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I Pretended to Drink to Make People Think of Me as a 'Cool Muslim'

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Photo via Flickr user Get Noticed

I don't remember the precise moment I decided to pretend to drink, but it happened at some point after people stopped inviting me to hang out. I had lost my first group of friends during freshman year of high school because they wanted to sneak vodka from their parents' liquor cabinets and didn't bother inviting me along. They told me later, after they'd pretty much stopped being my friends altogether, that it was because "you won't drink. You have that weird Muslim thing."

Growing up, I learned that there are religious Muslims and "cool" Muslims—ones who resemble Sarah Koenig's portrayal of Adnan Syed in Serial: a "normal American teenager" who "drinks, smokes weed, has sex."

I wasn't "cool," so in high school, I made friends who didn't care about drinking, or who didn't care that I abstained; I could get away with not drinking (and still thrive in many social spaces) because I was underage and it was normal. But as early adulthood arrived, that game changed, and I had to get more creative.

I vividly recall going to a student leadership conference—one full of post-secondary schools' "brightest minds," where nerds nerded out by discussing issues relevant to students. This was a space where I dominated, and during the day, I was excited to hang out with the other "student leaders." But at night, in hotel rooms where everyone was unsupervised and in close proximity, my non-drinking became a problem.

I didn't judge the other Muslim kids who drank—because really, who cares?—but no one seemed to enjoy my company since I wasn't drinking. I can only infer there is a kinship between drinkers, something like the bonds that form between social smokers in office workplaces. And there I was, sober, on the periphery. It's a feeling I've once heard described as being a virgin watching an orgy.

That night, instead of getting plastered with all the other kids in ill-fitting suits, I caught up with a local friend he showed me around town—the hipster eateries, unlabeled coffee shops, even the local strip club. I had fun sans alcohol.

The next day, the bonding and kinship was cemented. No one could remember the night very well, but there were cryptic inside jokes that I wasn't in on—"remember that guy who grabbed Becky?" It made me realize that I had to find a way to get in with a new crowd. I realized I needed to fake drinking.

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Photo via Flickr user Shay

At first, my techniques were sloppy. I'd hesitate when someone offered me a drink, stuttering that I was underage, or that I didn't have an ID, or that I had taken over-the-counter drugs and couldn't mix them with alcohol. Sometimes, I just pretended I was already drunk—giggling, yelling a bit, or infantilizing myself in other ways. Other times, I would survey a room for potted plants and siphon my drink in.

Pretending to drink made me a type of likable I hadn't experienced before. And quickly, I became very good at pretending. I would still slip up from time to time (once, a professor I had met suggested we meet up over drinks, and when my face slipped, he quickly offered coffee instead) but now, I liken myself to a con artist of sorts. People often take years to figure out that I don't drink. Practice makes perfect.

Even so, my fake drinking hasn't solved everything. In December, one of my best friends sent out a group message about planning her birthday party. She quickly followed up with me: "Sorry—this might not be for you Nashwa." I asked her why, and she replied, "lol because drinking."

I've sometimes wondered what would happen if I stopped lying—if I stopped accepting the glasses handed to me without finding ways to funnel some out into flower pots, or if I avoided events with drinking altogether. But fake drinking has become a means of code-switching for me. It's easier for everyone.

In college, I remember another young Muslim who avoided a student union presidential pub because she didn't want to be around alcohol, even though she was a candidate for the student union. I did attend that event (though, obviously, I didn't drink) and was privy to multiple conversations about how weird she was. Some even felt her absence was rude. Fitting in as the "cool Muslim" gives me the ability to straddle these worlds, and my observations usually end up at the same conclusion every time: Why the fixation on booze?

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Photo via Flickr user Marnie Joyce

Recently, I tweeted about hiding my alcohol abstinence, and I received an onslaught of support I had not expected. Suddenly, my experience didn't seem so isolated. Leilah, another Muslim woman I talked with, said that she had "always felt left out when it came to socializing with coworkers." She doesn't drink either, and since she wears a hijab, she said she felt "awkward going into bars."

One time, Leilah told me, her coworkers invited her out to a restaurant after work, where everyone ordered drinks. She ordered hookah—something that's considered a normal social activity in our culture. "By the time the hookah arrived," she told me, "my boss was on his second or third drink. He gives me this weird look and asks me if I smoke anything else. He then 'jokingly' suggests implementing drug testing for all his employees. I thought it was so strange that someone who consumes alcohol would be offended by a hookah."

It's not just Muslims, of course. Many who don't drink share similar experiences, regardless of religion. One woman told me, "Cutting alcohol and bars out of my life has definitely been detrimental to my social life—but in another way, it forces potential new friends out of their comfort zones so we can get to know each other in a real sober way from the jump, and helps me figure out more quickly whether they're worth my time as a friend or not."

That's something I still struggle with. I still don't know if I have a community I can regularly see that understands me. I don't quite fit in with Muslims who entirely avoid places that serve alcohol, and I don't quite fit in with those who drink—and so finding my people has been a hunt.

Sarah, another non-drinker, put it another way: "The response to 'I don't drink' is always so over-the-top to me: 'You don't drink? Why?' like we all sign some sort of mandatory social contract saying we must drink. We must love alcohol."

Sarah told me that one of her former bosses once said he was "suspicious of anyone who didn't like alcohol." She just sat there with a blank expression and eventually changed the subject. This cemented my hypothesis that drinking—and by extension, fake drinking—forms a kinship I could not attain in other ways.

Yesterday, I was at a networking event with a group of colleagues. While they were discussing bars they liked, I just smiled. I asked the bartender at the event to mix two juices together and make me something that looked like an exotic cocktail. It tasted delicious.

Follow Nashwa Khan on Twitter.


Go Inside the Hungry World of Feeder Fetishes

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Go Inside the Hungry World of Feeder Fetishes

What Can We Learn from the New 'Human Centipede' Trailer?

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Screengrab via

And here we are again. Like an ass-to-mouth incarnation of the ouroboros, we have come full circle and find ourselves amongst another Human Centipede movie. Tom Six's horror franchise—basically feeding off the sociopathic urges of teenage boys who're into beheading videos and August Undergroundreturns for one final go around, a last beat of the drum until we, all of us, free our mouths from the anus of this troubling series.

But we may as well indulge it, right? If Mr. Six has gone to the effort to make a new Human Centipede film, the least we can do is give it our full attention. Scour the trailer for clues and tidbits and themes. I can't imagine there being many other themes than "sew man's mouth to other man's anus," but you never know. Perhaps the whole thing has been an allegory for the war on terror? Maybe we're all ourselves human centipedes, wriggling through life trying to make sense of it, trying to ingest as little of the shit of the person in front of us.

Let's have a good old look through the trailer, and see what nuggets of pathos we can find therein. Warning: may cause epiphany!

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Right off the bat Tom Six wants to let us know what we're in for. He's trying to disturb you. You should exhibit discretion. You have been warned. This is only the trailer as well. If you need a warning for the trailer, can you imagine how messed up the actual movie is? God damn, Tom Six, what have you been up to?

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I see what you've done there, Thomas VI. You're trying to make us think you're alluding to the rich back log of films in the horror genre by referring to its "annals," but really what we, the consumer, are getting is "anal horror." By clueing us to both The Human Centipede's role in the historical horror canon, and people shitting into each other's bleeding mouths, Tom Six is asking us a question. And who can say what that question is?

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Here's a look at our many protagonist's first encounter with the human-to-centipede apparatus. They look on in abject disgust, but what they don't realize is that they're not just watching a man defecate all over a woman's teeth, they're watching life. They're watching metaphor, and sometimes metaphor can be all too real and uncomfortable.

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This man has become troubled. He reminisces on summers past, of colors he cannot touch, scents he can no longer smell. He is imprisoned, trapped, as if the mouth of his life has been somehow surgically moulded to the rectal orifice of the prison-industrial complex.

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Waxy German actor Dieter Laser is back in the Hum-Cent fold not as his original character Dr. Joseph Heiter, but as prison warden Bill Boss. You can tell he's the warden from his large white stetson, yellow-tinted aviators, and disregard for the wellbeing of his inmates. Perhaps Laser's return is Tom Six's way of telling us that no one really ever changes. Sure, we may look different, live in different places, have different names, but really all we'll ever be is a crazed bavarian surgeon pushing a needle through the lips of a Japanese man and hooking it, thread and all, into the puckered chute of another sentience. Sunrise, sunset.

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Taking a break from starring in critically acclaimed blockbusters, Tom Hardy wanted something a bit more DIY.

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I'm beginning to think there's actually no deeper meaning to this third installment of The Human Centipede, and it is just a film about a chain of excrement winding it's way through multiple peoples conjoined digestive tracts.

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Hmm.

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Feel like I should never have trusted a man called "Tom Six."

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I wonder what it's like being a "freak" actor? An actor whose sole purpose is to look weird and be creepy. This man will never play Atticus Finch. He will never play Charles Foster Kane. He looks like Max Hardcore mid-ejaculation. He looks as if he could play Voldemort in Harry Potter: The XXX Parody.

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Yeah, this film is definitely just about sewing peoples faces onto other peoples assholes.

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And here lies the real message in this trailer: a succinct reminder of exactly who this film is for. It's for people who have said, "If they can say it why can't I?" about racial epithets. Those who wonder why they can't make dead baby jokes in the presence of people they've just met. The tasteless among us, the peasants, the shock jockeys, the Sickipedia moderators. The last in The Human Centipede trilogy is, I reckon, trying to transform itself into a chintzy splatter horror film, what with the busty correctional officer and comically pudgy little man. But there's no escaping the series' past as just debauched ultra-depravity for kids who spend a bit too much time on LiveLeak looking at women's bodies crushed under the wheels of SUVs.

Follow Joe on Twitter.





You Have to Fight for Your Dinner at Toronto’s Version of Thai New Year

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You Have to Fight for Your Dinner at Toronto’s Version of Thai New Year

Fear and Emptiness in Small-Town Australia

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Wouter Van de Voorde is a Belgian-born, Canberra-based photographer who admits it doesn't take much to keep him creatively entertained. When he's not teaching high school media and photography, he's driving to the middle of nowhere and photographing forgotten places in rural Australia. His photos are of ordinary things—cars, empty roads, quiet towns—but are somehow infused with an eeriness that occasionally borders on the surreal. Think Twin Peaks if it never rained. We talked to him about feeling solitude while traveling alone for hours on end, and how the artist feels he will be "forever an alien, forever a tourist" while documenting these scattered locales throughout Australia.

VICE: Your photos often appear innocuous at first glance, what are you trying to capture?
Wouter Van de Voorde: I've always been interested in the darker side of things, things that make me feel uncanny, certain moods I can't describe but that I try to capture. All of Australia has this mad undertone that is kind of my reference point. But I just try to create images where people can see things through my eyes.

