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A Dispatch From Montreal’s Raucous, Tear Gas-Filled May Day Protest

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As the Montreal Canadiens battled the Tampa Bay Lightning at the Bell Centre, police faced off with thousands of demonstrators a few blocks east in a protest that resulted in over 80 protesters being detained.

Every year on May 1, workers of the world unite in a mix of general strikes and protests to commemorate the 1886 Haymarket Affair in Chicago, which left seven dead after one the protesters, who were demanding eight-hour work days, hurled a bomb at police who then opened fire on the crowd.

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It started innocent enough. All photos by Keith Race.

Despite vibrant and occasionally confrontational anti-austerity marches in recent weeks, they had hit a bit of lull and failed to reach the critical mass of 2012's now-legendary Maple Spring protests—protests which regularly brought Montreal to a standstill and changed the course of a provincial election.

Quebec has always had a powerful labour movement, and many within it have now set their sights on the provincial Liberals' cuts to public spending. Earlier in the day, marchers had targeted the World Trade Centre and numerous big banks to protest the low taxes they pay, even in times of austerity. Unlike 2012, these rallies were about the economy—not tuition hikes.

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And ended like this.

But unlike the recent wave of demonstrations in Quebec, these were not just comprised of students. It was International Worker's Day, and this year's protests were held all over the city in a climate of staunch opposition to the provincial Liberal government's austerity measures.

Yesterday's demo began rather calmly at Phillip's Square with the usual Marxist labour banners and speeches denouncing the evils of capital and capitalism.

As soon as the speeches were over and demonstrators made their way onto Ste-Catherine Street—peacefully and in the same direction direction as traffic—a megaphone began blaring orders for the crowd to disperse.

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Game night. A lot of red.

As is now customary in Montreal protests, the march was declared illegal pretty much the moment it began, and seconds later an SPVM bus swooped in and unloaded its merchandise. The riot squad poured out and formed a blockade across Ste-Catherine Street.

That's when things turned.

As press and protesters approached the line of cops, loud metallic shots went off. The sound and smell made it abundantly clear that they were firing tear gas at us.

It was my first, but not last, time getting teargassed. And it really is as bad as everyone says it is.

Phillip's Square is on Ste-Catherine Street, the main artery running through the city's business and shopping district, hardly the Red Square.

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It was pretty out though.

But that did not stop a seemingly unprovoked riot squad from lobbing tear gas cartridges indiscriminately in an area filled with kids, people leaving work, and jersey-wearing Habs fans on their way to the bar to watch the game.

Not surprisingly, protesters were became agitated by this vulgar display of power and the gloves were off, so to speak.

The absurdity of municipal police, who are also pissed off about austerity and pension cuts, attacking protesters who only moments before were calling for an end to "stolen pensions" masqueraded as austerity was not lost on numerous police officers I spoke with.

Marchers eventually made their north onto De Maisonneuve Boulevard at which point the Imperial Guard of Montreal protesters, the Anti-Capitalist Convergence (or CLAC), joined the protest. Clad in black and wearing masks, they let out a collective roar as their black mass fused into the general protest, pumping even more energy into an already feisty crowd.

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Cops...am I right?

As the reinvigorated crowd approached McGill College, the cavalry (literally) and bicycle cops were waiting. Under their watchful eye, thousands of marchers filled up the street and walked back towards a still-bustling Ste-Catherine Street.

When the riot police there charged protesters, they got caught between two masses of marchers and once again began firing tear gas in all directions, one of which landed right next your humble narrator and filled my eyes and lungs with a horrible and familiar sting.

As I staggered down the street, the Sisters of Mercy let this stunned and tearful reporter inside their deserted shoe boutique. They offered me water and a moist towelette to wipe off the tear gas which had by now seeped into the pores of my skin. They also offered me solace.

Looking outside the windows of the shoe store, hockey fans, office workers, and oblivious teens with shopping bags ran through thick clouds of tear gas, covering their faces—exactly the kind of people that police need to protect from over-the-top protesters. The police response had succeeded not only in dispersing peaceful protesters but basically any person unlucky enough to be on the city's busiest street on Friday night.

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Give peace a chance, Montreal.


More Uber Accounts Have Been Hacked, This Time in the United States

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More Uber Accounts Have Been Hacked, This Time in the United States

Blood Lady Commandos: Some Much Needed Down Time

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Check out Esther Pearl Watson's website and Instagram, and get her books from Fantagraphics.

​Peter Sidlauskas Is the Bizarro King of Lo-Fi Skate Videos

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Peter Sidlauskas

Skateboard videos are at a crossroad. On one hand, you have the mainstream vids that look like Michael Bay's Transformers; on the other, there are video makers like William Strobeck and Josh Stewart who are opting out of $30,000 cameras and Hollywood gimmicks to focus on the purity of skateboarding.

But in recent years, no one has bucked the current trend of over-production more then Queens-born Peter Sidlauskas, co-founder of Bronze, a skateboard hardware company in New York City. Over the past three years, Bronze has made quite the name for itself with lo-fi internet videos laced with public access TV commercials, homages to 90s dial-up era web browsing, countless visual inside jokes, and tweaked acid-trip editing. VICE spoke to Sidlauskas about Bronze, his fucked-up YouTube and Vine pages, and the deep, dark internet.

[youtube src='//www.youtube.com/embed/mEDi5qSWf8s' width='560' height='315']

VICE: Bronze's first low-fi video, 56K, came out in 2012 just as Pretty Sweet was released with all its drone angles, dizzying edits, relentless slow-mos, and extreme close-ups. What prompted you to take your videos in a more light-hearted direction?
Peter Sidlauskas: I was just jaded. I wanted to make a video so stupid that it would ban me from the industry. But then it backfired—I was really surprised by how many people liked it. 2012 was a weird time; I wasn't really watching skate videos anymore and most of the friends I grew up with were getting full-time jobs. Skating just wasn't their main focus anymore. I was pretty much over it, too. I would go out to film, and when I'd take my camera out of my bag, my death lens would just roll all over the floor and it wouldn't even bother me. Nothing was really inspiring me at the moment except all the old videos I used to watch when I was a kid.

Once we came up with Bronze, it really got me hyped on skating again; I definitely would have quit this shit if it wasn't for Bronze. Here was a new thing that we could do whatever we wanted with. 56k was really inspired by a video called Supper's Ready made out of Canada from the Green Apple Skateshop. That video is very underrated; it broke all the rules before anyone else. It really made me want to make something ridiculous.

[youtube src='//www.youtube.com/embed/9dKOl9xX0lA' width='500' height='281']

What do you think is the future of skate videos?
The future of skate videos is going to be a lot like Shorty's Guilty. Kids aren't stupid; they're going to realize that this whole East Coast vs. West Coast, low-fi vs. Hollywood, Rodney vs. Daewon shit is getting played and that the true essence of skating is in the Shorty's Guilty video. Actually, there probably won't be any more skate videos. I think the future is just going to be 15-second Instagram edits.

You splice in a shit-ton of old commercials and random footage into your videos. Do you have an office job where you're spending hours on the internet searching for that stuff?
I used to have an office job at an insurance agency. I took the job pretty seriously for a month and then I just ended up not doing anything there for the next two years. I would just be online looking up shit. The boss would be like, "How's our social media reach?" I'd be like, "Will you shut the fuck up! I'm lookin' at things!" YouTube can be pretty crazy; have you ever been on that site? Check it out at youtube.com. I waste a good part of my life online.

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What's the most obscure, bizarre thing you've ever come across on the internet?
Nothing is really bizarre to me anymore. Although I was on Vine the other day and someone edited Winnie the Pooh crashing into the Twin Towers. I was like "OK, that's enough internet for today."

Three dudes, one hammer is kind of crazy. Those two guys getting their heads chainsawed off, that was pretty bizarre. The bar for crazy has been raised so high, I'm just waiting for the suicide YouTube channel where people find creative ways to kill themselves on YouTube, like you're ordering food at McDonald's and then when you ask for extra BBQ sauce and they say it's 65 cents, you just shoot yourself in the face. And then the comments will be like, "Yoooo! The look on her face! Had me dying, son!" Then someone will say, "This is horrible! Why would you film this?" And someone will reply back, "You're racist! Bush did 9/11." It's a new world. But I can see the internet being illegal soon.

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Kevin Tierney. Photo courtesy of Bronze

Kevin Tierney rides for Bronze. Does he stuff the back of his pants with toilet paper like in those old Charmin commercials to protect himself when he falls? Or does he shit his pants each time before he goes skating?
I think he shits his pants every time he skates, because he's always shitting on the haters. Kevin gets a lot of shit for his style, but I like the way he's just holding on for dear life on every trick. Most people don't know that he's skating on the worst pair of knees ever. He got surgery on his knee and I guess they didn't do it right so now he needs another surgery on the same knee. It's just a mess. He should NOT be skating, he should be in a wheelchair. Yet he's switch wall-riding some gnarly stuff. Give the kid a break, go to the Stussy store and buy a shirt off him.

