin-length Catalan hair and the dark crevices around his eyes suggest.

Before the CIC, Costa was already using social currencies. He studied them for a few years in Argentina and Brazil, then came back and started one in the Catalan town of Montseny. (It began on January 4, 2009, the day after Bitcoin came online.) He already knew Duran from some abortive "crazy project" involving a boat full of hippies that was supposed to sail from Brazil to India. But after Duran got out of jail, the two started collaborating in earnest. By late 2009, preparing for what would become the CIC, they met with people in the Tarragona region who had started another independent social-currency network. They decided to link their currencies to a common system. Now, at least 20 local social-currency networks throughout Catalonia are connected through the CIC.


Didac Costa is building a commune temporarily code-named Walden Bas, after Thoreau's pond.

Costa helped start Calafou in 2011. He settled there, but he soon found that he didn't get along with the acrimonious punks who came to dominate the colony. In contrast, his planned eco-village will be hippie to the core: music festivals, Rainbow Gatherings, ayahuasca, yurts, yoga, Vipassana meditation. Financing has been tricky, especially since he lost 80 Bitcoins—around $20,000—to a hack of the Bitstamp exchange in January. He calls Duran his financial adviser, and they talk regularly. While he waits to close the deal on the land, he lives in an apartment close by, where he can watch it, visit it, and draw up plans.

About an hour's drive east toward the coast, one of the CIC's chief punks lives in a tiny medieval town with a death-metal name, Ultramort. Raquel Benedicto often wears a black Clockwork Orange hoodie and has dyed-red hair. There are rings all over her ears. Her nose is pierced at the bridge and septum, though the piercings are not always in use anymore. She has to avoid street protests, because when cops attack her she fights back, and she can't risk that now that she's a mother.

While the idea for Bitcoin is to consign transactions entirely to software, bypassing the perceived risk of trusting central authorities and flawed human beings, the CIC's currency depends on a community of people who trust one another fully.

With her brother, recently returned from years of food service and surfing in the British Isles, she started the town's only restaurant, Restaurant Terra, at the end of 2014. It is a CIC project through and through: Meals can be paid for in ecos, and it regularly plays host to regional assemblies. Members of the local forestry cooperative, which uses a donkey to help carry away logs, come to her for their pay. In the back, Benedicto is also starting a school for local kids, including her three-year-old son, Roc.

Benedicto met Duran during the 15M movement's occupation in 2011. She was already pissed off, but he showed her something to do with it—"something real," she said. She began working with the CIC in the Welcome Commission, learning the Integral logic by teaching others, and by talking as much as she could with Duran. Soon, she was on the Coordination Commission, the group that orchestrates the assemblies and helps the other commissions collaborate better. But that work has been burning her out, and she's been trying to step down to focus on running the restaurant. "I'm starting to do what I want, finally," she told me.


Restaurant Terra, a CIC project, will have a school for local kids in the back.

At the same time, she has been working to spread more of the CIC's operations out from Aurea Social in Barcelona to local assemblies throughout the region. Duran and Benedicto are often in touch about this sort of thing, but she has to be careful. The police once took her phone, and they've interrogated her friends about his whereabouts. She keeps her phone away when she talks about him and encrypts her email. Benedicto is one of the people who keep the CIC running in Duran's absence, who make it no longer need him.

At the end of January, the CIC held its annual weekend-long assembly, devoted to planning the coming year's budget. Sixty or so people sat in a circle in Aurea Social's large back room, with spreadsheets projected above them. A woman breast-fed in the back, while semi-supervised older children had the run of the rest of the building. Benedicto took notes on her Linux-loaded laptop as debates came and went about how to reorganize the commissions more effectively, about who would get paid and how. That weekend they also decided to end EcoBasic, a cautious hybrid currency backed by euros that the CIC had been using—a decision that brought them one step away from fiat money and closer to pure social currency. In the fatigue and frustration of it all, one could be forgiven for failing to appreciate the basic miracle that this many people, in an organization this size, were making detailed and consequential decisions by consensus.

Over the minutiae, too, hung the looming prospect that whatever local decisions they made were part of a model for something bigger. During an argument about whether Zapatista coffee constituted a basic need, a web developer in the assembly was quietly writing an encrypted email to Duran about changes to the FairCoin website, the public face of the CIC's new planetary stepchild. Most people there at least knew about it, but only a few were ready yet to let it distract them from their particular projects.

"Enric thinks about something and everybody starts to tremble," Benedicto told me during a break. "No, no—we've got a lot of stuff to do, and now you want to do that, really?"