It's a lot to do with atmosphere. When I first moved here, I was unemployed for a while, so I read a lot of Aboriginal stories, and some of them were really violent and dark stories. I wanted to get a bit of an understanding of the place from all these Aboriginal stories and myths.

These stories about travelers sitting around the campfire and then having ghosts eat their kidneys when they fall asleep and putting green ants back inside their bodies. And stories about ghosts mating with people and all these kinds of mad things.

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In a way, is taking photos a way to learn about an environment that's new to you?
I think exploring is the most important thing and there's so much to explore in this place, even though in Australia you can travel for 1,000 miles and be in a town that looks exactly like the one you came from. In Canberra, all these suburbs look exactly the same, so you have to look for the subtle differences. It's like learning how to appreciate certain types of wines.

What have your experiences shooting in rural Australia been like?
I quite like to just be somewhere where I'm not surrounded by anything. There's this sort of fear in it too. Belgium is so small you can't really get lost, whereas in Australia it's so big, if I get lost you would probably find my body decomposing years later. Solitude is always in the back of my mind and when I'm in my car and darkness falls.

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What are some weird things you've seen out in rural Australia?
I've done most rural towns within a few hundred miles around Canberra.

There's this town called Nyngan and along this road that stretches on forever is just miles of broken glass lining the side of the road. It's just like, people who just don't give a fuck and have thrown bottles out their window for like sixty years. Stuff like that just blows my mind.

I've been here for seven years but I've just cultivated this thing where I'm forever an alien, forever a tourist. When you start taking things for granted, you might as well just die. I still freak out about parrots here—I can never get over that. And cockatoos! I still have that childlike amazement about a place.

Interview by Emma Do. Follow her on Twitter.

The Domino Effect: How One of Toronto’s Most Iconic Rock Concerts Almost Never Happened

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The Domino Effect: How One of Toronto’s Most Iconic Rock Concerts Almost Never Happened

Mr. Let's Paint Is the Most Inspirational Outsider Art Maniac You've Never Heard Of

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[youtube src='//www.youtube.com/embed/oMkxW2NvMSc' width='640' height='360']

You are looking into a hand-held mirror and see a man shaving. He's audibly huffing and puffing. He puts down the razor to pick up a brush to paint the canvas propped up against his bicycle's handlebars. Yes, this man is biking while performing these tasks. He passes a person on a bench who is unfazed by the spectacle, as if Los Angeles's longtime status as flypaper for freaks has steeled its citizens against all manners of oddballery. Welcome to " Let's Paint, Bicycle & Shave TV," filmed by a camera attached to Mr. Let's Paint's helmet.

While most episodes of Let's Paint TV are not filmed like this, Mr. Let's Paint's antics are par for the course. A large percentage of his more than 1,000 videos show the brush-wielding daredevil painting, exercising, and performing some variable third task—all simultaneously—amid hallucinatory video effects and editing techniques. It's no surprise that comedian Eric Andre, of the absurdist The Eric Andre Show, describes Mr. Let's Paint, a.k.a. John Kilduff, as his "idol."

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Image via Eric Andre's Instagram

Kilduff graduated from Los Angeles's Otis College in 1987, and afterward eked out a living selling plein air cityscape paintings of LA at arts and crafts fairs throughout California. He also trained with famed sketch comedy troupe the Groundlings (past alumni include Will Ferrell and Kristen Wiig) and studied improv at Los Angeles City College.

In the mid 90s, Kilduff hosted a surreal sketch comedy program on local public access TV called The Jim Berry Show, a proto–Eric Andre of sorts that featured outlandish costumes, man-on-the-street stunts, and low-budget visual gags. A few years later, Kilduff was inspired to create a different program, which he envisioned as equal parts painting tutorial, call-in show, and psychedelic motivational lecture. Let's Paint TV began in 2001, broadcast by Los Angeles cable station Eagle Rock Public Access. In 2008, Kilduff took the show to YouTube where it currently airs live every Monday through Friday at 2 PM pacific time. To its devotees, it's a hilarious and strange program that combines elements of comedy, performance art, and late-night television, but the show has largely been ignored by the mainstream—though Kilduff has brought his act to The Tyra Banks Show and was once quickly booted offstage on America's Got Talent.

Where Bob Ross used The Joy of Painting to teach viewers how to paint, Kilduff has uses Let's Paint to teach viewers how to simply try. In one of the show's most famous episodes, " Let's Paint, Exercise, & Blend Drinks TV!" Kilduff casually lays down his ethos as he throws bananas and lemonade into a blender: "I don't know if this is gonna taste good or nothin', but I'm gonna do it anyway." His attempt at painting, as always, ends up being a mess and, as always, he seems winded after only a few minutes of shouting about embracing failure while running on that treadmill of his.

Over the phone, Kilduff tells me, "It's not my job to make a masterpiece and succeed. It's my job to be there and persevere and experiment and fail and keep going." Good luck finding anyone else who fails as passionately as he does. When the host, covered in paint and sweat, bargains with his callers to stop cursing and shouting their gang affiliations, he resembles a dad trying to motivate a losing little league team, or a lovable version of Chris Farley's famous psychotic life coach character from Saturday Night Live.

"Frankly when you see someone who shows you how to make a perfect painting, how does that inspire you?" he asks during our conversation. "It could repel you from learning how to paint, since you see how impossible it all is." His work is about process, not results, and he looks at it as being relevant to more than just art. "[In life], we're trying to do everything at once to see if we can do it," he says. "My work is kind of like a test of our endurance to see if we can survive in these days."

[youtube src='//www.youtube.com/embed/PvbL_5rH1QQ' width='640' height='360']

Explaining how exactly he has been able to make a living off of doing this, Kilduff says, "I've always likened myself to an octopus, where you have the different arms reaching out to get money however you can." At least a couple of those arms reached into cyberspace, as Kilduff seized on the commercial promise of the internet early on, joining eBay in 1998 and later putting his work up for sale on Amazon, Etsy, and Zatista. A similar approach informed his transition from terrestrial cable television to the internet. When the early livestreaming site Stickam launched, he embraced the opportunity to broadcast his show online. Then, in 2006, he took to YouTube and became a minor viral star in the site's early days.

Today, a handful of fine art spaces like Brooklyn's Issue Project Room and Saint Paul's Denler Art Center solicit odd performances or gallery exhibitions from Kilduff. Sometimes, his business assumes the form of a zany scheme. In advance of this Mother's Day, Kilduff will be setting up shop Daniel Rolnik Gallery in Santa Monica and painting pictures of flowers for customers to give to their moms. His tagline: "Flowers die, but a painting of flowers will last forever." He also does paintings of fast food and at one point was, in his words, "selling them at fast-food prices. Originally, I sold paintings of hamburgers and French fries for $4.95 or something." He used to peddle these from a truck, but was then invited to set up shop for a while at Blackstone Gallery in downtown Los Angeles, painting whatever a customer requested between two buns, resulting in, among other culinary impossibilities, a few boob sandwiches.

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Image via

Blackstone Gallery hosted Kilduff again this past January for a Let's Paint performance residency, which often had curator Steven Higgins biting his nails. One night, Kilduff started a small fire when some kernels of corn fell out of the popcorn omelet he was preparing and onto the range's flame. Another time, Higgins was watching rapt in fear while Kilduff was boiling pasta and running on his treadmill, the pot of boiling water teetering on the edge of the stove as Kilduff's knee bumped against it. "It looked like he was going to pass out," Higgins says. "I tried that treadmill, and it's very difficult to run on it and touch other things."

That sort of danger is part of why Eric Andre declares Kilduff to be such a big influence on his own style. The two share a mutual admiration: Andre invited Kilduff on his show during its first season for an interview that was ultimately cut (despite the episode continuing to be called "John Kilduff"), and Andre joined Kilduff for one of those January performances at Blackstone.

"I love the chaos he creates," Andre says. The similarities between the two men's style are fairly clear. You can see how " Let's Paint and Anal Holocaust "—in which Kilduff paints the band Anal Holocaust while a woman in Bavarian beer hall garb named Inga prepares pumpkin pie—influenced the "Attack DeMarco" segment from Eric Andre, where indie rocker Mac DeMarco is brutalized mid-performance, Japanese-game-show-style.

[youtube src='//www.youtube.com/embed/_m_gGA00nsk' width='640' height='360']

Despite a huge body of work and years of absurdist stunts, few in the art world seem to have taken note of Kilduff. This, to Andre, is an outrage—according to the comedian, Mr. Let's Paint "should have a show at the Whitney... I feel like compared to what he does, the art world is full of pretentious, humorless snobs. Boring, liberal fucks."

Kilduff shares Andre's exasperation to some extent. "Particularly in the art world," he vents, "everybody wants to prove how extra smart and important they are."

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Higgins notes that during Kilduff's artist residency, people who saw his videos on YouTube "would come in and tell John, 'You're my hero, you changed my life.' Literally every day." Equally strong was the response from random passersby, who would walk in after seeing Kilduff performing through the gallery window, hypnotized by the man simultaneously running on a treadmill, painting, and cooking. "John was yelling, 'Embrace failure!' and, 'Persevere!' and all these things that are innately relevant to people's personal life."

This is Kilduff's modest means of spreading his gospel. He's just a sweaty man alone on the screen, working his ass off and doing a bad job sometimes. But it's all for you. He just wants you to know it's OK to try, even if you make an ass out of yourself over and over. And Kilduff really does seem like the artist for our over-stimulated times and thinly-stretched lives. When Kilduff is on that treadmill painting a portrait of the Tin Man from Wizard of Oz and practicing open heart surgery while taking calls, we can't help but feel like there's a little bit of us in that performance. He strives to get to the very, very bottom of an idea (be it ridiculous or not) until its little nugget of truth or hilarity is unveiled.

What's next for Mr. Let's Paint? For starters, he's trying to get LACMA to send him to space. The museum has a program called the Art Technology Lab, which pairs artists with technology firms, and he has his fingers crossed that they can hook him up with a space flight company like Virgin Galactic or Space X. If that doesn't work, he tells me, he'll buy an astronaut costume, stand on a blue box in front of a blue screen, and make a video of himself painting in space.

Follow Mike on Twitter.

Hippos in Tanks Co-Founder Barron Machat—Remembered by Friends and Collaborators

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Hippos in Tanks Co-Founder Barron Machat—Remembered by Friends and Collaborators

VICE Vs Video Games: How Modern Video Game Coverage Has Reduced Critics to Human Punching Bags

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This article originally appeared on VICE UK.

Nobody trusts video game journalists anymore. But trying to pinpoint the exact moment at which gamers started to herd critics into the same fiery pit of disdain as lawyers and politicians is tricky.

No one knows for sure because it's a subjective matter. But many gamers think it started with theGamergate movement—which was less of a movement than my last shit—and Depression Quest developer Zoe Quinn was "patient zero" of the whole sordid debacle. There's even a Reddit thread rolling called "What initially got you to distrust video game journalism? Was it Gamergate or was it before then?"