What was your last video camera?
Before the VX1 my last video camera was a 7D that I pissed on. I put it up for sale on Facebook but no one wanted to buy it. Probably because of the piss. It still works great. If you want a 7D, let me know.

Related: 'Epicly Later'd' - Keith Hufnagel

Although Bronze is very NYC-centric, your personal videos on YouTube come across like a very bored suburban kid killing time by fucking off with his friends. What's your story?
I'm from Queens, but the town I'm from (Glendale) is so isolated from everything. Shit looks like Hogwarts. I wasn't next to any subway trains. I'd always have to take a bus to a train, so going to Manhattan to skate as a kid was a mission for me. I went to school two blocks from my house so for the first 12 years of my life all I knew was this two-block radius. I don't even think I saw a black person until I was 12.

I remember the first time I took the subway to the city to skate, I was on the J train and I was like, "Whoa! There's no white people! Where am I?" Glendale is just full of white people addicted to painkillers; it's easy to just get stuck there and hang out at the local McDonald's and bum cigarettes. I'm glad skating got me out of the neighborhood.

As much as I enjoy your Bronze videos, I'm actually more of a fan of your absurd non-skate Vines and YouTube videos. Why don't you include more of your skits and weirdness in your Bronze edits?
Then I'd be Bam Margera, and those are some hard shoes to fill.

[youtube src='//www.youtube.com/embed/o1OfQmS7sXk' width='500' height='281']

Tell me about your fictitious Adult Swim show, Pete's Office.
It's going to premiere on Adult Swim. Fictitious? You can buy the box set at Blockbuster, where have you been?

[youtube src='//www.youtube.com/embed/PPLnif8AXjQ' width='500' height='281']

In Microwave Love, you depict your romance with a microwave. In other interviews, I've read about how unlucky you are with women. Do you think that's a result of watching hours of porn videos online?
Well Microwave Love was actually Ernie depicting his romance for microwaves, so chill. I actually had to play that video in front of a class of 30 kids. Most kids laughed but it was really uncomfortable. My teacher showed no emotion; he was really bummed. I think porn is good, but it's a little misleading. I was appalled to find out most girls really don't like three dicks in the butt. Maybe it shouldn't be that easy to get either. It's kind of hard to invest time in a girl when you can go online and have your imagination fuck whoever you want. In the end, what is real?

You're of the Facebook and Tinder hook-up generation. I love hearing the stories of sexual fails from the kids at the skateshop. Any funny dating stories?
My first girlfriend I met off MySpace. She had a good song on her page so I dated her for a year and a half.

What's next for you and for Bronze?
I'm going to try my best not to die. Got some collabs in the upcoming year. Going to get Bronze into more shops. Make another video, I guess. Make our first pro model bolt. 2k15 looking good.

Check out Bronze on Instagram and Tumblr. Buy Bronze here: bronze.bigcartel.com.

Follow Chris Nieratko on Twitter.

Comics: Francis the Bear: Francis And The Hoarder Car

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Check out Gregory Mackay's website and Tumblr.

Nigeria Says Another 234 Women and Children Have Been Rescued From Boko Haram Share Tweet

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Nigeria Says Another 234 Women and Children Have Been Rescued From Boko Haram Share Tweet

How Jessica Hopper Became the Ultimate Female Rock Critic

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How Jessica Hopper Became the Ultimate Female Rock Critic

The Nonviolent Palestinian Activists Working for Peace in the West Bank

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It was pitch-black in the graveyard. I was struggling to keep up with my guide, a 15-year-old boy named Ahmed who had jumped into my car ten minutes earlier and proceeded to guide me to the secluded spot. He made his way easily between the olive trees along a ridge in the choppy terrain, his thin body navigating the uneven ground. Over the lip of the hill on which the graveyard sat, the lights of Hebron flickered in the valley below.

My silent guide was taking me to meet Issa Amro, his longtime mentor and the founder of Youth Against Settlements, a nonviolent movement in the heart of the West Bank city of Hebron.

I asked Ahmed what it was like to be Palestinian in Hebron. He told me how he was beaten up by Israeli soldiers on the way home from school not once but many times, how they would take his backpack and dump its contents out on the street. "Are these books?" they would ask. "These aren't books."

Still, Ahmed said he doesn't throw rocks during protests like some Palestinian youth. "Why should I give them an excuse to kill me?" he said. "It's not our way. We at Youth Against Settlements don't throw stones. Not for them. For us."

We continued on, until a circle of bright lights encompassing a small house came into view. An old olive tree stood guard outside the entrance, a bright sign declaring "Free Palestine!" slung from its branches.

Ahmed led me to the house, his demeanor growing suddenly shy as we passed through the front door and into a small living room. On a fraying yellow couch, facing a Palestinian flag that covered most of the opposite wall, sat Issa Amro, a man with intense, close-set eyes, a ready smile, and an air of concentrated power. Gathered around him were other members of Youth Against Settlements, some of them men in kafiyyas and jeans, a few of them teenagers like Ahmed.

Amro is one of dozens of leaders across the West Bank and East Jerusalem who are using nonviolent tactics, civil disobedience, and direct action to challenge Israel's occupation. The work of these activists has gone nearly unrecognized, with most of the international media attention focusing on rockets launched from Gaza and the increasing dominance of the right wing in Israeli politics. But for the past eight years, the group has been working to instill the principles of nonviolent resistance and civil disobedience in the hearts of Hebron's Palestinian youth, even if no one is watching.

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All photos by Eli Ungar-Sargon

Hebron is a microcosm of the Israeli-Palestinian conflict. Nestled in the gently rolling hills of Judea, the ancient city houses the Cave of the Patriarchs, also called the Mosque of Ibrahim, a site holy to both Muslims and Jews because it is believed to be the final resting place of the biblical forefathers. Hebron—Al Khalil, in Arabic—is the largest city in the West Bank, home to roughly 200,000 Palestinians. It is also home to a stronghold of about 500 Israeli settlers, who are guarded by, depending on whom you ask, some 700 to 2,000 IDF soldiers.

The ancient city has a bloody history. In 1929, 67 Jews were killed and mutilated in riots by Arab residents, after which the town's Jewish community left, only to return after the Six Day War of 1967, when Hebron came under Israeli control. In 1994, Baruch Goldstein, a doctor originally from Brooklyn, opened fire on Muslims praying at the Cave of the Patriarchs. He killed 29 Palestinians before they overpowered him and beat him to death. Hebron was most recently in the news as the place where three members of a breakaway Hamas cell plotted a terrorist attack that resulted in the kidnapping and murder of three Israeli teenagers and sparked events that led to the 2014 war in Gaza.

"We distinguish between the Israelis and the settlers, and Israelis who want to give us our rights, and those who don't see us as equal human beings." –Issa Amro

Hebron has been an especially active battleground in the decades-long conflict between Palestinians and Israelis. A list of "terrorist attacks and violent incidents" that took place in Hebron, compiled by the Israeli Ministry of Foreign Affairs IN 1996, is a grim read: "Arab terrorists ambushed and killed six Jews and wounded 20"; "11 Arabs, including four schoolchildren, were injured when a booby-trapped grenade exploded in the Hebron market"; "an Arab resident of Hebron was wounded by a bomb"; "Yeshiva student Erez Shmuel was stabbed to death approximately 500 meters from... the Tomb, while on his way to Friday evening prayers."

Tensions between Palestinians and settlers continue to run high today, especially in neighborhoods like Tel Rumeida, an area of Hebron believed to be the location of the ancient city. A Jewish settlement has sprouted up there, though there are also a small number of remaining Palestinian families and Issa Amro's the Youth Against Settlements center.

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Issa Amro in Hebron

One of the settlers living in Tel Rumeida is Baruch Marzel, a far-right activist and politician who has been known in the past to get into literal fistfights with Palestinians. Marzel believes that most Palestinians support Hamas. In fact, he says that he respects Arabs more than his enemies on the left do. "That's why I fight them," he explained to me on the phone. "The people who think that one day Arabs will change their religion, give up part of their religion and give up part of the land, don't understand what Arabs are. Arabs are religious. They are ready to die for their religion." Marzel, who wears a chest-length bushy beard and a large knitted yarmulke, spoke in a slow, hoarse voice with the English of a man raised by Americans in Israel.

Just before the elections, the police of Judea and Samaria filed charges against Marzel for attacking a Palestinian in 2013—Marzel allegedly entered the man's home, refused to leave, and kicked the man when he pushed Marzel out. That man was Issa Amro.

When I asked Marzel if he had assaulted Amro, he said, "I was attacked there!" Then the conversation took a turn. "You know, from your first questions, I understood which side you're on, with your Arab questions." Marzel suggested I ask Amro what happened.

I did, and Amro sent me video footage of the event. In it, the intimacy of the conflict between Palestinians and settlers crackles. Everyone knows everyone's name; every word is an insult. Marzel, walking with three young men who look to be in their teens, saunters up to the gate to Amro's property and walks right in. When Amro and his friends yell at Marzel to get off their private property, Marzel seems to throw a punch at the group of men, and Amro grabs him and pushes him out of the gate. Marzel kicks Amro on his way out.