Raquel Benedicto helps keep the CIC running in Enric Duran's absence.

In France, Duran fills his days and nights with as much activity on behalf of Integralism as his underground condition allows. He is out and about, passing police officers on the street without a flinch, changing where he lives and works from time to time in order not to be found too easily. He shares his whereabouts on a need-to-know basis. Perhaps the strangest thing about his daily existence is its steadiness, and the absence of apparent anxiety or self-doubt about the scale of his ambition. "I feel that I have these capacities," he told me.

One overcast day in Paris, following an afternoon meeting with a developer working on the FairMarket website, Duran set off to one of the hackerspaces he frequents, one whose Wi-Fi configuration he knew would let him send email over a VPN, which obscures one's location. He was sending an update to the more than 10,000 people on his mailing list. After that was done, he went to meet with a French credit-union expert at the office of a think tank. Her abrasiveness and skepticism about FairCoop didn't faze him in the least. Although the discussion seemed to go nowhere, his only thought afterward was about how best to put her networks to use. At around midnight, he introduced FairCoop to the heads of a sharing-economy association in the back of their co-working space. In order to continue the conversation later, he showed them how to use a secure chat program.

Duran's trial had been slated to begin in February 2013, but none of the defense's proposed witnesses had been approved to testify. A few days before the first proceedings, Duran went into hiding again.

Following the cryptography lesson, he went back to an Airbnb apartment and sat down with his computer. There he worked until 4:30 in the morning—intensely focused, eating the occasional cookie, smiling every now and then at whatever email or forum thread had his attention, and typing back by hunt-and-peck. All day and all night, a second laptop in the room emitted a glow as the FairCoin wallet program ran on it, helping to keep the currency's decentralized network secure. He sleeps four or five hours, usually. No cigarettes, no coffee, rarely any beer. He's not a cook. He makes one want to care for him like a mother.


At Lung Ta, residents organize themselves into "families" according to their alignments with respect to Mayan astrology.

Duran is currently attempting his third great hack. The first was the "public action"—hacking the financial system to benefit activists. The second was the CIC and its "fiscal disobedience"—hacking the legal system to invent a new kind of cooperative. The third is FairCoop—hacking a currency to fund a global financial system. Like the second, the third was born in the underground.

Duran's trial had been slated to begin at last in February 2013. By that time, it didn't seem like it would be much of a trial at all. None of the defense's proposed witnesses had been approved to testify; the authorities did not want the courtroom to become a stage for political theater. A few days before the first proceedings, Duran went underground again. (The English word he uses for his condition is "clandestinity.") At first he shut himself away in a house in Catalonia, but when that became too restrictive, he left for France, where he'd be farther from the Spanish police and less recognizable in public.

With not much else to do, he began learning all he could about cryptocurrencies—the new species of online money of which Bitcoin was only the first and most widespread. Cryptographic math makes it possible to record transactions on a shared network that relies on no government or central bank. Friends of his had already been building Bitcoin-related software. In its infancy, Calafou was once known as a center of Bitcoin development. In early 2013 Bitcoin was beginning its rapid ascent from near worthlessness to a peak of more than $1,200 per unit. Early adopters became rich out of nowhere. Duran noticed the market-adulating individualism that tended to pervade the cryptocurrency scene and wondered whether the technology could be used for better ends. "I was thinking about how to hack something like this to fund the Integral Revolution," he recalled.

Among the hundreds of Bitcoin clones out there, each with its particular tweaks to the code, Duran found FairCoin. "This is a good name," he thought to himself. Part of what supposedly made FairCoin fair was that it didn't rely on Bitcoin's proof-of-work algorithm, which rewards "miners" who have warehouses full of machines that do nothing but guzzle electricity and churn out math. Instead, FairCoins were distributed with what seemed like a spirit of fairness. The original developer gave them to whoever wanted them when the system went online in March 2014. But the whole thing may also have been a scam; the currency went through a quick boom-and-bust cycle, after which the developer disappeared, presumably with a lot of money.

For all of FairCoop's manic complexity, it's also a plain and simple extension of the logic of Duran's previous endeavors: Cheat capitalism to fund the movement, take what already exists and recombine it.

