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The VICE Guide to Right Now: The President of Mexico Says El Chapo Has Been Captured (Again)

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This February 22, 2014 file photo shows Joaquin "El Chapo" Guzman, the head of Mexico's Sinaloa Cartel, being escorted to a helicopter in Mexico City following his capture overnight in the beach resort town of Mazatlan. AP Photo/Eduardo Verdugo, File.

Joaquín Guzmán Loera, the Sinaloa cartel boss known as "El Chapo" (or "Shorty') who pioneered the use of underground tunnels in the drug trade and has escaped from authorities multiple times, was captured again on Friday, according to Mexican President Enrique Pena Nieto. Via the AP:

"An official who spoke on condition of anonymity because he was not authorized to be quoted by name said Guzman was apprehended after a shootout with Mexican marines in the city of Los Mochis, in Guzman's home state of Sinaloa."

For the sake of Peña Nieto's health—he famously said after El Chapo was captured in 2014 that another escape would be "unpardonable"—let's hope he stays caught this time.

In July, El Chapo made headlines across the planet for disappearing into a tunnel beneath the shower in his supposedly impregnable prison cell. A spate of firings and arrests of security officials and staff followed, as his latest sortie was a testament to an enduring culture of corruption in Mexican law enforcement.


We Spoke to a Leader in the Freemen on the Land Movement About the Oregon Standoff

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Robert Menard, director of the World Freemen Society. Still via Daily VICE

The Freemen on the Land (FOTL) movement, a sovereign citizen ideology that has followers in Canada, the US and the UK, has been described in the past as an extremist organization capable of domestic terrorism by CSIS and the FBI. In Canada, the ideology has been linked with acts of aggression and violence, including the shooting against RCMP officers in Edmonton last year.

In a recent article, VICE examined the history of FOTL in Canada and spoke to experts to see whether something similar to the Oregon standoff—whose militia shares somewhat similar demands to Freemen ideology—could happen here in Canada.

FOTL followers generally have a few core beliefs, all of which revolve around self-sufficiency and a rejection of modern governments. Many Freemen will cut up their identification such as driver's licenses and health cards; they'll avoid paying taxes and dodge fines or small charges; they'll use strange terminology and jargon inside courts in an effort to challenge or disobey judges, saying they need to consent to statute law and, overall, many freemen reject typical societal norms that most people generally adhere to.

Director of the World Freemen Society and a leader of the movement in Canada Robert Menard has been considered a guru of the FOTL wave in this country for a long time. Menard considers him an expert in natural law and runs a YouTube channel where he educates followers with videos and (free) books that he puts out on how to counteract what the Freemen consider unfair laws.

Menard has done interviews with media in the past while representing the Freemen, but is apprehensive of how past publications have painted his organization. I spoke to him yesterday to understand a bit more about the Freemen and to see where they stand on the current situation in Oregon.

Watch more on Daily VICE.

VICE: I've been researching the movement for a little bit now, and I have general idea about what it is, but I'll start off by asking: How would you describe the FOTL movement?
Robert Menard: I believe we're labelled as "anti-government," but I would say it's more accurate to say we're pro-good-government. We believe in equality and personal responsibility, and as such, we believe that no one has the right to govern their fellow man without the consent of the governing.

What drew you to the movement?
Like many other people, I suffered an injustice at the hand of government bureaucrats and was denied access to the courts. I knew nothing about the law prior to this, but I started reading up and studying the law and taking LSATs and educating myself about the limits of government authority.

What are some of the core principles of the FOTL movement here in Canada?Well, like I said, equality is one of the main core principles, personal responsibility, for me compassion is one of the key core principles of my own existence. I think for the most part, people just want to live peaceful lives and enjoy the abundance that life provides without unnecessary restraints imposed upon us. Once you start examining it, you realize that a lot of these restraints are either not lawful at their core, or are misrepresented. We might think we have certain obligations, but we are unaware of remedies that are available to us.

Can you tell me about some of the biggest problems that you think Canadians are faced with?
I believe our courts have been hijacked by a certain segment of the population that call themselves the law society... What I see is an erosion of our rights. We have public servants, and, as a function of law, if you have servants, then you have masters, and servants don't tell their masters what to do. And yet they are in position of authority over the vast majority of Canadians. They have achieved this by tricking Canadians into abandoning their authority as masters of their servants in exchange for status of award, or a child. Our servants are now dealing with us like a nanny would to their child.

OK. One of things we're looking at right now is the Oregon standoff in the United States. Ryan Bundy described the US government as a "slave master" holding a whip over the citizens. How do you feel about the situation?The only thing I know about it is what I've read online, and I don't trust a lot of that. They aren't associated with the FOTL movement at all. I think what's happening is that our governments have been hijacked by corporations and that they're no longer serving the people. I think our form of government is incredibly archaic. If you look at our current form of government, which is 600 years old, nothing has changed. I mean, if our sewage system has kept pace with government, we'd still be in outhouses. We have the capability—the technological ability now—to go direct democracy and cut out a lot of these people. Also, if you look at the fundamental purpose of law, it's to make it that as many people as possible can be happy and can enjoy peace, so we have a concept called the public peace, and we hire police officers, and their job is to maintain the public peace.

Let's look at an instance where somebody is minding their business, having a beer in a public park. He's minding his business and not bothering anybody. A cop comes up and sees him doing this, and because these actions have been regulated ostensibly to maintain the public peace, the police officer feels has a right to initiate violence and actively breach the public peace to stop people from engaging in actions that only have the potential to breach the public peace. I don't believe cops should act unless it's to stop a direct breach of the public peace.