The IDF arrested Amro, and didn't release him until he showed them the video.

Related: Palestine vs. Israel: Against the Wall

Marzel is widely regarded as an extremist, and he does not represent most or even many Israelis. But his belief that the majority of Palestinians support Hamas and harbor violent thoughts toward Jews is a commonly held one. Indeed, there are such Palestinians living in the Occupied Territories, and in Hebron. But there is also a growing number of voices to counteract those others, not least of which is Amro's.

I met Amro in November, shortly after an attack on a synagogue in Har Nof, a pious neighborhood in western Jerusalem, that left three rabbis dead. "I feel sorry, really," Amro said, touching his chest with an open palm. "I feel that civilians should be completely away from the conflict."

While he spoke, Ahmed brought out tiny glasses of coffee spiced with cardamom on a long tray and passed them around. Later he brought out tea made from sage.

"We are proud to say we are talking about nonviolence wherever we go, as principle, not as strategy or tactic," Amro explained. "It's our principle that we should stay nonviolent, for us."

Ahmed had used the same words—"for us."

"With nonviolence we build our own civil society first," Amro continued. "We want to strengthen our civil society to be able to defend and to be more organized. In that way, you make your own house stronger."

As to whether he and fellow Palestinians want to kill Jews, Amro's take differed from Marzel's. First of all, the activist explained, there is a big difference between Israelis and Jews; a central tenet of his religion is a respect for Judaism. "I'm not a Muslim if I don't believe in Judaism and all the prophets," he said. "We can't target Jews because they are Jews—we're not allowed at all by religion. So Daesh (the Islamic State) and other extremists, they aren't following Islam."

There were murmurs of assent from all the other men in the room. "This is how we see it," Amro went on. "And we distinguish between the Israelis and the settlers, and Israelis who want to give us our rights, and those who want to take us out of this culture and don't see us as equal human beings." In this vein, Amro doesn't support the blanket boycott, divestment and sanctions of Israeli companies.

It is impossible to say how representative Amro is of the Palestinian people more generally, though many Palestinians I know spoke of him warmly and with admiration. He is invited to address media outlets across the spectrum and is welcome as a speaker at events across Palestine. Of course, Amro says, there are fanatics as well, who only believe in violence, but they are by no means the majority.

People often say to Amro, "You're the only Palestinian who feels this way." It infuriates him.

"The last kidnapping didn't get much support from the people in Hebron," Amro said. In fact, it garnered less support than the last nonviolent protest he organized, which Amro said 2,000 people attended from all over the West Bank. "Whenever they see me, people always encourage me to do more," he told me.

The view that most Palestinians support violence is preposterous, Amro said. He estimates that 70 to 80 percent of Palestinians are "not active at all." Even getting them to show up for nonviolent actions is difficult. "They are pissed off. They don't want to act."

"It's very bad to be a victim and blamed in the same time. It's really very bad," Amro said, shaking his head.

Marzel's belief that most Palestinians support Hamas and wish harm to all Jews is not foreign to Amro. People often say to him, "You're the only Palestinian who feels this way." It infuriates him; describing this sentiment was the only time I saw him get angry. "Are you talking on my behalf?" he asked the imaginary audience. "Don't talk about me, talk about yourself! Baruch Marzel was almost elected. No one in Israel wants him to be their neighbor, and he almost became a lawmaker!"

To Amro's mind, "99 percent of Palestinians want to end the occupation and achieve equality." But achieving equality before the law in the West Bank has not been an easy endeavor. While Arabs living within Israel's borders ostensibly have the same rights as Israelis, Palestinians living in the West Bank are under a completely different set of rules.

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"If I could try to sum Hebron up, it's sort of like taking everything you thought was good in the world and everything you thought was bad in the world, and putting it in a blender, and for all the time you're in Hebron, it's nonstop," said Avner Gvaryahu, director of public outreach for Breaking the Silence, an organization of IDF veterans who seek to show the Israeli public "the price paid for a reality in which young soldiers face a civilian population on a daily basis."

Hebron is divided into two zones: H1, governed by the Palestinian Authority and off-limits to Israeli Jews; and H2, controlled by Israel, which includes the old city of Hebron and the Cave of the Patriarchs.

The problem is, 30,000 to 40,000 Palestinians live in H2, and their lives have been made increasingly difficult. What are known informally as "sterile zones" keep Palestinians out of certain areas of the city, the restrictions against them increasing in the territory near the settlements. In some areas, Palestinians are not allowed to drive. In others, only Jews are allowed to walk. The main business thoroughfare of Shuhada Street was closed, the doors to private businesses sealed shut by the IDF, after the Goldstein rampage. Some Palestinians can only enter their homes by climbing through windows and roofs. Many have abandoned H2 for easier lives in H1, and those who stay face daily challenges.

"Because of the way the system is built, Palestinians will always pay the price." –Avner Gvaryahu

Palestinians living close to Jewish settlements are constantly attacked by settlers, Gvaryahu said. Of course, it's not a one-way street; there are violent Palestinians as well. But violent Palestinians and violent Jews are not treated equally before the law. Israelis living in the parts of Hebron controlled by Israel are by and large judged according to the standards of modern Israeli law, whereas Palestinians living in the same areas are judged by and large under military law.

"Because of the way the system is built, Palestinians will always pay the price, and there will never be enough law enforcement over settlers," Gvaryahu explained.

In addition to settler violence and inequality before the law, Palestinians in H2 must deal with living under military occupation. From his own experience and the stories of many other soldiers, Gvaryahu says that soldiers in Hebron were explicitly ordered "to make their presence felt." How do you make your presence felt? "You randomly enter homes," Gvaryahu explained. "This is part of a routine operation by soldiers. You enter the house, you wake everyone up, you check IDs, you search the house very, very aggressively. It's three or four in the morning and that's it." Another soldier told Gvaryahu that his orders were "to disturb the daily life of the Palestinian population." Gvaryahu himself was told "to instill in Palestinians the sense that they are being chased."

Lieutenant Colonel Peter Lerner, a spokesperson for the IDF, denied these claims. "I can't really address the individual perspective of a soldier, but that's definitely not a policy on behalf of the IDF," he told me on the phone from Israel. "Procedures are required in order to create the security that is needed in order to defend the civilians, Israelis or Palestinians. Off the top of my head, that's definitely not our policy."

I asked Lerner about the sterile zones where pressure afflicts Palestinians' daily lives. "I'm not aware of any 'sterile zones' as you put it," he said. "Of course, there are concerns in certain areas where there can be threats to Israelis in that area, so there has to be a security check to have access to them." Some had been targeted several times throughout the years, Lerner said, by snipers and suicide bombers. "We need to maintain security for those Israelis living there."

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Israeli soldiers in Hebron. Photo via Flickr user Tali C

When asked about whether the laws applied differently to Palestinians and to Israelis, Lerner replied, "That question is extremely simplistic. The laws are adapted in order to maintain civilian life. Palestinian violence outnumbers in volume and extent any Israeli violence that has taken place."

Lerner was careful to emphasize that "any violence is bad, it's wrong, and it needs to be dealt with." He insisted that the military would intervene to stop violence committed by settlers, and that its intervention has led to a reduction in settler violence over the years. "So the military laws apply to them as well."

While Gvaryahu recognizes that military presence in Hebron is, to some extent, necessary for maintaining its settler population, he questions whether it's ultimately worth it. "I represent a voice in Israel, I'm an Israeli, I see myself as a patriot, I see myself as someone who cares about my country, my people, my community. I'm an Israeli who does not want to control millions of people by force. Call me crazy," he said.

He believes that security issues should be judged with the future in mind. "I know this with every bone in my body: The children that were petrified of me when I barged into houses in the middle of the night are probably not big Zionists," he said. "The little children that peed in their pants because I arrested their father or used their living room as a sniping point or just used the house as a stakeout, I'm sure that they're not Israel supporters. If we're looking for a way forward, we have to think how to strengthen the moderate voices."

Enter Issa Amro.

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Amro was a university student studying engineering when he first became aware of the power of civil disobedience and non-violent resistance. It was 2003, and the West Bank was deeply mired in the bloodshed of the Second Intifada. The Israeli army closed the University of Hebron and Palestine Polytechnic University, reportedly welding shut the doors and preventing students and faculty from entering.

Amro was part of a group of students who formed a committee in order to figure out how to restore their right to an education. They began to study other examples of nonviolence throughout history. They read about Ghandi, the South African anti-Apartheid movement, and Martin Luther King Junior. They read the works of Gene Sharp, and they protested. And eventually, Israel reopened the university.

The struggle left a lasting impression. "From that time, all my life is in this way," Amro told me in the center in Tel Rumeida. Though he has a full-time job working in development at the vocational training centers in Palestine, Amro has devoted every moment of his spare time—he estimates about 70 hours a week—to nonviolent resistance and civil disobedience, with the belief that it is the most effective means of resistance.