I'm not going to relay the minutiae of that embarrassing chapter in gaming lore, but as a person who recently left gaming journalism after a decade of active service, it's interesting to reflect and take an outsider's view on how that area of critique now appears.

In short: I'm mostly relieved that I got out with my sanity (near) intact, had only a mild brush with depression during that time, and was victimized in only one Twitter "scandal"—I drunkenly tweeted a game's hashtag at an awards bash, won a PS3 as a result, and suddenly became the new Hitler.

From that point on I declared every press trip, free game or console and gift I ever received in the footer of my articles until the day I left the industry, and I refused every single free meal or buffet table offered at events. The heart-warming thing was that readers responded well to that transparency, and not another word was said. It goes to show the power of a few additional lines of text.

Compared to some journalists I know, I got off easy. But the reality for myself, and many of my long-time press colleagues, is that the relationship between the writer and the industry is like that of an addict.

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The hours are long, the lack of sleep is killing you, the amount of cheap swag you get sent with review code doesn't pay the bills—and yet there's nothing like the rush of getting a review out to embargo, surviving another E3, or pressing "publish" on a dynamite interview. It's a genuine rush, and you have to be in it to understand why.

Around 2010, I was working on the English coast for a media firm. It was my first full-time job in the gaming business and I remember listening in awe as my peers told me stories of mad press trips paid for on the publisher dime.

I'm paraphrasing here, but these stories mostly went something like: "One time we were in Russia getting pissed up in a vodka bar, and then Johnny Gamewriter was so fucked on blow he went outside for a smoke then went missing for five days—five whole days, it was amazing. We just went home without him. What a legend."

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In my naivety, I nodded and laughed while deep down some part of me wanted to sample some of the batshit war stories I had heard from the frontlines of video game journalism first-hand. I wanted to go to Los Angeles with the office and get wrecked in bars I could never afford to drink in on my meager salary alone, and impress others with my tales of excess. And for a while I did.

Except my stories were pitiful by comparison, like the time I and some other UK game journalists were in an expensive Hollywood nightclub looking more like the cast of The Inbetweeners than professional doctors of the press.

Glance left, and there's our lord and savior Kanye West sitting alone in a booth looking miserable, cordoned off by a row of intimidating, muscular men with firearms on show. Glance right, and there's the head of a major game publisher chatting up Teri Hatcher.

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Clarity took hold and all of a sudden and I yearned to go home. It was clear that we didn't belong in that world and I started to seriously question press trips. What was the point of them when I was going to give the game an average score in my review anyway? It all felt so wasteful.

But the relationship between press and publisher is a symbiotic one, and as such, you often have to be in that "room" to get access to games, interviews, and the things required to do your job—and yet journalists are painted as villains. It makes no sense. Consider that the press thrives on new content, and exclusives elevate outlets above the chaff. Now ask yourself: Who allows writers to have that content? Publishers.

Now, I'm still friends with many people who work in gaming PR and at publishers, so the above is not a condemnation of them personally. They are simply doing their job as told, just like journalists. It's the unstoppable force versus immovable object scenario, where neither side makes a compromise. They're tethered together in such a way that only a colossal sea change can affect the status quo. Are the press taking cash bribes from the other side? Absolutely not, but you probably don't believe that and never will.

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Here's another real example for you. I was at a publisher showcase near Soho in London—a central point for many gaming press events. This was around the time when you could see the trend of wasteful trips winding down. There were less nibbles on the buffet table, bottles of water instead of beer, and no party afterwards. Corners were being cut everywhere.

Believe it or not, things were changing for the better long before Gamergate failed to change anything. The party was over, money in the industry was tighter due to spiralling production costs, and the excess was receding before our eyes. Events were shifting focus back to the games and the people behind them, instead of getting smashed in a swanky Canadian nightclub and having a dance-off with Spanish journalists.

At this particular event, I asked the head of a development studio an honest question about his average shooter: "Are you worried about releasing a game that's quite generic, on old formats, so close to the launch of the next generation?"

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The bastard gave me the reverse Paxman treatment by offering a reply that went like, "We feel that this is an exciting product and a great showcase of our new engine. We think the current generation has a lot left to offer and we're looking forward to showing that here."

Perturbed, I pressed onwards. "But we've seen a lot of games similar to this one throughout the generation. I guess I'm just confused why you would want to release something like this so late in the cycle. Are you worried that people might not buy your game, and wait instead for the new machines to launch?"

And he just repeated word-for-word the same answer he had given me before, as if he was really a robot whose internal processes had become stuck in a perpetual loop. We took a second to look at each other. I eyed him in disbelief, while he gave me his best poker face to avoid confirming my point. It was painfully awkward, like watching a man with hooks for hands attempt to cradle his newborn son for the first time.

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I caved, and asked him about the game's graphics, multiplayer, and so on. The PR stonewall had won again, and the man's memorized press script had successfully blocked me from doing my job. This, ultimately, is why I left the industry. I grew tired of "the script," of the false promise that Game X is going to be the best thing you've ever seen, and that you absolutely had to pre-order all five special editions if you didn't want to miss out.

Then there was the groveling. I was tired of begging publishers to grant me access to developer interviews at expos, tired of writing articles that validated the hype spun by marketing teams. I quickly found that being brutally honest about this process and calling the hype out either got me ridiculed by other journalists or slammed by publishers online.

On the other hand, having an honest opinion gets game writers hounded by actual gamers on Twitter or in the comments, and although players at large claim to hate the triple-A hype machine, more of them read the shallow, pandering articles than those focused on indie titles or genuinely interesting topics. This doesn't apply to literally all gamers—so calm down—but the amount of entitled hypocrites out there just became too much to handle. So I quit.

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The modern war stories of gaming aren't about jollies funded by publishers. They now revolve around tales of personal anguish at the hands of the reading public. Those same people who wanted to see the death of phantom corruption, the press parties, and non-existent bribes, now want to see the games press annihilated altogether.

They don't know what they want, but are convinced the journalists are evil. The press are mere human punching bags to be abused, doxxed, and coerced into depression or outed from the industry.

If that's the "room" you have to be in today in order to do the job, I'm glad I got out on the last chopper before the abusers stormed in to make the trade so insufferable. Along with tight publisher control, it's clear that for many outlets and writers, hard-hitting and honest video game journalism simply isn't enough to make it in today's business, and that's just incredibly sad.

All photographs courtesy of the author

Follow Dave on Twitter.

How To Survive the UK General Election 2015: A Guide for First-Time Voters

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Illustration by Dan Evans.

This article originally appeared on VICE UK.

The election is upon us, and everybody is just really bloody excited about it! Is it really only 24 days to go? Can't we prolong the fun somehow? Who doesn't love six straight weeks of posh white men loudly lying to them?

"No," they say. "Your free healthcare system is safe." They smile and nod: "We will defo crunch down on the bankers. For deffs." They look us in the eye and say: "We totally value your opinion (But old people vote more, so we're going to fuck you on the minimum wage and help them with tax loopholes)!" And then they point to the stormy seas and say: "But what about them Europeans, though?" They squint into the distance. "They're coming over here, look, aren't they! Ready to take your jobs and your taxpayer's money! Don't they like wearing shellsuits, eh? Vote for us!"

But for many of you, because you are fragile and young, this is the first time you've voted, or at least the first time you've given a shit. Exciting, yes, but scary. You've never mattered before, have you? And now every shaved-pig-in-a-suit round your way wants to shake your hand and call you "sir" or "madam," and they want to "count on your vote" and they want to "assure you" that your opinion "is valuable to them." Is it? Are you? Do they? Does it matter?

Well, yes, but also quite often no. Which is why we've put together this rough guide to surviving the election without punching your parents, alienating all of your friends, or fucking up and accidentally voting UKIP.

REGISTER TO VOTE RIGHT NOW OR YOU'RE SCREWED

Hey, dingus: April 20 is the last date you can register to vote, so hurry up or you can't vote. Not even a little bit. You're going to fuck it up, aren't you? You're going to wake up on April 21 with spaff up your back and the tequila burps, and you're going to be like: Welp, I guess I drank away my tiny token of democracy. You're going to be like: Yo, my bum hurts. If you haven't already, go and register here.

DON'T FREAK OUT IF YOU'VE NEVER VOTED

Really fucking easy to vote: You go to your polling station, a couple of people in cardigans find your name on a list and go through it with a Sharpie, then you go into a booth and use a little pencil attached to a high desk with a piece of string to draw a couple of crosses. Done. Boom.

The system is actually so simple that you have to question whether it's not fallible. Like: Why does the system not trust you not to nick a pencil? Even Argos trusts you not to nick pens. Even betting shops let you have access to a pen without having a piece of string on the end of it attached to a desk. Who is counting these archaic, paper votes? How incorruptible are they? What's really stopping you from looping back in to vote a few hours later with a fake beard and doing it under someone else's name? Stop thinking this. Just deal with the fact that voting in an actual general election is less high-tech that voting on a Mirror online poll, and get on with your life.

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Photo by Jake Lewis

DON'T BE THAT DICKHEAD WHO BOASTS ABOUT HOW THEY'LL NEVER VOTE

"Voting, is it? Talking voting, are we? I've never voted in my life!" Okay, good for you. "Because they're all cunts, aren't they, politicians? They're all like, Pay us all of your money while we put fluoride in your water and start some more wars ."

Not voting is one thing—politics is a bit of a shitshow right now after all—but there's something inherently smug about going on and on about it because you think you're somehow more savvy than all the other sheeple. Prattling on about not voting is the political equivalent of making sure absolutely everyone at a house night knows how you don't like house and that you wish you were at Download. It's playing a guitar at a party. It's step away from growing dreadlocks and talking about "occupying" things without ever having occupied anything. You are essentially a novelty T-shirt that HMV discontinued so hard it became a person .

BUT ALSO DON'T BE SMUG ABOUT VOTING

You don't get a sticker for it. This isn't the dentist, and you're not six years old. Those days are gone. Your youth is gone .

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Photo by Milo Belgrove

DON'T VOTE THE SAME AS YOUR PARENTS

General rule is your dad is either voting on the side of either the bankers or the miners, and he has been doing so since the 1980s. Your mom just votes the same as your dad because it's not worth them having another fight that ends in a heart attack.

If you're voting the same way as your dad, cool, but make sure it's not for the exact same reasons. Your parents are thinking about their pension pots and whether the NHS is going to be around as they spiral ever closer towards the grave. You're thinking about the housing market and student fees. Your priorities have to be different.

DON'T TRY AND CHANGE YOUR PARENTS' MINDS

Every time you try and talk to your parents about politics—and it doesn't matter what you are saying or how well reasoned it is—all they hear when you open your mouth is, "You wiped my ass once, and now I'm going to tell you how to think." That's all they hear. "Hey Dad," you're saying. "I actually agree with you about Cameron." And all he hears is, "I was once your jizz, I was. You've spent hundreds of thousands of pounds making sure I haven't died even once over the last 20 years and I went and got a haircut that made me look like a member of the Libertines. I'm literally a bolt of your jizz that got high-and-mighty idea about climate change." Stop torturing your parents with your opinions.