The value of FairCoin peaked on April 15 last year at a nearly $1 million market cap. Halfway through its subsequent free fall, on April 21, Duran made an announcement on the FairCoin forum thread and on Reddit: He had begun buying FairCoins. "Building the success of FairCoin should be something collective," he wrote. "FairCoin should become the coin of fair trade." Between April and September, Duran used the stash of Bitcoins he'd been living on to buy around 10 million FairCoins—20 percent of the entire supply. For most of that time, the coin was close to worthless, abandoned by its community. With a small team behind them, Duran set about buying and planning, while Thomas König, a web developer in Austria, tweaked the code, fixing security problems. They began experimenting with ways to replace the competitive mechanisms FairCoin had inherited from Bitcoin with more cooperative ones designed to fit into the FairCoop structure. By the end of September, CIC members started to invest in FairCoins, and the value shot up again to 15 times what it had been while Duran was buying them in the summer.

Just as the CIC is much more than its patchwork of local currencies, FairCoop is much more than FairCoin. Duran intends FairCoop to be a financial network for cooperatives, governed by its participants. They can sell their products in the FairMarket, trade with one another using FairCredit, and finance their growth with FairFunding. They can buy in at GetFairCoin.net and cash out with Fairtoearth.com. It is to be for the whole world what the CIC is in Catalonia. He has laid out the beginnings of a structure, in the shape of a tree—councils and commissions, markets and exchanges, each seeded with FairCoins. One fund's job is to build software for the ecosystem, while another's is to redistribute wealth to the Global South. Bolstered by a $13,800 grant from the cosmetics maker Lush, thanks to a friend from his global-justice days, Duran is spending every waking hour enlisting everyone he knows to help make FairCoop something useful for post-capitalists everywhere.

What could make the hack actually work is its combination of the coin and the community. The more that local cooperatives become part of the network and use its tools, the more FairCoins will be worth in cryptocurrency markets, where wide adoption helps make a coin valuable. To build the community, therefore, is simultaneously to finance it. If the price of FairCoins were to reach the price of Bitcoins now, for instance, Duran's initial investment would be worth more than $2 billion.

Then again, cryptocurrencies can siphon away value as quickly as they can create it; Bitcoin has been shedding its dollar price for more than a year now, down to around a fifth of its peak—a loss that could be devastating to a fragile cooperative that might want to invest in FairCoin. But the idea is that FairCoop's success won't be staked entirely on FairCoin. Duran doesn't see the currency as the kind of salvific software that tech culture trains us to expect, one that will correct human imperfection if we hand ourselves over to its perfect design. He wants to use it to create trust among people, not to replace trust with a superior algorithm. "If you are not creating new cultural relations," he told me, "you're not changing anything." Just as CIC members try to make their community stronger than any one legal structure, he'd like to see FairCoop become strong enough that it can outgrow FairCoin altogether.

For all the plan's manic complexity, it's also a plain and simple extension of the logic of Duran's previous endeavors: Cheat capitalism to fund the movement, take what already exists and recombine it. But even this unlikely track record is no guarantee. In the hackerspace basement-cave in Paris, while attempting to on-board the French Integralists for his new project, Duran added, as if it were no problem at all, "We don't know if this is going to work."


CIC members often talk about their goal of autogestió, or self-sufficiency.

One does not often see hippies glued to the political news on TV. But Didac Costa was, in his makeshift apartment just under the mountainside where his commune will someday be. Familiar faces were on the screen. Podemos had recently secured five seats in the European Parliament, and polls suggest that it could win the national elections to be held later this year. Costa was in the running for a spot on Podemos's regional council. He hoped to agitate from within, to make the party more supportive of Catalan independence and social movements like the CIC.

In France, meanwhile, Duran was reading the news from Spain on his computer. Mayo Fuster Morell—his first girlfriend, now a prominent media scholar—was in the Podemos leadership, along with people he'd known and organized with for years. He was also watching Greece, where the leftist Syriza party had won an election and was preparing to take control of the government. He culled through its ministers to see if any might be interested in FairCoop. He was on the lookout for some way to hack Southern Europe's new political climate.

He was also thinking about his own return to freedom. In the winter he assembled a small team of people who are working with him in person, both on FairCoop and on his own cause. Back in Catalonia, friends have been trying to arrange some kind of restorative-justice process as an alternative to a trial and prison sentence, but there hasn't been much progress. His father died last year, and he couldn't go to the funeral. Weighing more heavily on his mind, it seems, is the thought of how much he could do for FairCoop if he didn't have to hide.

He needs to find investors, to arrange meetings, to carry out the various tasks a new enterprise demands, and doing so in the confines of clandestinity puts daily constraints on an undertaking that would be difficult enough on its own. Jail would be worse, of course, but he has had enough of this. The bank robber is ready to be a banker.

Follow Nathan on Twitter.

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