"We embarrass [the soldiers] with personal interaction. We embarrass them by inviting them to eat." –Issa Amro

It's not easy cleaving to his values. Amro, who is known by name and face to many of Hebron's soldiers, is frequently stopped. He remembers a time when the frequent detentions would infuriate him, and can still call up those feelings. "Sometimes I feel that I want to be exploded from inside," he said. But his mission is about transformative power, a lesson he learned from other organizations and which he now passes on. "We give training to our activists how to transform our power from negative to positive," he explained. Whereas once he would get angry at soldiers for detaining him, now he has a new tactic: He jokes with them, engaging them in conversation, about food, family, the weather, sex. "We embarrass them with personal interaction. We embarrass them by inviting them to eat," he explained. When settlers insult him, Amro says "Thank you very much. It's not good to say these things on Shabbat."

Amro opened the center for Youth Against Settlements in 2007. The structure had been a military base from 2001 until 2006. The soldiers had trashed it—there were no windows, no electricity. Then some settlers occupied the building, and Amro went to court to sue for the right to rent the space from its owner, a Palestinian resident of Jerusalem, and eventually won. But settlers would come and throw stones at them. Amro gathered over a hundred volunteers to renovate the place and keep a vigil so as not to lose it to the settlers. Amro says equipment permits can take years to procure from the Israeli authorities, so the volunteers had to circumvent the checkpoints and smuggle in the building equipment. They would sneak them through the graveyard, the same one through which Ahmed had brought me. It's the only route to the center that doesn't require passing through numerous checkpoints.

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Youth Against Settlements partners with Breaking the Silence to make videos, which are often used by Palestinian and Israeli media alike to report on the West Bank. On Fridays, international and Israeli delegations come to listen to Amro. He takes them on tours to increase awareness of the situation in Hebron, to show them Palestinians "as we are." The center has a hotline, and provides support and lawyers for people who get arrested. Youth Against Settlements also offers Hebrew classes, leadership training, and film screenings.

But Amro's achievements have extended beyond the center itself. For years, the difficulties of living in Tel Rumeida meant Palestinian residents couldn't get electricians or plumbers to come service the area. "They are afraid to come," Amro explained. "It's close to the settlements. Soldiers might attack or detain. To bring the tools with you through the checkpoint, you'll be questioned, maybe detained, and the people are afraid. Why should I go there for 50 shekels or 100 shekels?"

Homes were falling into disrepair. Families couldn't get basic services. So Amro organized a group of volunteers to go from house to house, family to family. Amro would assess the home, and others would paint, clean up the soldiers' "leftovers,"—their shit—and fix what needed fixing. They would play with the children, and invariably, the families would invite them to eat, and relationships would develop. People began to ask after each other. The first family serviced joined the group, and went to the second family to help them. In the beleaguered neighborhood of 250 families, Amro had fostered a community.

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Next, he established a kindergarten. With hundreds of volunteers working in shifts, he restored another house. All the materials—including toys and batteries—were smuggled in through the graveyard, "as if we were smuggling guns," Amro recalled. One person would watch the soldiers, another the settlers, and the group would sneak under the cloak of darkness into the house. They were sometimes caught, their materials confiscated. They started again. Eventually, Amro had his kindergarten.

"It's the only public space created in 20 years," he said proudly. "We control our kids' education." He teaches the children—there are 30 of them—about nonviolence. They have yoga on Mondays.

He has bigger plans ahead: He wants to convert an abandoned army factory into a cinema, and someday he'd like to be be minister of education for all of Palestine, where he would teach civil disobedience from the first to the tenth grade. Civil disobedience and the power of nonviolent resistance isn't something that comes naturally, Amro says. You need training, and a culture of nonviolence that suffuses into schools and other places where young people congregate. Until his dream is realized, Amro goes from school to school in the West Bank, teaching kids not to throw stones, not to give soldiers and excuse to shoot.

Recently, the signs on Shuhada Street were changed from Arabic to Hebrew. "I feel very bad when I see this," Amro confessed. "It's not about the name of the street. It's about the identity of the people. It's evidence that the conflict is not about security. It's about the land."

Follow Batya Ungar-Sargon on Twitter.


A Massive Underwater Volcano Is Likely Erupting Off the Oregon Coast

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A Massive Underwater Volcano Is Likely Erupting Off the Oregon Coast

A South African Playwright Created an Unflinching Play About Gang Rape in India

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All photos by William Burdett-Coutts.

Nirbhaya means "fearless" in Hindi. It's the name that the media gave to Jyoti Singh Pandey, a young woman who was gang-raped and tortured on a bus in New Delhi on December 16, 2012, igniting furious protests throughout India. What happened to her bends the limits of comprehension. To call the attack sickening or horrifying or despicable does nothing to hint at the abject inhumanity of what she endured. The men on the bus raped her, bit her, penetrated her with a metal rod. According to reports, her internal injuries were so severe that 95 percent of her intestines had to eventually be removed. Thirteen days after she was raped, she died in the hospital of the wounds her attackers had inflicted on her.

The morning after the attack, South African playwright Yaël Farber posted a message in support of Nirbhaya on Facebook. Poorna Jagannathan, an Indian actress, saw the post and reached out to her—ten years previously, Jagannathan had seen a testimonial play Farber wrote about living under Apartheid. A survivor of sexual assault herself, Jagannathan felt it was her responsibility to galvanize change by speaking out publicly. She asked Farber to come to India and create a piece of theater that focused on Nirbhaya. Farber agreed.

Nirbhaya, written and directed by Farber and co-produced by Jagannathan, opened at New York's Lynn Redgrave Theater last weekend. It focuses on the Delhi gang rape, but it doesn't attempt to reduce the unspeakable, amorphous horror of the event into a neat or palatable narrative. Instead, it locates the attack in a world in which rape is simultaneously ubiquitous and invisible, where each new act of sexual brutality is at once shocking and utterly unsurprising.

The play also repeatedly insists that what happened to Nirbhaya is no anomaly. On stage, she becomes an ethereal figure, somewhere between a ghost and a vengeance goddess, who rouses five Indian women out of their solitary prisons of silence. Each of them, reeling in reaction to the news, describes the sexual violence they have endured in her life.

RELATED: Our HBO Report on India's Rampant Rape Problem

Their stories are all true, and the women speak them fearlessly, poetically, in unflinching detail. They talk about defilement, about losing ownership of their own bodies, about shame and struggling to find strength. One describes being raped by an uncle when she was nine; another recounts how her father beat her and tried to cut her lips off with a broken bottle; another, her face and arms covered in burn scars, describes how her husband attempted to immolate her alive in front of her son. Tears stream down her face as she speaks.

VICE spoke to Farber about the process of creating the play, the reality of sexual violence worldwide, and the subversive power that comes from speaking out about abuse.

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VICE: How did the play come into being?
Yaël Farber: I woke up on December 17, and my newsfeed was on fire with what had happened in Delhi. A lot of my friends were posting about it, and I was very struck by my own reaction to the event and the details. There was something about this particular case—who knows why these Jungian icons come along and perforate levels of numbness that we've acquired, but she had a profound effect on many of us.

I posted on Facebook a picture of her, and I just wrote, "My mother, my daughter, myself." That seemed to be what had touched so many people: All the barriers collapsed, and she was just like any of us. Poorna Jagannathan, who is in the play—and, as it turned out, became the producer of this work shortly after this moment that I'm describing—responded to me on Facebook.

"I don't think there's a single country on this earth that can excuse themselves from the table at this conversation."

She said, "I know that what happened last night, I'm complicit in. I am a survivor of sexual violence as a child, and I know that my silence had contributed to the inevitability of what happened on that bus last night. Come here, and let's make a piece of theater. People are ready to speak, to throw off the silence that we've all been taught to maintain."

I said to her, "I'd love to. I have a daughter; how are we going to make this possible?" She said, "I'll pay for you and your daughter to come to Mumbai just so we can begin." We didn't know how or where we were going to begin. I had a teaching job at the time, and I needed to resign from it. I knew the importance of the project I was about to go on. It was important that I just got on that plane.

How did you find the other survivors who spoke about their experiences in the play?
We put out a call on social media for survivors who were willing to step forward and be part of the project. I interviewed maybe two dozen people. From them, I selected who would be a part of the project, and we flew to Delhi. Over five weeks, I worked with the women and the one man in the cast, learning all the details of their stories, writing, directing, and creating the work during the day. We opened five weeks later in Edinburgh.

Was that a difficult process, having to collaborate with rape survivors in writing about their assaults?
I've worked with testimonial work for some years now, and I felt a certain confidence in myself and in the individuals I had chosen, that whatever came up in that room we would handle with a lot of care and integrity. And, because we had a larger purpose, we were very committed to making a work that precisely mines those shadows, obviously doing so with enormous respect. It was an extremely emotional process as a director and creator. It becomes a very profound process in itself, to have trauma re-narrated into something comprehensible, even for the survivor.

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The last survivor to tell her story, Pamela Sinha, was raped in Canada. Why was it important to include her story?
I knew, in placing her testimony, it had to be an incident that happened outside of India. That's the breakout moment of the audience understanding that we can't relegate this to the realms of India, or any country that becomes our dumping ground for distancing ourselves from culpability in sexual violence.