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Illustration by Dan Evans

DON'T HAVE AN "HONEST, CARDS ON THE TABLE" CONVERSATION ABOUT UKIP WITH ANYONE IN YOUR FAMILY

"Thing with Nigel," your uncle is saying, "thing with Nige: He's a man of the people." He's drinking, now, your uncle, he's tipping in your chair. "Because them Russians—" Romanians, you're thinking. It's Romanians he irrationally hates. "Them Romanians, right: peg-stealing cunts." And then you find yourself, stripped to the waist, about to have a car park fight with your mom's brother, and he's got the rage in his eyes like his last sober Christmas, and he's going, "Come on, then! COME ON YOU FANCY FUCK!" and your cousin's wedding is ruined. Nothing about voting UKIP makes sense, so stop trying to have sensible arguments about it.

DON'T GET SWEPT INTO EMPTY TWITTER ARGUMENTS ABOUT POLITICS

Christ, do you even know how wrong everyone is on Twitter? They are being wrong about everything at every single individual atomic moment of the day. Someone with an egg avatar and a bio that says "RYAN / 39 / EX-ARMY / LOVE ME SONS" is not going to change their mind about voting BNP because you hit them with an especially shareable .gif.

HAVE SOME IRL CONVERSATIONS THOUGH

It is actually pretty important to talk about the election with people—friends, family members, local politicians who turn up on your doorstep with a crew of reporters hoping for a campaign-boosting chat with the youth. Because, yo: The election is a pretty important thing, and pretending it doesn't exist like some massive, blustering, rosette wearing elephant in the room between now and May 7 isn't going to work. Come on. Bring down the vibe at the pub while you and your mates are just trying to have a few beers today.

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Photo by Nick Pomeroy

LEARN HOW TO GIVE A SHIT WITHOUT RUINING YOUR FRIENDSHIPS

"Wow, I'm really glad my friend earnestly told me off in the pub last night and told me I was a 'heartless fucklord who deserves to be teabagged to death' for voting Conservative. Guess it's Labour for me, now. My mind is changed forever." –said nobody, ever.

You're going to disagree with a lot of your friends. This is a thing: A lot of people are going to be wrong, really loudly. If you haven't learned how to argue with your friends but still be friends after, then this is the perfect time to start. You're going to meet people who say they are Lib Dem but cannot quote a single policy of theirs. You're going to meet someone from Liverpool who is voting Labour just because they think this will annoy the Sun. A girl at a party is literally only voting based on which party leader she wants to bang more, and inexplicably that's Farage. But hearing other people's explanations for voting can shape and validate your own.

And remember, you're not going to change someone's mind. The best you can do is make people question why they are voting the way they are voting: Turn their own gaze inwards, and question whether Cameron/Miliband truly is the man they want to put their X on. This is something you need to bear in mind next time you're chatting about politics: They are about as willing to listen to you as you are to them. Make sure you don't err on the side of preachy and you should be alright. And never say you're "disappointed" about how someone plans to vote. You can barely change a duvet cover without crying, mate. You're not in a position to be disappointed in anybody.

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READ THE FUCKING NEWS

Listen, the news is boring: We've all seen people kicking off on Twitter about something George Galloway has said on Question Time and thought, What a shit way to spend a Thursday night . But if you're ever going to be bothered about the news, the General Election is as good a time as any. Think of it as like a current affairs-shaped gateway drug: the General Election is the weed to quantitive easing's smack.

DON'T BE SWAYED BY MEMES

Do you seriously want to vote based on a novelty Twitter account called "Ed Milibanter"? RT for yes, FAV for no.

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REMEMBER TV DEBATES ARE FOR TV

With the final leaders' debates queued up for April 16 and a million other telly ding dongs between lesser politicians, there's still time to say: TV debates are not actually hard-hitting. They're just a way for politicians to put on a harmless, vanilla face to the public, while dropping a few pre-planned lines about "family" and "hard work." "I am not evil," they are saying, with their forked lizard tongues and their hollow, fleshy heads. "I am not a high-level freemason automaton bred in a lab to bring despair. I, like, totally care about the poor." TV debates are to real debate what The Voice is to likable talent.

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A banner on a protest giving us all a sense of perspective. Photo by Henry Langston.

WORK OUT WHO YOU SHOULD VOTE FOR BASED ON SOMETHING REAL

Here are some bad reasons to vote for a politician: They seem like they are "a laugh"; their personality is bigger than their policies; they are refreshingly racist; they once tweeted their own name on Twitter; they are friends with Alex James out of Blur; they came to your school once when you were a kid and seemed nice; they do selfies on Twitter, which is so bloody youth I just don't know how to deal with it!; they once went on Radio 1 and knew who Iggy Azalea was.

Whatever way you vote—tactically, historically, based on gut feeling, based on deep-level research—just know why you are voting the way you are, and own it. You can't really own voting for someone because they looked funny suspended on a cable over some low-level Olympic event.

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Would you vote for a guy who wears those pants. Photo by Adam Barnett.

LEARN HOW SPOT SOMEONE YOU DEFINITELY SHOULDN'T VOTE FOR

Everyone knows how to spot an outwardly wrong 'un politician: They lick cream out of Rula Lenska's open palms on live TV, for instance, or they will shake hands with a war criminal as quickly as they'll kiss a baby on an election trail. But how do you spot an inwardly wrong politician? Because every politician under the age of 50 is a weirdly anodyne sexless robot now, aren't they—all smooth, no edges, no dark and mysterious underbelly—while every politician over 50 is just a fart with a suit on waiting patiently to die of a heart attack. Here are three pretty infallible ways of spotting a bad bastard:

They have ever been on a reality show or had a Daily Mail article about something they've done on Twitter
You want your politicians to focus on politics, and not popularity. If even one member of the Mail editorial staff wants to fuck the politician in question, do not vote for them.

They have ever claimed anything inessential
Fun fact: If you say the word "taxpayer's money" three times into a mirror, you will immediately be struck with male pattern balding and will become a fully fledged member of your local neighborhood watch—that's how uncool it is to obsess about how your taxes are being spent. But when MPs claim shit like duck houses and plush kitchen refurbs on expenses, entitlement or not, you've got to admit that stinks.

Their voting record goes against your core beliefs
Go to theyworkforyou.com and check out how they've voted for gay marriage, or welfare reform, or the NHS, or student fees, or Trident, or whether or not your landlord is allowed to evict you because you complained about a broken shower. See how much of a bad bastard they are.

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Photo by Henry Langston

DON'T GET YOUR HOPES UP

Thanks to the eternal wisdom of First Past the Post voting system, your vote will probably count for nothing. At the last election, more than half of all votes were for losers. Sorry, but your opinion is—technically—actual garbage. The guy you didn't vote for will become your MP and you don't get a consolation prize. And chances are the winner will be some thin-necked Eton kid who looks like he'd get the shit beaten out of him at your school, parachuted in from party head office having previously only experienced your community by looking at it through the window of a delayed train.

They're probably not ever going to do some of those things they said they promised they would on the election trail, is the thing, because once they've won your vote, their rich, lobbyist mates become the main priority, and their main policy becomes "generally dicking the poor over." If you prepare for this eventuality now, the whole process of becoming a grizzled cynic will be a whole lot smoother.

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Photo by Adam Barnett.

WORK OUT WHAT'S IMPORTANT

Ed Miliband's a funny-looking dork, isn't he! An Aardman character melted under a lamp and force-fed a bacon sandwich! David Cameron's head looks like he was on a drug trial gone awry and now he's doing a solemn interview with the Mirror about how his temples swelled up to the size of grapefruits! Nick Clegg looks like a divorced dad who can't think about his kids growing up without crying!

Which: yes, hilarious, all very hilarious. We all love a bloody good lol. But the country... the country is quite fucked at the moment. A staggeringly unequal country where the rich get all pernickety about which tax avoidance schemes are legit while the thousands of workers wonder if they'll get any hours from their zero hours job this week; where gated towers are built in lieu of social housing housing, and the rich are demarcated from the slightly-less-rich by a poor doors; a United Kingdom where nearly half the people in the northern bit would really rather not be united at all any more; a country where there seems to have been a truly revolting number of pedophile scandals recently, some of them somehow overlooked by elected politicians. Hold on, someone's remixed Nigel Farage so it looks like he's singing Ignition? Shared and liked, my dude! Shared AND liked!

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Photo by Chris Bethell

DEPLOY THESE USEFUL PHRASES AT OPPORTUNE MOMENTS

Sometimes you will find yourself having an argument about politics that you can't win, because the person you are arguing with actually knows how the economy works and what an interest rate is. If you find yourself backed into this not uncommon corner, drop one of these bad boys and flip them onto the mat:

"This really is the end of two-party politics."
The beauty of this election is that nobody knows what's going to happen, with any number of potential fudged coalitions that nobody really wanted a potential outcome. In the tactical minefield that is UK politics, reiterating this obvious fact will give politicos the gentle nudge they need to engage in such wild fits of speculation (come on, a Conservative–Labour coalition isn't going to happen, guys) ( But what if it did?) that they'll look stupid and you can just sit back and be the least ridiculous person in the conversation.

"Of course, what they're saying is bullshit. But whose bullshit smells best?"
Everyone's going to be going on about how you can't trust politicians to keep promises, but the realization of something that has been the case since Nero promised not to waste all his time of violin lessons does not somehow make you a political Machiavelli to rival Francis Underwood. Show that this is passé to you: You already know that in the harsh light of real politik they're not going to deliver on half their manifesto and have factored this into your calculations already.

"Yes, but I read somewhere..."
If you're ever losing an argument, just say this, then say what you were going to say anyway. Nobody you know is a Wikipedia editor. Nobody is going to say "citation needed." Nobody will investigate your lie .

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Some people doing some politics outside election time. Photo by Henry Langston.

DON'T LET THIS BE THE LAST POLITICAL THING YOU DO BETWEEN NOW AND 2020

You've got up early and gone to a church hall and marked your opinion with a tick and set your Facebook status to "hoping... x": cool. But May 7 shouldn't be the last time you give a shit between now and the year 2020. Like: you know those protests people go on? A lot of them are just an excuse to take an afternoon off work and wear an Anonymous mask, but quite often they are people's reaction to political goings on. There's politics happening, like, pretty much all the time, and if you care about it between now and May then you should care about it afterwards, too. I'm not saying, "Buy a suit, put up a deposit, print off a load of rosettes, and run for council yourself": you're not a nerd on a power trip. But maybe read the politics stories now and again instead of just skimming over them. Work out why you don't like Nigel Farage, and not just because he looks like a headmaster who has a room in his house that eventually the police use a riot squad to get into. Keep a check on your new overlords. Give a little bit more of a shit.