This is the important break-away moment, where we understand that, as Pamela said in [a panel following one show], "What happened to me didn't happen to me because I'm an Indian woman. It happened to me because I'm a woman. And it happened to me, not because I'm from that culture, but because I'm a woman and it's possible in any culture."

"She would not be silent, even though she had been profoundly silenced. She pushed through that, and she became the wound where the light poured in."

I think there's such a tendency, when people report on sexual assault in India, to frame it as India's problem. There's this imaginary of India as this place of shocking sexual violence, when stuff that's just as terrible happens in the United States—at colleges, for instance.
I was just going to say: The culture of silence at American campuses is every bit as malignant as the silence in Indian society. Even the systems set up to hear these women reporting what happened—it almost becomes official protocol that nothing happens, which can leave the survivor utterly bereft of a real witness to what happened, and the perpetrators can continue to act with impunity, these young men in Greek life on the college campuses. Utterly, there is a culture that allows them to act with impunity. It is no different than what is happening in India.

I don't think there's a single country on this earth that can excuse themselves from the table at this conversation.

I was really interested in the dual rupture presented in the play. There's the initial rupture that happens when each woman is sexually assaulted, where she breaks from herself and becomes a different, completely changed person. Then there was a second set of ruptures that occurred when Nirbhaya's story got out—the silence that each woman had maintained up until that point shattered as well.
That final quote that we use in the play, the Rumi quote: "The wound is the place where the light gets in." The very source of the pain, the very place where it seems like that breakage happens, becomes either the option for that individual to be disappeared entirely, or an opportunity for them to become some kind of catalyst in a society that demands change. That's really what Jyoti Singh Pandey was.

When she was called "fearless" by the press in the country to protect her name, many people objected to the idea that she was fearless—because she must have been utterly terrified. But she was fearless in demanding justice in the days after the attack. Despite the fact that she couldn't speak, she wrote her testimony with an iron will. She would not be silent, even though she had been profoundly silenced. She pushed through that, and she became the wound where the light poured in.

That rupture that happened to Nirbhaya became a rupture of the society in India, became a source of light for the world. Although people speak about the darkness of the event, I'm from South Africa, and I cannot ever think of a single time that the streets rose for the life and injustice of one girl in my country. Although it was a place of great darkness, India became a source of hope, almost strangely, in those days. People were walking into cannons of high-velocity water and facing down rubber bullets and police batons, demanding justice and change. That rupture, as traumatic as it is, becomes a catalyst for change. That's really what we reach to do inside the audience—not as a traumatizing event, but as an illuminating event in the audience's life.

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It's very cathartic. I was really struck by that: The actors weren't simply recounting, as victims, the horrors they had lived through. Even reciting the terrible things that had happened to them becomes this powerful political act.
Silence creates a society of non-accountability. When someone is silent—which is precisely the teaching in societies where people are told not to speak about how they've been violated or raped—what that silence says is, "The culpability, the shame, the loss of honor is mine." By speaking, stating the events that have happened to you, you relocate that blame and shame and loss of honor to where it belongs, which is with the perpetrator. You claim the events and reclaim yourself by disclaiming responsibility in the act of rape and silence.

"Indifference is like a tide. It's like the ocean: It will sweep back in, especially if it suits the society to keep that indifference alive."

As a South African, having witnessed protest theater in my early teens, there is an enormous difference between the catharsis that provides a community relief, where they go home relieved, and the catharsis that inspires and provokes change. The deep skepticism [Bertolt] Brecht had for a middle-class catharsis, I share. But, at the same time, for me, it's not the act of alienation in theater that will allow us the possibility for change. It's the deep identification with the narrators that provokes the non-negotiable moment, the idea that change has to come.

How do you keep that sense of rupture, of catharsis, alive? Even after something shocking and hideous happens, it's so easy for that sense of complacency to creep back in. How do you make sure that doesn't occur?
The very act of making this piece of theater and continuing to travel with it is our gesture towards keeping that rupture alive, keeping the flames of righteous rage alive. In the days and months after Nirbhaya's death, that portal opened, and people were actually, for the first time, responding appropriately to the statistics in India and around the world. Inevitably, indifference is like a tide. It's like the ocean: It will sweep back in, especially if it suits the society, at many levels, to keep that indifference alive.

The very act of this production does that; each time, it reconstitutes itself. It's enormously demanding on everybody involved, but we consider it an extraordinary privilege to be able to use what we do in this way. As trying and vexing and ravaging as it is, we know that silence is much more exorbitant. That silence costs ourselves and our society much more than it costs us to reignite this piece. Each time we reopen it and those survivors reopen their wounds and we have to go back to that place, the cast—including the man— becomes a catalyst that reignites those flames.

How do we keep that alive? This is our gesture. There are other ways. As actors, this is how we committed to doing it.

Callie Beusman is the executive editor of Broadly. Follow her on Twitter.

Election '15: This Is How London's Anarchists Prepared for This Year's May Day Protests

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In the run-up to this year's May Day protests, VICE host Gavin Haynes went to hang out with anarchist group Class War at their offices in East London.

While there, he learned that anarchists hate the Brick Lane Cereal Cafe, all of Britain's mainstream political leaders are fucking wankers and that he himself is a class traitor who must advise his fellow "middle classholes" to commit suicide.

This year, a member of Class War is running for election for the first time. Will their dreams of revolution ever come to fruition? Who knows. What we can say for sure is that their art department is a supremely talented one.

@gavhaynes

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A Left-Wing May Day Protest in Milan Turned Violent

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This article originally appeared on VICE Italy.

Clashes broke out between police and anti-Expo 2015 demonstrators in the northern Italian city of Milan, on May 1. Expo—a six-month-long food-themed world fair—has come under fire from protesters, who are angered by a corruption scandal involving senior government and Expo officials. When it secured the rights to host the Expo seven years ago, the Italian government set aside €1.3 billion ($1.45 billion) for that purpose. Now many fear the investment will go directly into the pockets of the corporations involved in the fair, instead of benefiting their recession struck country.

Friday's "No-Expo" march, which was organized to coincide with the opening of the fair, was the culmination of a mobilization that has been ongoing for several years. At around 3 PM, No-Expo committees, leftists, trade unions, anarchists, students and animal-rights activists gathered in central Milan under a banner that read: "No Expo, Eat the Rich." As media reports had correctly predicted in the run up to the event, it didn't take long for tensions to reach boiling point.

Not long after 5 PM, clashes erupted between several hundred protesters and the police. The hooded protesters split off from a largely peaceful protest and began smashing shop and bank windows, as well as torching cars. The police responded with heavy rounds of tear gas and deployed water canons in an attempt to disperse the crowd.

So far there have been five confirmed arrests, while authorities have said they will be taking necessary action to deal with those who took part in the riots.

Expo organizers are speculating that the fair will draw roughly 20 million visitors over the next six months, as well as a €10 billion ($11.2 billion) jolt to Italy's economy.

Race Riots, Then and Now

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Photo of the Harlem Riots via Wikipedia

"The shooting triggered an outburst of bottle and rock throwing, window smashing, and looting. Such violent outbursts have become almost predictable events in the city's ghettos in the past few years."

Though it sounds contemporary, that line comes from a New York Times piece titled "Police the Target of Ghetto Wrath" published half a century ago, in 1964. Back then, the unrest was triggered after the killing of a 15-year-old by an off-duty police officer in Manhattan. The teenager, James Powell, was black. The cop, white.

The shooting occurred after Powell and his friends got into a confrontation with the superintendent of an apartment building who had directed a hose at a group of young black men because they were hanging out on his stoop. NYPD Lieutenant Thomas R. Gilligan, who was off duty at the time, soon got involved, and though the sequence of events is murky, he ended up firing three shots: One was a warning, the next hit a major artery in Powell's arm, the last went through his chest, puncturing his lungs and killing him. Hours after the boy's funeral, "Thousands of rioting Negroes raced through the center of Harlem," according to the Times.

Before the "Harlem Riots," as they were called, ended, one person had died, more than 125 had been injured, about 500 had been arrested, and nearly 700 businesses had been damaged. After that, there were many more James Powells and many more riots in the 60s.

Many will see in James Powell's untimely death similarities to those of Trayvon Martin, Tamir Rice, Michael Brown, Eric Garner, and Freddie Gray. The six cops involved in Gray's arrest are now facing criminal charges , but that is uncommon for officers who are involved in the deaths of civilians both now and then. In September 1964, Gilligan was officially cleared of any wrongdoing by in a grand jury; the decision not to indict came down even though witnesses testified that Powell had a beer can in his hand, not a knife as the officer claimed.

Before James Powell, there were the "Harlem Six," a half-dozen black men who earlier in 1964 were arrested and beaten for defending a group of children who knocked over a fruit stand in Harlem—despite statements from the shop owner that the men were not involved. After James Powell—well, the list goes on.