Follow Joel and Dan on Twitter.

Click here for all of VICE's Election '15 Coverage

Why We Cry at the Movies

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This article originally appeared on VICE UK.

I find hard to understand why people enjoy Love Actually so much, let alone why some shed tears of passionate sorrow every time they watch it. Mind you, we've all cried over something cinematic (me, during 12 Years a Slave). We've all fallen in love with an individual performance (Marion Cotillard, every time). And we've all shaken our fists at a bad guy (fuck you forever, Warden Samuel Norton).

So cinema clearly has some sort of sensational ability to affect every one of our emotions, and we're pretty much all susceptible. For this reason, we might conclude that we process the events we see on the big screen in the exact same way as real-life goings-on. This is one of the big ideas explored in Flicker: Your Brain on Movies, a new book by Dr. Jeffrey Zacks, professor of psychology at Washington University in St Louis.

As well as asking why we sometimes find it hard to distinguish between fiction and reality, suggesting that we can't pinpoint the precise "sources" of our memories, Zacks explains how our brains had evolved to their current form well before cinema was around. This basically means that we're processing these fictional narratives now with the same brains our pre-technology ancestors were using to observe woolly mammoths in the distance 50,000 years ago—a fact that can go some way to explaining the psychology behind why we react so enthusiastically to films.

This idea formed the basis of my conversation with Zacks when I gave him a call last week.

VICE: When did you first start thinking about the neuroscience of film-watching? And what inspired you to write this book?
Jeffrey Zacks:
In my day job at my lab we study how people understand and remember everyday activity, and we have serious purposes for doing that. We're interested in diagnosing and assisting people with brain diseases and brain injuries, and improving educational interfaces.

To do all of that serious stuff we started showing people movies, starting with simple little homemade movies that we made ourselves, measuring their behavior and their brain activity while they watched them. When I first started doing it we were trying to make anti-movies—movies that were as un-movie-like as possible, as much like real life as possible. But I quickly realized that the movie-ness of them was super-interesting, and we've increasingly become interested in that side of the experience.

One idea that fascinates me is that of the "mirror" principle, and how this might account for how we get so emotionally wrapped up in films and mimic the emotions we see on the screen, like crying excessively during mushy romantic dramas. Could you elaborate on this concept?
That's an important one for me, because in real life I'm a pretty mellow, stoic person, but I can catch myself crying at movies that are just dumb movies—and it doesn't even have to be a good one. I'm not alone; I meet people all the time who tell me exactly the same thing unprompted. So one part of the mechanism behind that is this "mirroring" or mimetic component, and it's really powerful. If you see somebody doing something, you are prone to performing a matching action.

Now, there's another process that's happening at the same time, and sometimes they point in the same direction, sometimes in different directions, and that's that you're also prone to doing an action that had been successful in the past in such a situation.

So if someone reaches out to shake your hand, if they reach out with their right hand, mirroring might have you reaching out with your left hand, which would be the mirror image of it. But you've got a lot of practice that things go better if you reach out with your right hand and shake hands with them. So those are two systems often racing to compete, but both of them have the result of producing a response in your body. And then once that response is produced in your body, it's a response that's associated with an emotion program, and that emotion program tends to come online.

So are we actually experiencing sadness in such scenarios, or is it a sort of post hoc thing, in that we adopt these physical features—such as crying—and only then become sad as a result?
It's totally real, but what you just said is totally right. William James wrote 115 years ago that we think that we sweat because we're afraid and that we cry because we're sad, but it's just as true that we're afraid because we sweat and that we're sad because we cry.

We think that the kind of primary thing in an emotion is the subjective label that we give it. But emotions are these integrated programs: They involve brain systems and peripheral systems, and behavior, and subjective experience. And it's all one thing.

What kind of experiments and studies have you looked at that might back up this idea in relation to film?
One experiment done by colleagues elsewhere basically sought to evoke emotion programs by getting people to adopt the physical poses associated with those emotions without realizing that they're adopting an emotion-related pose.

So I can tell you to do something like hold a pencil between your teeth. Put it so it's pointing left and right and hold it between your teeth. And it turns out that that forces you to pose your muscles into the form of a smile. But nobody thinks about that as smiling. But sure enough, if you do that for a while, and we ask you how you're feeling or how much you like a movie, you feel happier and you rate the experience as more pleasant.

How have filmmakers honed techniques to induce such emotionally intense and authentic reactions, and what are some examples of such techniques?
The main principle is that they can take the range of stimulation that we experience in natural life and just exaggerate it. It's intuitive that if I'm seeing someone else emoting, smiling, or crying, that can have a bigger effect on me if it's one person who's physically closer to me than if it's a face in a crowd of a thousand.

Just think about it: normally when we're interacting with people and someone starts crying, if it gets too intense then we'll both tend to look away. But in a film you can have someone break down and just keep a close-up on their face, and have them 20ft tall, staring at you, crying. And filmmakers will do that. Of course that's going to tug at our heartstrings. What they're doing is exaggerating that facial aspect way outside the range that we'd experience in real life.

At the same time, they're able to use editing and sound and music in a way that's congruent with what we're seeing in the facial aspect. You can't underestimate the power of music to produce these emotional effects.

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27 Years of Silence: The Family of Missing Alberta Aboriginal Woman Is Still Searching for Answers

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Town welcome sign for Fairview, Alberta. All photos by Adam Dietrich

Carol Ferguson was almost two hours into a 15-hour road trip to visit her sister Roberta when she learned that Roberta was missing. Carol was travelling west and then south from her home in Fairview, Alberta, to Surrey, BC, where Roberta and their other sisters lived.

But when Carol called from the road in Dawson Creek, BC, on the morning of Friday, August 26, 1988, no one knew where Roberta was. Roberta, 19, had been camping in Cultus Lake, BC, about an hour east of Surrey, to celebrate the official end of a summer work-study program. Friends said she left camp early, planning to head home, but never made it.

An hour after making her first call, Carol stopped and called again, from a pay phone in Chetwynd. The family decided to call the police.

Three and a half hours later, Carol was in Prince George. There, she learned from her sisters that because Roberta was an adult and hadn't been missing for at least 48 hours, the police wouldn't declare her missing. This is a widely held misconception that, according to the Missing Women Working Group's 2010 report, some police might hold as well. There is no waiting period to report someone missing.

It is unclear what happened in Roberta's case. An RCMP spokesperson said last week he has the files on the investigation into Roberta's disappearance and says the case is still open. However, he said he had no plans to discuss the details of the case.

By Friday night, Carol was finally with family in Surrey. Together, the Fergusons printed out missing persons posters. They next morning they were on the road to Cultus Lake to search themselves.

Carol spent that Saturday afternoon on the phone with an RCMP officer. Today, after almost three decades, she acknowledges that some details about the case and the search are fuzzy – but she remembers that phone conversation. She remembers what she said in an attempt to persuade the officer to help the family with the physical search right then, without waiting.

"If this was your daughter, you'd do something about it right now," she told him. "This is my sister, and I know she wouldn't just up and take off like that."

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Carol Ferguson, left, and Marilyn Ferguson in Carol's home, holding a photo of Roberta

Roberta Marie Ferguson had been born almost 20 years earlier, on November 19, 1968. Carol was 10 years old, and her sister Marilyn was four, when Roberta arrived. Roberta was the youngest of nine children, the baby in a tight-knit Métis family living in Grimshaw, Alberta, more than 500 kilometres northwest of Edmonton.

Roberta was a joker. She loved to approach her father, Ernie, and ask: "Hey Ernie, where's Bert?" When her sisters were sick, she nursed them to health as her alter ego Dr. Mentality. She would bring them bowls of soup, saying, "Dr. Mentality is here to get you better." She also drew and danced, and was a prolific reader of Archie comics.

Roberta was also willful, her own boss. Carol and Marilyn say this was a gift from their mother, Mary, who instilled a strong will in all her children. This was, in part, a survival mechanism. Growing up in northern Alberta in the 1960s and '70s, the children were often the targets of hatred and discrimination because of their darker skin, but their mother never simply accepted this, and neither did her kids.

"We stuck up for ourselves," Carol says. "If we had to fight, we did."

In 1983, when Roberta was just 14 years old, the girls' mother died from lupus, a chronic inflammatory disease in which a person's immune system attacks itself. For a year, Roberta—who had been quite close with her mother—lived with Carol and Marilyn in Edmonton. Then she moved with another sister to Surrey.

By the summer of 1988, she was planning to finish her Grade 12 year and to spend more time with her boyfriend. According to her sisters, the couple—together for more than a year—planned to marry.

Then, she vanished.

On Wednesday, August 24, 1988, Roberta wasn't in the mood to camp. She had a fever and her period and she wanted to go home. She told her friends she planned to take the bus. And so, less than an hour after sunset, Roberta set off, her army-green knapsack in hand. Her black hair, pulled to one side, fell just past her shoulders. She wore large, octagonal glasses. She wore stretchy black pants rolled up to the knees and a black shirt with a navy blue tank top over top. On her feet were dirty white sneakers.

According to witnesses, a woman matching this description was seen in the area, talking to a man in a red sports car. They describe the man as having light hair and a prominent jaw. But that's the last time anyone's seen—or thinks they've seen—Roberta. In the 26 years since, the mystery surrounding her disappearance has never been solved. Her family has never achieved closure.

"The thing I don't understand is why [her friends] didn't take her to the bus station," Carol says now, at home in Fairview. She has not been able to banish this question from her mind.

A fruitless search
The official RCMP search yielded many investigative files, but no Roberta. For the first few years, the family hoped she'd be found alive. Carol and Marilyn turned to psychics for help. They visited one after another, and each suggested a different area of Cultus Lake to search. One time, the family searched together; the next time, Carol went alone, driving up and down roads. Her search was cursory, she says: she didn't—and still doesn't—know the area well.

"Nothing has ever come of anything that we—you know, [the psychics have] tried," Marilyn says.

Carol was the family's primary contact with the RCMP. At first, the calls were hard. She would be anxious when an investigator called or when she herself would call, looking for updates.

Sometimes, when an unidentified female body was found, the police would call the family, or else Carol would call the police. There was never a match.

In the early 2000s, Carol and another sister provided DNA samples, in case Roberta's DNA or remains were found on the pig farm of now-convicted serial killer Robert Pickton. Pickton is currently serving a life sentence for the second-degree murder of six women. The remains or DNA of dozens of other women were found on his farm. However, neither Roberta's remains nor her DNA were found or identified on the Pickton farm.

Carol has her own suspicions. She believes a man who committed suicide in 2005—a suspected serial killer – might be responsible for Roberta's disappearance. She was, for a while, her own detective: clipping stories out of the newspaper, paying attention to people's jaw lines, searching and searching the internet. But she has no proof.