The history of police violence against black men is by no means a secret, but it's not the sort of history most Americans learn in high school. We are taught about the Civil Rights Movement, of course, but that means videos of "We shall overcome" and more buttoned-up marches—not the young black people hoping for a better future who were gunned down in the streets, not for protesting, but simply for being young black people living lives of unfulfilled promises.

Michael W. Flamm, a professor at Ohio Wesleyan University who's working on a book about the 1964 Harlem Riots, told VICE, "The Powell shooting was a critical moment, a pivotal juncture in the long road to the mass incarceration prison crises that the United States faces today." The shooting and subsequent unrest, Flamm added, led President Lyndon B. Johnson to advance stricter criminal justice laws through his "War on Crime" legislation that only exasperated tensions between the police and the African Americans.

In the 51 years between Powell's death and Gray's, the most obvious changes seem to be semantic ones. "Negroes" are now "African Americans," and "ghettos" are called "urban areas" or the "inner city." In 1964, the New York Times said "a riot grew out of a demonstration," which, it noted, "followed a rally." Now the paper discusses whether to deem the outcry over a seemingly innocent young man's brutal killing a "#Riot, #Uprising, or #Disturbance"—though why the hashtags are essential here is beyond me.

Still, I have to admit that I came to learn about James Powell in the most Millennial of ways: a late-night Twitter frenzy and impulsive Google search. It was in November, on the night of the grand jury verdict in the case of Officer Darren Wilson who was cleared of all charges related to the death of Michael Brown in Ferguson.

"First and foremost, we are a nation built on the rule of law," President Obama said in a televised statement after the decision came down. "And so we need to accept that this decision was the grand jury's to make. There are Americans who agree with it, and there are Americans who are deeply disappointed, even angry. It's an understandable reaction. But I join Michael's parents in asking anyone who protests this decision to do so peacefully."

That's when, back on Twitter, I came across a meme someone had made of a quote from James Baldwin, who wrote some of the most biting, powerful prose on race in the 20th century. It read:

This is why those pious calls to "respect the law," always to be heard from prominent citizens each time the ghetto explodes, are so obscene. The law is meant to be my servant and not my master, still less my torturer and my murderer. To respect the law, in the context in which the American Negro finds himself, is simply to surrender his self-respect.

I googled Baldwin's lines as Obama's statement droned on and found an essay he had written in The Nation in July 1966.

The writer's words have haunted me ever since—not least because they have so often merited resurrecting amid months of stories so similar to that of James Powell's. They cried out, most recently, amid the unrest in Baltimore following the death of Freddie Gray.

"When individuals get crowbars and start prying open doors to loot, they're not protesting," Obama said on Tuesday. "They're not making a statement. They're stealing. When they burn down a building they're committing arson. And they're destroying and undermining businesses and opportunities in their own communities that rob jobs and opportunities form people in that area."

Baldwin wrote of these "opportunities" in the context of a conversation he had with government officials in Washington on how best to contain the discontent—and rage—brewing in Harlem.

"Then I would find myself trying patiently to explain that the Negro in America can scarcely yet be considered [as a part of the labor force]. The jobs that Negroes have always held, the lowest jobs, the most menial jobs, are now being destroyed by automation," Baldwin, a Harlem native, wrote. "Furthermore, the Negro's education, North and South, remains, almost totally, a segregated education, which is but another way of saying that he is taught the habits of inferiority every hour of every day that he lives. He will find it very difficult to overcome these habits."

"Thus, even when opportunities—my use of this word is here limited to the industrialized, competitive, contemporary North American sense—hitherto closed to Negroes begin, very grudgingly, to open up, few can be found to qualify for them for the reasons sketched above, and also because it demands a very rare person of any color to risk madness and heartbreak in an attempt to achieve the impossible."

This much, at least, Obama conceded in his remarks on Baltimore. "Let's not pretend the system is fair," he said. "Let's not pretend everything is OK. Let's not pretend the path from poverty like the one I traveled is still available to everyone out there as long as they work hard."

Obama is a shining example of what Baldwin describes as that "very rare person of color" who has attempted—and indeed, achieved—the impossible. But even so, the same tropes of violence that abounded during the first years of his life are marking his last presidential term.

Baldwin, too, achieved success. A novel, poet, playwright, and essayist, his collection of essays Nobody Knows My Name became a bestseller and sold more than a million copies, but that didn't save him from the same kind of racial profiling and limited prospects his peers faced. Even though he moved to Paris to escape, Baldwin wrote, "Neither I, nor my family, can be said ever really to have left."

"This means," he continued, "That I also know, in my own flesh, and know, which is worse, in the scars borne by many of those dearest to me, the thunder and fire of the billy club, the paralyzing shock of spittle in the face, and I know what it is to find oneself blinded, on one's hands and knees, at the bottom of the flight of steps down which one has just been hurled.

"I have witnessed and endured the brutality of the police many more times than once—but, of course, I cannot prove it," Baldwin wrote. "I cannot prove it because the Police Department investigates itself, quite as though it were answerable only to itself."

Baldwin's call to open up the police to external investigations and to try allegations of misconduct in formal trials, not by grand juries, are still being echoed—and often go unheard. That's why onlookers cheered when Maryland State Prosecutor Marilyn J. Mosby announced Friday that she's charging the six Baltimore officers she says illegally arrested Freddie Gray; one of the cops is being charged with second-degree murder.

Mosby has called on demonstrators in Baltimore and across the country to keep the peace. It's a request that's been made many times before by elected officials both black and white. But in her case, at least she seems to be making a promise to restore the law to what James Baldwin considered its rightful place—as servant and not master.

"To the youth of this city: I will seek justice on your behalf," Mosby said at a press conference. "This is a moment. This is your moment. As young people, our time is now."

Beenish Ahmed is a Washington, DC-based writer and journalist. She's also the founder of THE ALIGNIST, a new media venture to bring literature into conversation with current events. Follow her on Twitter.

This Jen Kirkman Interview Is Not About Rape Jokes, Being Dirty, or Asking if Women Are Funny

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Photo by Melissa Cowan

Jen Kirkman is a Boston-born, Los Angeles–based stand-up comedian, author, and podcaster. Her book I Can Barely Take Care of Myself is a New York Times best seller, her juicy podcast I Seem Fun: the Diary of Jen Kirkman is widely lauded, and she's a regular on Drunk History and reruns of Chelsea Lately. And if that isn't name-checking enough millennial cultural milestones, next month her stand-up special I'm Gonna Die Alone (And I Feel Fine) debuts on Netflix.

But don't let her titles fool you, she's doesn't give in to the archetype of an angry and alone female comic. Jen has the ability to move between topics like ingrained sexism in the media and her mother's late-life coming of age to the easiest, most disarming small talk you'll ever hear. Just please don't call her raunchy.

I recently caught up to her on her tour through Australia.

VICE: I saw your show last week, it was great.
Jen Kirkman: This is going to sound crazy, but I wish you saw it last night instead.

Why is that?
Last week I had all these men reviewing me saying weird stuff like I'm raunchy and this and that. One guy in particular wrote, "She wasn't connected enough to her material." I don't think that's how you review comedy, you don't say how you think she was feeling.

That's how men review women—they jump into your head. I mean, he doesn't know shit about my head. Then the reviewers don't get why I get upset about them. Why shouldn't I get upset about it? These are my ticket sales you're affecting and they're dead wrong about who I am as a person, which should not be a part of the review.

I don't want to discuss women in comedy in the hacky sense, but seeing as we're on the topic I wanted to ask if you feel as a woman you are more limited in your material? My point being, men can essentially say anything on stage but for women the same subject matter can incite a pity party or the "that bitch crazy" reaction.
I agree, before I came here not one person in the Australian media really knew anything about my show. I didn't preview it anywhere, it was going to be brand new for here. But without seeing my show I was getting these write-ups saying, "Go see Jen if you want to see a raunchy, dirty show, it's certainly not for everyone."

I thought all comedy isn't for everyone, what a dumb thing to say. Raunchy? I don't think I'm raunchy. All my male peers get to talk about their dicks without being labelled dirty.

I feel like the media perpetuate a lot of this "women in comedy" bullshit. Can we stop writing thinkpieces about that Vanity Fair bullshit from a decade ago?
Totally. Anytime I get a call out of the blue to comment on the latest "scandal" I give them five guys' names that are super feminist to see if they call them. Honestly I was glad when I walked in and it was you interviewing me because it's always all these male journalists. Like with this dude from the Herald Sun the other day, we had a great chat for a half hour and then he quickly asked me what I thought about the rape joke phenomenon that's happening in this festival. I didn't know what he was referring too so I gave my opinion about it in general and then that was the entire article—"Jen Kirkman jumps into the rape joke debate!" I was so mad because that was not what the interview was at all.

I'm vocal about this stuff. I go hard on Twitter and I'm called insane. A woman can't go on a series of rants without being called crazy whilst Patton Oswalt can write 50 tweets and they print it in New York Magazine and say it's genius. Which it is, but why can't a woman be a genius?