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Carol and Marilyn Ferguson

Over the years, Carol's phone calls with the authorities have petered out. She says the last time she spoke with an investigator was six years ago, in 2009. Today, her focus is on remembering Roberta as she was: "Happy-go-lucky, kindhearted, very close to her family—she loved Dad."

The sisters often see online postings about missing and murdered indigenous women, but they rarely turn to the news anymore.

"It's too depressing," Marilyn says.

Roberta is one of 225 unsolved disappearances or murders, according to an RCMP report released last year, which documents the disappearance or murder of nearly 1,200 indigenous women between 1980 and 2012. The RCMP plans to provide an update on outstanding cases this May. Carol attributes the rising number in large part to "social problems within the communities"—a reference, mainly, to the intergenerational effects of residential schools. Still, she says the police need to do a better job investigating indigenous cases.

"People have to realize that Aboriginal women are human," she says.

Neither Carol nor Marilyn wants to claim that police would have handled Roberta's disappearance differently if she'd been white. Neither sister is well-versed in police protocol or in the process that leads to investigative decisions. But the women share a single view of how police handle cases involving indigenous persons.

"They're just nonchalant," says Carol. They "just kind of dismiss."

The sisters' misgivings may not be misplaced. The Missing Women Commission of Inquiry, which looked at the problems surrounding the investigations into many murders and disappearances in Vancouver's Downtown Eastside, including the investigation into serial killer Robert Pickton, was instead widely regarded as an example of what not to do.

"The voices of marginalized women were shoved aside while the 'professional' opinions of police and government officials took centre stage," reads the 2012 report about the inquiry's failures by the BC Civil Liberties Association, West Coast LEAF, and Pivot Legal Society. "The focus of the inquiry was directed away from systemic issues, targeting instead individual participants in the system who may not have fulfilled their job requirements as expected."

Can education help?
A lengthy report from Human Rights Watch (HRW) a year later in 2013 also addressed problematic relations between the RCMP and indigenous people in BC, highlighting violence against women and girls by police officers. Additionally mentioned was indigenous women and girls' lack of confidence in police protection, in part because those HRW interviewed who reached out to police found themselves blamed or shamed.

Marilyn thinks repeated cultural sensitivity training, particularly geared toward Canada's growing indigenous population, would be a huge help.

"A person is a person," she says. "It doesn't matter what background you're from or what colour you are—you're a person."

Tosh Southwick, director of First Nation Initiatives and Academic and Skill Development at Yukon College, helped develop a cross-cultural training program attended by, among others, RCMP officers working in the Yukon.

It is operated by the Northern Institute of Social Justice, which opened in 2010, and was devised in collaboration with all 14 First Nations in the territory. It has offered roughly 20 sessions in the last five years.

"A big part of what we try to do... is create a safe space for people to ask those really difficult questions," Southwick says. "Those questions that give people that icky feeling where they don't know if they're being racist."

There's a two-day foundational course that covers everything from life before European settlers arrived to the Indian Act to the legacy of residential schools. There's also a one-day, in-depth course specifically about residential schools. A third course, still in development, will look at issues of governance and land claims.

Southwick says there are always a few people who leave with their minds unchanged, but many more who keep the conversation going, emailing her to ask where they can get more information, how they can fix their own preconceived notions, or how they should communicate more respectfully with elders in the communities they serve.

The course is valuable in debunking myths about residential schools, Southwick says. She says many people in "control" positions (police, health care providers, and corrections workers) don't seem to grasp the intergenerational effects of residential schools.

From the late 1800s to 1996, more than 150,000 aboriginal children were taken from their homes and subjected to emotional, physical and/or sexual abuse. The Truth and Reconciliation Commission has documented the cultural, intellectual, and spiritual losses and the effects that continue today. "Their impact has been transmitted from grandparents to parents to children," the Commission wrote in its interim report in 2012 (a final report is due this June). "This legacy from one generation to the next has contributed to social problems, poor health, and low educational success rates in Aboriginal communities today."

"Sometimes it's just lighting that spark," Southwick says of the role cultural sensitivity training plays in educating and quashing misinformation, "other times we've had the biggest, toughest RCMP officers have a complete breakdown and say, 'I am so sorry that I held these notions of your people, how do I fix this?'"

She says the course works both ways, also helping aboriginal families like the Fergusons understand more about how the RCMP works: where officers are permitted to act using their discretion, and where they are not.

Learning to let things go
There's a photo of Roberta, taken shortly before her disappearance, on Carol's kitchen fridge in Fairview. She's wearing a pale pink dress, her glasses, and a smile. Roberta's picture is the first image Carol sees when she gets ready in the morning and the last one she sees before she turns out the light at night.

Both sisters agree: after so many years of wondering, it would help to know what happened to Roberta. But over time, they've tried to focus less on the what-ifs and more on their memories.

"We've never stopped thinking about it," says Marilyn, "but the more you dwell on it, its just going to eat you up alive. You have to learn to let things go sometimes."

Anyone with information regarding Roberta's disappearance can contact police or Crimestoppers (anonymous tips) in the Lower Mainland at 669-TIPS or outside the Lower Mainland at 1-800-222 TIPS.

http://www.rcmp-grc.gc.ca/cc-afn/ferguson-roberta-...

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Jodi Arias Got Life in Prison Without Parole at the End of Her Long, Bizarre Murder Trial

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In May 2008, Travis Alexander told Jodi Arias that he wanted to tie her to a tree. The devout Mormon's beliefs prevented him from having vaginal sex, but he'd found what he imagined to be a gray area in other acts. Over the phone, in graphic detail, he described which of those he'd do to Arias as she was dressed as Little Red Riding Hood. Five years later, the 32-year-old dabbed her downcast eyes with a tissue as she was forced to relive the 30-minute recording in front of a jury, as well as her family, in an Arizona courtroom.

By that point, Arias had already admitted to killing her ex-boyfriend in the shower by stabbing him nearly 30 times, slitting his throat, and shooting him in the head. The bizarre courtroom scene was part of a larger strategy by the defense to prove that Alexander was a sexual deviant who had forced Arias to engage in depraved acts against her will. For obvious reasons, the trial that captivated the country, and it just ended today with a judge sentencing her to prison for the rest of her natural life without the possibility of parole.

Part of the reason the trial became such a national sensation is because, well, it's perfect tabloid drama. As an attractive and admitted killer, Arias was perfect fodder for the likes of Nancy Grace, and the fact that their sex life was being aired in court made for some captivating television. But the case was also interesting because Arias took the stand for an unprecedented 18 days in her own defense. It didn't go well.

According to her, Alexander was into young children and would make Arias wear little boy's underwear while they had sex, and he was extremely physically abusive. She said that the abuse reached its apex on June 4, 2008, when she went over to Alexander's house even though they had already broken up. They were in the shower taking sexy photos because they "were going for a certain effect for the pictures and the water," according to Arias's testimony. She said she dropped the $1,500 camera, which caused Alexander to flip out. "He lifted me up as he was screaming that I was a stupid idiot," she told the jury. "And he body-slammed me again on the tile. He told me that a five-year-old can hold a camera better than I can." She claimed that she killed Alexander in self-defense. His body was later found with his throat slit ear to ear.

In May 2013, the jury found her guilty of first-degree murder and decided she was eligible for the death penalty. The penalty version of the trial resulted in a hung jury, however, and the subsequent re-trial lead to a vote of 11-1 in favor of the death penalty. Because one juror held out, and the decision to execute Arias needed to be unanimous, a judge was tasked with deciding whether or not she should have life in prison or be eligible for parole after 25 years. (Technically, parole is no longer offered in Arizona, so she would have to apply for clemency, USA Today reported.)

Because the case has dragged on for so long, it's reportedly cost taxpayers nearly $3 million.

Arias's mother, Sandy, addressed the judge before the decision was read. She was the only one from her immediate family there, and she pleaded for the chance of parole. She gave her condolences to the Alexander family, but described Travis as a someone who "tried to degrade [Arias], tried to make her feel like a nobody, and tried to take away her pride."

"They can cage her, they can take away her rights, but they cant take away one thing: her beautiful soul," Sandy Arias told the judge.

Then Arias said a few words. "I do remember the moment the knife went into Travis's throat and he was conscious," she said. "He was still trying to attack me. It was I who was trying to get away and not Travis. And I finally did."

Although she maintained that she was acting in self-defense, she got choked up as she apologized for all the pain she's caused. "I'm truly disgusted and repulsed with myself," she concluded, "I wish i could take it back."

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Weediquette: These Rabbis Say Weed Can Be Kosher

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According to the standardized yet fuzzy psychedelic philosophy I share with many other stoned defectors from social convention, weed and organized religion don't mix. Cannabis sparked my curiosity in many ways, and one of them was the way it made me thing about the Islamic restrictions of my upbringing in a new way. The reasoning behind the ban on inebriation in any form made sense—who would adopt a centuries-old belief system when a natural substance allows us to imagine completely new modes of being?

For some marijuana fans, the spread of legal weed will mean that more and more previously unquestioning faith-keepers will light up, and that means that more and more of them may have a hard time reconciling commandments about sobriety with the beauty and power of pot.

For at least one major religion, though, there is a lot less to reconcile.

In February, Rabbi Moshe Elefant announced a partnership with an as-of-yet unidentified Colorado company to bring Kosher edible weed products to New York under the state's new medical marijuana law. Among its many self-immolating features, the Compassionate Care Act bans the smoking of weed, leaving patients to vaporize cannabis concentrates and consume edibles. For patients who are religious Jews, Rabbi Elefant's venture addresses the concern of eating marijuana products prepared in a non-Kosher kitchen.

As for reconciling a once taboo substance with the teachings of Judaism, Elefant put it simply, telling MUNCHIES earlier this year, "Judaism is insistent upon the fact that we take care of ourselves... so if a doctor prescribes marijuana, there's no reason not to take it."

That's a simple, pragmatic answer—the last thing I expected from a religious leader on the subject of weed. In my experience, most Muslims are opposed to weed just as they're opposed to alcohol. As legalization spreads, devout Christians are faced with the quandary of justifying ritualistic alcohol use while still remaining largely opposed to a statistically lesser evil. So what makes Jews so cool with weed?

"Anything that can be demonstrated to reduce suffering, especially of a bodily illness, or one of the mind, would be more or less kosher," Dr. Ajay Chaudhary, a lecturer on religious studies at Columbia University and founder of the Brooklyn Institute for Social Research, told me on the phone. "Well, I mean 'kosher' in the colloquial sense, in this case," he clarified. "If it's going to save a life, or even alleviate suffering, or you're dying of starvation, even a ham sandwich on Yom Kippur is OK."

Compared to the other major monotheistic faiths, Jewish doctrine favors the preservation of life and health over the strict application of its own laws through a principal called pikauch nefesh.

"Essentially, it says, 'And you shall live by these commandments,' and the rabbis interpreted that to mean, 'You shall live by them and not die by them,'" Rabbi Eli Freedman from Rodeph Shalom in Philadelphia told me. "This means you are allowed to break any commandment—except three—to save a life. You can violate any other law."

As long as a Jew doesn't kill anyone, engage in any sexual misconduct, or bow down to a false idol, he or she can do pretty much anything in the name of saving or improving a life. As Rabbi Freedman puts it, "Say if I had a disease where the only cure is for me to eat like 20 pounds of bacon. Baconitis, or something. Even if I was the most Orthodox Jew, who had never come close to a pig in my life, I should eat that bacon to save my life." Islam has a similar concept, allowing people under duress some leeway in their decisions, but modern interpretations tend to be a lot harder edged, like this one from religious televangelist Zakir Naik that starts with, "The pig is the most shameless animal on the face of the earth."

"Judaisim doesn't really have the ascetic streak that you'd find in Christianity or eastern religions," according to Chaudhary. Jews are meant to enjoy the life as well as their spiritual pursuit, and any moderation or discipline should improve that experience. If that means one refrains from cannabis because it's an intoxicant but then discovers that it could improve life, there's no shame in blazing. As Chaudhary puts it, "Things that give you pleasure, things that intoxicate, aren't necessarily viewed as pure evil... Trust me, there's plenty of guilt in Judaism, but it's not generally the kind of body guilt you'd associate with Christian religion."

As for guilt in the secular sense, Jewish medical marijuana patients still have the paradox presented by " Dina De-Malkhuta Dina," a rule stipulating that Jews must obey the laws of the land they live in as long as they don't conflict with Jewish law. "Some rabbis will say [marijuana] against federal law in the US, so it's against the law for Jews," Chaudhary says. "But now that it's legal, it's a different thing. It raises questions: Is smoking it harmful for your body? What are the effects of marijuana on the mind? Is there a social concept that exists to handle this? Alcohol gets you extremely intoxicated, but we've built these long standing social structures to deal with that, and we haven't done that with pot yet."

According to some interpretations, Jews can't use medical marijuana even in a legalized state until federal law becomes consistent. But Freedman, the Philadelphia rabbi, disagrees.

"As a rabbi, I say go for it," he says.

Related: Watch VICE's Hamilton Morris explore unique strains of cannabis and corruption in Swaziland.

In the last century, cannabis went from being a crop to a narcotic to a medicine to something vaguely like alcohol. For millennia before that, it was a benign plant growing in the background of the shared mythologies of every Abrahamic religion. It was so unremarkable that an opinion on it was never even clearly stated in scripture, leaving scholars to debate the matter eternally. Yet the mindset spurred by a relatively recent legal prohibition has somehow fused itself into modern interpretations of religion. Laws are turning back in weed's favor, but it's not easy to make a case for reforming longstanding beliefs.

Still, Kosher edibles would be a great first step.

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Undergrads Today Are the Worst: A TA's Confession

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God, just look at them. Photo via Flickr user University of Saskatchewan

It's final exam season now at most of Canada's colleges and universities. Once upon a time, this was the most stressful part of my year—scrambling to track down old illegible notes, frantically skimming the textbooks of all the courses I'd skipped, negotiating late-night existential crises about why the fuck I picked economics as a minor—but now it's a weirdly peaceful time. Now, as a TA, March is actually the worst part of my year. As much as it sucks writing bullshit course papers in your undergrad, I can guarantee you that it sucks way more to be on the receiving end of 60 bullshit course papers you have to turn around in less than two weeks.

Anyways. Given how many nervous breakdowns are triggered by this time of the semester, I try to end every year with a trip to the campus bar and a round of drinks on me. This lets the students know that I'm still human, and it also teaches them the most important lesson of all, namely that the best intellectual developments happen half cut in a bar somewhere with your colleagues.

Or at least, this has been my experience. The best class I took in my undergrad was a class on communism taught by a (self-professed) Czechoslovakian Leninist who repeatedly told us to drop acid and fight cops. I never followed his advice exactly, but I did skip a lot of classes to get stoned and play Mario Tennis, which is pretty much the same thing. Sometimes we also talked about Nabokov or Newfoundland politics, so it was basically just like learning.

I've offered free pints to a couple of different classes, and in my experience no one, anywhere, ever, turns down an all-expenses-paid trip to the pub that gets them marks for attendance—even if they don't drink.

Except this year, when almost 80 percent of the students said they'd rather just bail than go for a round. What the fuck?

I was blown away. I couldn't believe it. Who turns down free drinks to go home and take a nap? If they were hardcore keeners I could believe it, but no one's even doing the course readings after the beginning of February. Kids these days are fucked. I'm pretty sure you can read all the problems with the modern university through their failure to blow off class on a fucking Friday afternoon for some free beer.

Foucault is for the children
I use 'kids' here pretty loosely—at 27 I'm basically still a baby and have seven years max on most of my students. A couple have probably been my age or older, or at least they look it, which might mean they've been partying a bit too hard.

I'm a doctoral student in political science with the good graces to be funded for the privilege, which means I spend eight months out of the year as a Teaching Assistant. TAing is a kind of weird grey area between student and professor. I'm sort of an authority figure but also not totally terrifying. I'm still a student, just older, fatter, and deeper in debt. It's basically a scholarly cross between mafia lieutenant and shop steward. I'm not a full instructor but every week I'm given control of a couple seminar sessions where I can "rap with the kids" and put a human face on what they learn in class.

Sometimes I run seminars on Canadian politics, where I'm basically a referee: there to make sure that the discussion is a level above what you'd hear in a dive bar (or trying to make sure that the students don't unintentionally veer into horrifyingly racist rants about Aboriginals or the French). I also have to spend a lot of time clearing up misconceptions about Newfoundland, because for some reason they all think we're just a bunch of rowdy drunks. Occasionally, I have to remind them that Stephen Harper is not literally Adolf Hitler, but because I'm in Alberta that's actually a pretty rare occurrence.

Mostly though, I run seminars on introductory political philosophy. Political philosophy is a fun specialty because other political scientists don't take you seriously (there is no math involved so it's not a Serious Topic) and neither do actual philosophers, who don't have the time of day for anyone who can't immediately process obtuse burns about Heidegger or whatever. Basically, professional philosophers are the worst people.

I'm really just here to talk about power and domination, just not the kind your suburban mom reads about.

It's actually wicked to TA these classes. Yeah, we spend two to six months slogging through a lot of tedious shit like Plato's homoerotic fanfiction about his brothers or Machiavelli teaching us how to murder our friends for fun and profit, but then we get to the modern period and I get to introduce people to Marx and Foucault and friends and watch everyone's brains melt. It's really fun to ask a pre-law business student to seriously think about what "exploitation" means for the first time or spend 40 minutes talking about how the modern school system isn't so much for learning as it is for disciplining us to obey authority.

Contrary to the chain emails your racist uncle sends you, we don't actually spend whole semesters teaching students that god is dead before we're punched out by religious marines fresh off the plane from Afghanistan or Iraq or whichever country it is we're bombing right now. But we do actively encourage students to think about whether the story their parents and/or televisions told them about how the world works is actually accurate or useful. Some of that sticks more than others.

Teaching in the time of austerity
This is a weird bit of business now that the role of the university is changing. More students are showing up treating it like any other business transaction—they pay for a service ("education" in the form of course credits and grades) and a commodity (a degree which makes them more valuable to employers). The general undergraduate culture is less interested in any expansive idea of learning than in being told exactly which page(s) they need to quote to get an A on their paper. And god help you if you don't post your PowerPoint slides online.

Schools are more and more like factories, and the governments that fund them either grant or withhold that money based on the "value-added" products (i.e. people) we churn out for the labour market.

Unfortunately, this model breaks down when it comes to a lot of arts degrees—especially political theory. Yes, we teach "critical thinking and research/writing skills," but mostly we're there to teach students to question what power is, how it works, what makes it legitimate, and whether or not the social status quo makes any goddamn sense. Depending on where you're sitting, you'll either be relieved or alarmed to know that most students don't bother thinking too hard about the big questions of social justice.

As you can imagine, governments don't like this nebulous "thinking" shit very much, so the axe tends to come down on us hard and fast whenever they want to save money. And since the modern university is less a utopian space of free thought and intellectual exploration than it is an assembly line for fleecing money from young adults, they are often only too happy to follow suit. Just ask the fine folks at York and the U of T.

It's really easy to sell university as a good target for cutbacks in austere times, because who actually wants their tax dollars going to a bunch of punks on the poverty line who teach kids to hate Canada? It also helps that most of us will readily take the beating and gladly turn the other cheek. Except in Quebec, where students and faculty actually give enough of a fuck to hit the streets in response to bullshit provincial budgets.

Meanwhile, in Alberta, we're all going to stay inside and then re-elect the Tories again for another trillion years. Who cares if the whole system is falling the fuck apart as long as we can ride out the comedown with ease?

Which brings me back to the free drinks. Given the absolute mess that is The Academy (tm) in the Year of Our Lord 2015, it makes no sense to avoid a momentary boozy reprieve where everyone can share some Real Talk on the same level. At the very least, accepting free shit is a good business practice. It's one of the few moments in this perverse corporate ritual where we can pretend that education is something bigger than just an extension of childhood where you're given a piece of paper at the end that'll make it marginally easier to pay back all the debt you picked up trying to get it in the first place.

It's also the only way to genuinely evaluate my students, because writing papers and memorizing exam answers can be a total crapshoot and isn't always reflective of someone's actual insight. Life happens. It's only when you're sitting down with them splitting a pitcher and they tell you they actually learned something—that there is something about themselves and the world around them that they suddenly "get" for the first time—that you know whether or not you actually succeeded at this education racket. There is something incredible in watching someone cool and smart take their first tentative steps towards enlightenment and to know that you played some tiny role in helping them get there.

At least, that's how you feel until it's a year later and you learn they're now applying to grad school in your field and this incredibly cool and smart person is actually your direct competition for the one academic job that will exist in the world five years from now and then you realize, fuck, I taught this kid Machiavelli.

At least this year, I probably didn't buy that fucker a drink.

Follow Drew Brown on Twitter.


DAILY VICE: DAILY VICE, April 13 - Peru's Drug War, Bombing Islamic State Tech, Canadian Super Computer

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Today's video - Inside Peru's drug war, Canada targets Islamic State tech facilities, and a Canadian super computer that could revolutionize pharmaceutical drug design.


Exclusive: Peru's War on Cocaine - Part 1

ABOUT DAILY VICE
Over here at VICE Canada, we've been working like crazy to bring you DAILY VICE: the first mobile show in the VICE universe. Now, after plenty of relentless R&D, we're finally ready to let you all in on our newest creation.

From Monday to Friday, DAILY VICE will bring you the top news and culture stories from across our network. You'll also get a first look at our newest documentaries before they hit the internet at large. And, every Saturday, we'll take a closer look at one of the week's top newsmakers.