How long did this show take to develop? I'm assuming it's a mix of old and new stuff?
About 75 percent of the show I've been doing in Australia will be in my special coming out on Netflix next month. I took out the generic observation stuff for the live show because I wanted it to be more of a one-woman show with a consistent theme. It's an hour of stand-up but I try make it thematic. I realized that I start talking about how I found some gray pubic hair and then end with my grandma dying on the bathroom floor with no underwear on.

It came full circle. I was hyped when you delved into mother-daughter relationships. It's under examined, these complex relationships we have with the women who raised us.
My mom and I are really close, and so was she to my grandmother. But after my gran passed my mum would say things like, "I don't know if she ever appreciated that I took her grocery shopping every week." Or, "You know I'm not as religious as her, Jen." My mom kind of came into her own after her mom passed away.

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Your comedy is inspired by your life, but is there a persona within that?
It's getting more personal. What I've been working on in this show is talking about being single, which normally I don't like to do. I'm not great with relationships, but I've got to take some time for myself before I can make a joke about it onstage. I have a sense of humor about the events I discuss onstage because those things are in the past. In real life I'm a little more in the moment when something's upsetting or confusing me.

I'm honest onstage about something that happened four years ago. I'm not telling you what's happening now because it wouldn't be funny yet. So catch me in three years and you'll hear about what happened this year.

You finished working for Chelsea Handler in August. Is working for another comedian hard?
I was working seven days a week, so that can be hard. But the good thing is Chelsea was pop culture jokes and I don't do any in my act so I was fine giving them away. If I had to write personal jokes it would have been harder.

So we're having a drink now and you're nearly due onstage, is this typical?
I like to have a drink or two because it helps me feel excited, I'm just saying the same damn thing every night so you've got to create your own hype energy.

How do you keep it fresh?
I just take a minute and go, "Jen, you were a little girl in her bedroom, now you're in Australia, not because you forced yourself here but because people asked you to come and there are people coming here tonight to have a good time and they've paid money, there's an amazing energy coming your way and they're ready to laugh." I get excited knowing they haven't heard this before, maybe they're going to find it really funny so I'm going to act like I'm saying it for the first time!

Follow Courtney on Twitter.


Two Gunmen Killed in Attack on 'Draw Muhammad' Contest in Texas

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Two Gunmen Killed in Attack on 'Draw Muhammad' Contest in Texas

Australia’s Gold Coast in the Sexy, Sexist 70s

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The Gold Coast just might be Australia's glitziest city. For years, this strip of imitation Miami has dealt in bodybuilding, bikini contests, and high-rise leering. But interestingly, the guy who took these photos doesn't see it like that. To Graham Burstow, who's been photographing the GC since the 60s, these images are more than a vignette of the Aussie holiday with a few incidental bikinis thrown in. He's seen the area evolve from fibro shacks in the scrub to the multi-story resort city it is today. So we reached out to him to talk to about the way the Gold Coast has changed.

VICE: Hi Graham. Tell us about how you came to photograph the Gold Coast.
Graham Burstow: I was born in 1927 in Toowoomba. From when I was three or four we used to rent a house there, until dad bought some land at Mermaid Beach. We built a house and from the 60s until the 80s, I spent every summer holiday taking photos.

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And how did you get into photography?
I'm from an artistic family. Everyone in the family was in a choir and I started taking photos of them when I was 17. Then people started asking for copies so I started processing the film myself. From then on, I'd always document holidays or events. Anything where there were lots of people.

[body_image width='759' height='600' path='images/content-images/2015/05/04/' crop='images/content-images-crops/2015/05/04/' filename='australias-gold-coast-in-the-sexy-sexist-70s-body-image-1430703990.jpg' id='52120']

Including bikini competitions?
Yes, they were called the Miss Sun Girl Quest competition. I remember that started with just a few girls on the beach. Then they got a stage, then a backdrop in the 1970s. It was really popular at one time. The boys used to lay under the stage to watch. I don't know what happened to it though. I haven't seen it advertised in years.

You don't seem to be a guy particularly interested in photographing sexual innuendo. Why is there so much implicit sex in these photos?
This is just what was happening at the beach. And I didn't always like it. I remember going down there with the family one New Year's and it was just a bit stressful. So much drinking and yelling. But I also took these particular shots because I like taking group photos. I want to see people interact with each other, rather than just me. If you stick a camera in someone's face you always get a false feeling from them. People just carrying on with their regular lives—that's what I wanted to see. I always thought there was more feeling in those photos.

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How has the area changed?
It looks different but I think the culture has some similarities. In the 1970s the high-rise buildings were going up. I used to walk in to photograph them pulling down the old beach houses. And that's something that's different—you can't get cooee of a demolition now. I think that generally it was a simpler way of life back then. A photographer could walk around people taking photos and no one was worried about it. Now people are generally more concerned about what you're doing and where you're going. Australia generally had an easier way of looking at things then. We're not as easy-going as we used to be.

Photos from this series have been taken from Graham's book, Flesh. An exhibition of the work will be showing at the Gold Coast Arts Centre gallery from October 22 to December 6 this year.

Interview by Julian Morgans. Follow him on Twitter.

It's a Booze-Soaked Rodeo Whenever Dusty Talker Come to Town

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It's a Booze-Soaked Rodeo Whenever Dusty Talker Come to Town

Why British Soldiers Are Finding It Harder to Come Home

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[body_image width='683' height='419' path='images/content-images/2015/04/21/' crop='images/content-images-crops/2015/04/21/' filename='the-mod-keep-reducing-overseas-allowance-for-british-soldiers-in-germany-body-image-1429628497.png' id='48185']Image via Flickr.

This article originally appeared on VICE UK.

Whenever someone you know joins the army, you'd hope they'd be able to fly home now and then. I mean, life does go on back in the UK, and naturally soldiers find solace indulging in the home comforts the UK has to offer. It seems only fair that soldiers should be able to see their families, no?

Why, then, are the Ministry of Defence cutting the Local Overseas Allowance (LOA) for soldiers currently serving in Germany, meaning that many can no longer afford to regularly come back to the UK?

I recently received this message from a soldier currently serving in Germany in the armed forces: "I've just been made aware of some substantial changes in pay for the armed forces based in Germany, and feel strongly that some attention should be brought to it as it seems to have been kept quiet." So I decided to have a chat with a few soldiers over in Germany to see how this slash to travel funding has impacted them.

"Along with our annual salary, we are paid LOA—local overseas allowance," explained one soldier, who wished to remain anonymous. "This is to cover additional costs incurred by living abroad. When I joined my battalion in May of 2013, the monthly LOA was roughly £250 [$380] a month. Twelve months on it was closer to £150 [$230]. I have now been informed it will fall to £11 [$17] a month on our next payday."

While the MOD claim that the LOA is supposed to "provide [soldiers] with the difference in day to day living costs to the overseas location compared to the UK," the soldier I talked to maintained that it was what allowed him to visit his family on a regular basis.

"I am a married father of one living in Germany right now," he said. "My family live in the Midlands. The cost of a return trip home is roughly £300 [$455]. The army will pay £220 [$330] towards that cost three times a year. The LOA pay each month helped towards travel home, but with new cuts I fear that I'm no longer going to be able to afford to see my family more than the allocated three times a year. I miss my child and wife. I mean, seeing your family just a few times a year isn't exactly ideal, or something most people would want."

Another soldier I talked to expressed confusion. "I don't really understand why our money has been cut, when it's a known fact we rely on the LOA to fly back," he said. "One other way for us to go back home is to drive back, which takes at least five hours to Calais and however long it takes you to get to your part of the UK. Not everybody has a car, and driving to and from Germany costs a fair bit in terms of petrol."

When I asked the MOD for an official statement, either confirming or denying the reduction in LOA, they responded: "We cannot issue statements as such at the moment due to pre-election purdah restrictions. Thanks." However, they shed some more light on the logistics of the Local Overseas Allocation, stating:

The Local Overseas Allowance (LOA) is in place to essentially compensate members of the military who are living overseas, providing them with the difference in day to day living costs to the overseas location compared to the UK. The net effect of recent routine updates of LOA in Germany and the impact of the relative strength of sterling against the euro under the FFR demonstrates that the cost of living in Germany is currently only marginally higher than that in the UK.

The FFR mechanism is the exchange rate at which overseas prices are converted to sterling during LOA calculation. This is a mathematical process that reflects the strength of sterling relative to the local currency. When the FFR increases, the equivalent sterling value of the overseas side of the LOA calculation reduces, in turn reducing the cost of living differential between the UK and the overseas location. This leads to a reduction in LOA. The opposite is also true, and when FFR decreases, rates of LOA go up. Service personnel are well aware of this process.

Basically, the MOD are saying the reduction from £250 ($377) to £11 ($17) in less than two years seems to be a reflection of how the strength of the euro has seemingly risen relative to the pound. The election fever saw the pound drop a fair bit last time round, with similar predictions for 2015. But that doesn't change the fact that the soldiers I talked to said they can no longer afford to fly home as much as they'd like.

Related: Watch our documentary on UK Army Cadets.


As a third soldier out in Germany put it to me: "It's hard to keep a relationship when you're away. It's not like I'll never fly home, but we will just have to pay more, and lose more money. It's difficult for me to keep in touch with my brother and mum. I don't just want to talk on the phone to them, I want to be able to see them, so right now, I definitely feel frustrated. It's depressing to know you can't afford to fly home to see your family and the people you love."

In 2012 it was announced that soldiers would receive a reduced smaller pension and would have to work for 20 years, instead of 18, as was previously the case. When the army eventually leave Germany in 2019 (as planned by the coalition), it supposedly "marks the inevitable end of the Cold War and hard economic reality." However, former head of the British army, Lord Dannatt, believes some 3,000 troops must remain in Germany in light of the recent crises in Ukraine and Syria. Imagine being in the Syrian heat, paranoid to fuck, knowing you can't afford to fly home for at least another month. Of course, the rates allocated to those in Syria will differ, but the words "army" and "cuts" are seemingly interchangeable under this coalition government.

The army do indeed occasionally get the short straw, and having your travel money cut from £250 to £11 in under two years is certainly a good example of that. When £11 just about gets you a daily travel card in London, how's it supposed to contribute to travel expenses from Germany back to the UK?

For those serving, coming home is essential to their wellbeing. "Going home is a priority for soldiers," said my first interviewee. "It's one of the most important things for us, to be able to go home and relax in the UK—in places we know, in our homes. Things definitely get tougher when we have to worry about if we can afford the flight back. Our families can help to a certain extent, but for some of us, we can't expect that help—we rely on the LOA."

VICE Vs Video Games: My Obsession with a Fictional ‘Football Manager’ Megastar

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This article originally appeared on VICE UK.

I want to talk to you about Ivica Strok.

What do you mean you don't know who he is? He's Ivica Strok, Celtic's record goal scorer, four times Champions League winner. He came second in the Ballon d'Or voting in 2032...

Oh, wait, Ivica Strok isn't real.

I like Football Manager. I've been in a book written about it. I was in a film about it. I've played every version of the game from my brother introducing me to Championship Manager '93 on the Atari through to Sports Interactive giving me a free copy of Football Manager 2015. I really like Football Manager.

And I've been here before. I've had obsessions with players before: from signing John Fashanu for Newcastle because he presented Gladiators, to Wesley Ngo Baheng scoring for Gateshead in every division from the Conference to the Premier League, via Freddy Adu, Kerlon, and Kennedy Bakircioglü. But at least those people were real, with their own personalities.

But none of those players were as good as Ivica Strok.

I signed him from NK Zagreb, a team I didn't even know existed, for $7.7 in January 2020. He'd had good reports, potentially a good Scottish Premier League player no less. That may sound decent, but when you consider Georgios Samaras scored a goal every three games in that division, it's less of an accolade. I pressed ahead with the deal anyway. Sometimes I wish I hadn't.

And not because he wasn't a good player because, bloody hell, he was a good player. It was more because of everything that happened over the next 22 seasons, until he hung up his boots in the summer of 2042. By that time he had a Twitter account, a personality, and I was discussing him with my pension-age mother like he was a real person.

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Everything was fine for his first couple of seasons at Celtic Park. I'd not been at the club long myself after moving from Hearts, and this was just a normal game of Football Manager. I'd open the game up on my laptop after a hard day at work, while away a few hours pressing the spacebar, and sweeping all that came before me in Scotland because that's just what Celtic do. Then, two years into Strok's time at the club, we reached the Champions League final. That's when things began to change for Celtic, for Ivica Strok, and for me.

I couldn't bring myself to do it. I'd not been at the club long, but those little 2D dots on a pitch made of pixels already meant so much to me. What if I lost to Chelsea? What would 6'10" goalkeeping giant Raymond Dekker think of me? What would my captain and former Blues defender Nathaniel Chalobah think of me? What would Ivica think of me? I couldn't do it.

I saved the game, shut down the laptop and left a note on top of it to my girlfriend: "I COULDN'T DO IT, I WILL PLAY THE FINAL ANOTHER TIME." That "ANOTHER TIME" would come 22 hours later, when I had to be sat down in front of the computer and forced to play the final. Strok scored, Dekker saved an Eden Hazard penalty, and I won by two goals as Portuguese international José Ribeiro added a second late on. I hated José Ribeiro. I hated him the minute he took that shot to double Celtic's lead. Why? Because he was two-on-one against Thibaut Courtois and didn't square the ball for Ivica Strok to score.

José Ribeiro had to go. The final whistle went and he was on the transfer list before he'd even collected his winner's medal.

Related: Watch a documentary about British wrestlers.

From that day onwards Ivica Strok ruled the roost at Celtic Park. The team was set up to get the best out of him, coaches were brought in specifically to work alongside him, and everything that happened at the club was for him. José Ribeiro was just the first to feel the wrath of Strok; Valentino Pirsic and Alan García were shipped out for suggesting they deserved to be Celtic's starting striker, and Noé Rojas was sold for not providing enough assists to increase Ivica's goal tally. But this wasn't really down to the feeling of the team's star player—after all, he was just a random assortment of statistics and pixels. This was my vexation.

With each goal, and there was 836 of them by the end, Ivica Strok became that bit more arrogant, and I became that bit more involved, always falling further into this twisted alternate reality. Using my limited Photoshop skills I brought him to life, he Pinocchio and I Geppetto, his head put onto a variety of bodies: Gareth Bale celebrating a Champions League victory, Fernando Torres lifting the European Championship trophy, Scott Brown captaining Celtic to the league title. Strok's head even made it onto two separate pictures of Serge Pizzorno from Kasabian. If this was just the tip of the iceberg then my mind was the Titanic, heading straight for it.

By the time Christmas 2014 rolled around I'd spent nearly 750 hours of my life making sure Ivica Strok kept scoring, kept taking Celtic to new heights, and trying my best not to let this take over my life completely. I failed. As a teenage schoolboy I spent many lessons drawing Football Manager tactics into the back of books, but as a civil servant in his late 20s I was spending days in the office perfecting Strok's autograph onto official documents. I would sit at my laptop and sing "Rock Around the Strok" to the tune of Bill Haley's biggest hit. I printed one of the many pictures I'd created of him, now housed in their own folder on my computer, and put it on top of the Christmas tree ahead of an angel or a star, and one of the presents under that tree was a Celtic shirt, complete with his name and number printed on its back. This had become more than a game now—this really was my life.

And then my brother committed suicide.

The man that first introduced me to this game, this obsession, took his own life. Christmas became a non-event, replaced with mourning, and plenty of time to do nothing. Nothing but play more Football Manager, nothing but create more images of Ivica Strok, nothing but open his own Twitter account.

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It took my mind off things as best it possibly could, and he developed more of a personality. He got more and more arrogant. He mocked opponents, he mocked his followers, and he mocked his teammates. He posted photographs of himself with his friends, and Nike adverts he was appearing in. But he didn't—I did. This was all me. I was living my life as if I was Ivica Strok, a world record holding Croatian international soccer player. I answered questions people sent to the account in a Q&A, unsure if me answering the questions was worse than people actually asking them in the first place.

I knew that this would come to an end at some point, and soon enough Strok wasn't the 60-plus-per-season man he once was. But his birthdays went by (October 20, if you ever want to send a card) and he didn't show any signs of wanting to retire. He played through his 30s, now captaining the side, but this was beginning to drain me now. I was like a smoker whose cigarette patches weren't working, addicted to seeing how far Strok could go but that addiction coming at a price. I would discuss him with my mom, who would suggest that I intensify his training to cause him a career-ending injury. I introduced him to a new girlfriend with the same hesitancy you'd exhibit when telling a new partner that you had a four-year-old son.

But then the day finally came: he announced he would retire. I headed straight to Photoshop to mock up news stories, press releases and records of his achievements. The final step was to write his biography, to put the story of Ivica Strok down in his own words. In my words. I listed his trophies, his goals and appearances, and let the world know all about the arrogant personality of this prodigious talent.

It was then that it finally clicked, like the Narrator finally realizing that he is Tyler Durden: Ivica Strok wasn't arrogant. Ivica Strok wasn't real. The personality of Ivica Strok was me. He was me if I was rich. He was me if I had talent. He treated his teammates the way I wish I could treat my colleagues. But "Where Is My Mind?" didn't start playing, no explosives went off, and no buildings fell. My life is still intertwined with Ivica Strok.

[body_image width='259' height='461' path='images/content-images/2015/04/29/' crop='images/content-images-crops/2015/04/29/' filename='my-obsession-with-a-fictional-football-manager-megastar-826-body-image-1430293028.png' id='50792']

Images provided by the author, pictured above with his creation. Jonny Sharples is donating his fee for this article to CALM, the Campaign Against Living Miserably, which exists to help prevent male suicide in the UK. For more information, visit the charity's official website.

Follow Strok and Jonny on Twitter.

How Real Is Reality? It's Rather Hard to Tell

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How Real Is Reality? It's Rather Hard to Tell
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