DAILY VICE is the best way to keep up on all of our best stories while you're commuting to work, waiting for a doctor's appointment, or any other time you need a roughly six minute diversion from your ordinary life.

DAILY VICE is a Fido customer exclusive. If you're with one of those other providers you can access DAILY VICE here for the month of April. After that, only Fido customers can continue watching with the DAILY VICE app. Learn about the app here.

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The Japanese Military Is Getting Offensively Cute

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The Japanese Military Is Getting Offensively Cute

Comics: Megg, Mogg, & Owl - 'Owl Goes to the Gym'

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

'Britain's Best Bottom' Talks About Premature Ejaculation and Straight Men in Gay Porn

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[body_image width='818' height='532' path='images/content-images/2015/04/13/' crop='images/content-images-crops/2015/04/13/' filename='darius-ferdynand-britains-best-bottom-394-body-image-1428933543.jpg' id='45446']

Darius Ferdynand. Photo by Mark Henderson.

This article originally appeared on VICE UK.

Last month, I went to London's Prowler Gay Porn Awards and chatted with international adult movie star Darius Ferdynand, who would go on to pick up the much-coveted "Best British Bottom" trophy.

Darius is originally from Budapest. He entered London's porn industry in 2011 at the age of 23 with the Blake Masonproduction company. Since then he's worked for nearly every major porn studio in Europe and the US, appearing in such films as 69 Shades of Gay, Stretch My Hole, and Darius Has a Big Fat Dick.

Keen to find out how it feels to be an award-winning bottom I got in touch with Darius again for a chat.

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Photo via Darius' Twitter.

VICE: Hi Darius. Congratulations on your Best British Bottom award. How did it feel to win?
Darius Ferdynand: It feels fantastic to win an award. I haven't received anything like that since I was a teenager. I don't watch my own porn, so it's good feedback and I'm glad to see that people like what I do.

The atmosphere at the awards was very friendly, but is there much rivalry between guys over jobs behind the scenes?
Well, it's not like we push each other down the stairs to get a role, because normally porn directors already know who they want to work with. There are no castings, but there's certainly a rivalry for attention and the spotlight, I think.

You got into the industry through modeling. What was your reaction when you were first approached to work in porn?
It's just a part of the entertainment industry, like theater, movies, music, or dance. You have to perform. It's good to have fun at work, but this is my job. I consider it a real profession. I just wanted to do my best from the first time I was approached to work in porn.

Who was your first scene with?
My first scene partner was Jack from Blake Mason. Handsome British lad. I was way too excited and came too early. I had to produce another cumshot within five minutes.

Occupational hazard, I guess. You've worked professionally as a bottom and a top, right? Any preference?
I like to be versatile and diverse. I'm mostly a bottom, but it really depends on my mood, the partner, and the circumstances.

You mentioned that you see porn as just a part of the entertainment industry, and I agree—it should be appreciated as an art form on the same level as music or theater. Do you think porn can have genuine artistic merit?
I agree with you 100 percent. Some people may think it's just simply fucking. But at the end of the day, there's a whole production team there working to create something that's entertaining, satisfying, impressive, and meaningful to the audience. Although, maybe less artistic and with a slightly more superficial message than a drama.

[body_image width='640' height='480' path='images/content-images/2015/04/13/' crop='images/content-images-crops/2015/04/13/' filename='darius-ferdynand-britains-best-bottom-394-body-image-1428934361.jpg' id='45450']

Photo via Darius' Twitter.

Some of the fans at the awards were pretty obsessive. What's the most intense thing a fan has done?
There's a guy from Chicago who has my face tattooed on his chest. Kind of a cute idea. Another dude has driven up to Las Vegas all the way from South Carolina just to see me. I don't mind these things and I like to keep a connection with the fans, but I don't like stalkers.

I was surprised at the number of straight female fans at the awards. Are women a significant part of your fan base?
Yeah, there's quite a few woman fans out there. I think it's amazing. My work is for everyone, no matter what age—as long as they're over 18—or gender. I'm glad they all enjoy what we do.

Conversely, some gay porn actors are straight. How does that work?
I'm not entirely sure. I personally prefer to have a gay or at least bisexual partner on set so there's more chance for real chemistry, connection, and less pretending. Also, I like to be wanted—I don't wanna be with someone who doesn't desire me. Though I had a few straight partners who were absolutely fantastic, experienced with male bodies and were doing everything right just as a gay man would. I would even say they quite enjoyed it. At the end of the day, it's a job—we all know exactly what we signed up for. Doesn't matter if you're gay, bi, or straight—if you like it, do it. If not, then you shouldn't force something that you don't find enjoyable—it's not right for anyone and you'll get bad results.

[body_image width='640' height='446' path='images/content-images/2015/04/13/' crop='images/content-images-crops/2015/04/13/' filename='darius-ferdynand-britains-best-bottom-394-body-image-1428934569.jpg' id='45451']

Photo via Darius' Twitter.

How does sex on film for movies feel different to sex in your personal life?
On film it's all about what looks good—what would be interesting and exciting for the viewer to see. In my personal life it's more like what feels good.

People often talk about exploitation in the porn industry, and its seedy side. Have you experienced any of that and how do you keep yourself safe?
Yes, it's unbelievable how much less money porn stars get nowadays compared to a decade ago. I've had some bad experiences. Once I shot a full scene for a company who paid only half price cause they said it was a "casting," although it was all over the internet.

What are your plans for the future? Stay in the industry or move on to other projects?
I'm definitely staying in the industry for a while. I wanna make the best of it. Then I might try as a director and make my own company. Or do something totally different. Not sure at the moment, but I see a bright future.

Thanks, Darius.

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Why More Men Are Sitting Down to Pee

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This January, a court in Düsseldorf, Germany ruled that men have the right to pee standing up. The relevant case was a minor property dispute about whether a landlord should be able to keep his renter's security deposit over piss stains on his marble bathroom floor. But the fact that the landlord appeared to view his tenant's standing urination as a barbaric habit, and the fact that the judge referred to the now-protected position as a formerly dominant custom was telling.

Over the past decade, Germany and a number of other countries have increasingly moved towards a culture of reclining relief. Debates have raged over the merits of the practice, with arguments made on everything from feminist to public health grounds. Yet for all the bombast and backlash around this massive transition, the origins of the modern movement and the prior history of standing male urination remain fairly opaque to almost everyone.

We do know that, as far back as 2004, at least one German company was producing something called the " WC Ghost," a toilet clip-on that vocally admonished men for raising the toilet seat and encouraged them to sit. That year, the Ghost started to show up in international grocery store chains as well. By 2006, a story popped up in Norway, in which a primary school teacher requested that parents start training their children to pee in a civilized, seated manner. Thereafter, the practice grew more common in Germany and the Nordic countries, with similar movements cropping up in France and the Netherlands as well. The European phenomenon reached perhaps its highest visibility in 2012 when the Left Party in Sormland, Sweden tried to require that male city council members sit rather than stand while using the toilets in municipal buildings.

Yet this wasn't just a European trend. In 2007, a poll of married couples in Japan found that 49 percent of wedded men peed sitting down, up from 15 percent in 1999. In 2012, Taiwanese officials began promoting the practice as well. And even in America, the practice has gained a little (yet highly visible) traction with rumors that stars like Ryan Gosling now sit as well.

Many have tried to justify the shift as a logical health measure, saying it's better for men's prostates (and hence our sex lives) and more natural for our musculature. A robust body of scientific literature seems to say that's all bunk, though, save for men with enlarged prostates.

According to Dr. Stephen Soifer, Chair of the University of Maryland's School of Social Work and an expert on paruresis (shy bladder syndrome) who spends a lot of time observing bathroom design and habits, the great unifying factor of the movement (which he thinks really hit critical mass about six years ago) is the issue of cleanliness and men's messy splash backs.

"The [European] origin really is in Germany," explains Soifer. "The women's movement there was trying to get men to sit down when they tinkled because they claim men were soiling the toilet seats."

(Although the complaint makes sense anecdotally, Soifer, for his part, doesn't actually think this is a well-founded claim. He points to research out of the UK in the 1980s showing that 96 percent of women hover over public toilet seats when letting loose, creating some mess as well.)

Over the past decade, a number of countries have increasingly moved towards a culture of reclining relief.

As for the origins of the practice outside of Europe, in places like Japan and Taiwan, Soifer thinks it likely has something to do with the regional prominence of toilet associations.

"Those countries, and Singapore and South Korea in particular," he explains, "have very active toilet associations. (We have one [in the US], but it's very dormant.) They've become advocacy organizations on a broad range of issues related to public toilet [hygiene—like splash back]."

Yet it's not as if men have suddenly become much messier in the bathroom, leaving the origin of this seated urination movement now as opposed to at any other time somewhat mysterious. But Soifer has some ideas about why it popped up when it did in Europe and Asia.

"It was the right moment," he says. "I think that the women's movement [and in Asia perhaps toilet associations] had much more important things to focus on for a long time... I can't tell you exactly who and when, but it was one of these issues where, when the time was right, people jumped on the bandwagon."

[body_image width='800' height='599' path='images/content-images/2015/04/14/' crop='images/content-images-crops/2015/04/14/' filename='how-pissing-siting-down-become-a-thing-for-men-456-body-image-1428983293.jpg' id='45572']
Photo via Wikimedia Commons user Jim

Based on the recent and global phenomenon of the cleanliness-based seated male urination trend, it's easy to suspect that this practice, as a cultural norm rather than a personal quirk, is wholly new. But there have always been cultures that promoted seated male urination (or where sitting toilets don't exist, squatting male urination). The most prominent of these being Islam, in which some interpret the hadith, guidelines for life based on the deeds and sayings of the prophet and his companions, as encouraging (but not requiring) men to squat and pee so as to avoid contact with unclean urine. Yet the Islamic promotion is hardly mandatory, universal throughout the highly diverse Muslim world, or the basis for the spread of the practice into new cultures in the wider world today. It's just proof that societies, like individuals, have always been a little irregular and idiosyncratic in their ideals and practices on male piss.

But where the convenience of whipping it out by a tree is paramount, standing urination will probably continue to reign.

"There are so many variations, culturally speaking," says Soifer, reflecting upon how much of our bathroom norms are based on what is practical for people when and where they live.

"In the Victorian culture," he continues, "women would actually urinate while walking. Because of the kind of garb they wore... They couldn't take those things off, so you would actually relieve yourself while on a walk."

In some Islamic communities, the facilities are available and the impetus to be ritually and pragmatically clean is high enough that men choose to squat to pee. In the West and parts of Asia, it seems, we're now so tired of the smell of uric acid and the sight of piss stains and free of other more serious concerns that we can shift our focus towards sitting down to take a leak. But where the convenience of whipping it out by a tree is paramount, standing urination will probably continue to reign, just because it's simple and easy for the average dude on the go.

Follow Mark on Twitter.

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