You mention a breach of public peace, but Oregon militia is armed, and some people say that is terrorism. How do you feel about that?
I don't know if I'd qualify it as terrorism. The big question I'd look at down there is, where does the government draw the authority to own and operate a Bureau of Land Management? There's nothing in their constitution empowering them to own land outside of Washington, DC. Or to own a Department of Education. They have really overstepped their bounds, and I think what you're seeing is a growing level of frustration by people who, whether or not they know the law or not, they know when they're being abused or treated unjustly or being denied due dignity. Really, that's where all breaches of the peace tend to originate from, is when one party feels like they've been denied a dignity that was due.

Could you see the same situation happening here in Canada?
I don't think we have the gun mentality that they have. I could see our revolution, if it happened, to be far more peaceful and would likely be using courts and using the laws to and reclaiming our rights and the rights our forefathers had. I certainly hope that it doesn't happen. Who wants to see violent revolution? Certainly not me.

I think they're going about it the wrong way, and something smells to high heaven with that whole situation. I wouldn't be surprised if it was revealed that the people doing this were government actors, agent provocateurs, doing this just so that they can claim, look, we can't have people with guns. There are some people out there that want to remove as much guns as possible, and it's not beyond them to do something fake like this. I think that there are some militia types down there who are distancing themselves from , and the RCMP said that being a Freeman isn't unlawful. Essentially, the only difference between a Freeman and a regular citizen is that we do not avail ourselves the services and the diapers that they make available for the children. You can't collect welfare, you can't collect employment insurance. We don't have a social insurance number, we don't submit applications for things. This doesn't mean we're above the criminal code.

I've spoke to the Libertarian Party and the Wildrose Party because some of their demands and vision for less government are similar. I'm curious, how do Freemen feel about Syrian refugees?
I think Freemen are spiritual libertarians for the most part. These nation state borders, you can't see them on the map, so I think for a large part that Freemen are the least racist you'll meet. I personally have no problem with refugees, I love the idea of having people from all over the world living in peace and harmony and expanding my palette especially. I love being able to try different foods from all over the world. I've met a lot of people from the Middle East whose beliefs are not identical with mine, but for the most part, the idea of live and let live, enjoy peace and happiness, I'm open to that.

The concept of even having refugees is, in a certain light, ludicrous. Are we nothing but cattle and penned into these nation states and we have to ask permission to even live in there? I think that's another very archaic system that's changing, and the internet is causing that to happen. People are realizing that there are far fewer differences between us than we've been led to believe by our political masters.

This interview has been condensed for clarity.

Follow Jake Kivanc on Twitter.

This Week on Best of VICE Canada: Abortion Access in the Maritimes and Sextremism

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Pro-choice activists in PEI.

On Sunday, January 10, the Best of VICE Canada returns for its second installment City.

In "Abortion Access in the Maritimes," VICE contributor Sarah Ratchford travels to New Brunswick and Prince Edward Island, two provinces with restricted access to abortions and conservative political climates that make access a difficult issue even to discuss. Though abortion has been a legal medical procedure in Canada for more than 25 years, access varies widely across the country—there's a notable difference between that access in urban versus rural communities. She attends a pro-life rally crashed by pro-choice activists, goes undercover into a pregnancy crisis center, and talks to an activist helping people access under-the-counter abortions in PEI.

For "FEMEN: Sextremism in Canada," VICE journalist Brigitte Noël enters the world of FEMEN Quebec, a "sextremist" group that exists in more than ten countries, as they disturb the public space with their homegrown brand of activism, bringing skin, controversy, and feminism to the front page. As FEMEN set out on a mission to protect Canadian women's abortion rights, Noël shadowed the group to get a better understanding of their message, their approach, and whether their shock-and-awe tactics actually work.

Tune in tonight and every Sunday at 10 PM for more.

VICE's Top Ten Comics of 2015

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From 'Only What's Necessary: Charles M. Schulz and the Art of Peanuts,' by Chip Kidd and Geoff Spear, published by Abrams Comicarts. All photos by Nick Gazin

2015 was a garbage year and we all know it, but at least there were some good comics. Being able to tell which comics were good and which were bad isn't something just anyone can do. Only I, Nicholas Gazin, have the sophistication and comic book knowledge to truly judge the good from the bad, the right from the wrong, the important from the distracting. It is my sacred gift in the war against mediocrity that I be honest and tell you the comic book truth.

Here are the best ten comics of 2015, in order from least best to most best. Although I provide links for where to purchase the books online I encourage anyone interested in these books to go see if a local comic store has them first.

#10: 'Punks Git Cut'

By Jay Howell, published by Last Gasp

This book collects all of Jay Howell's zines and booklings. It's all in here. There's his Punks Git Cut zines, which are little visual gags like David Shrigley might make. There's his comic Dark Wave, about a black metal singer who has a panic attack and ends up surfing on a coffin. Best of all there are his pretty little drawings done on the title pages of old paperbacks.

Jay Howell is known by many as the designer of the TV shows Bob's Burgers and Sanjay and Craig. An animated TV show takes a long time to make and many collaborators, underlings, and overlords. It's cool to see what Jay makes on his own and it's great to see his style evolve and mature over the course of the book. It starts out just OK, but by the end he's mastered his craft. If you need inspiration to get your next zine together, take a look.

Buy it from Last Gasp.

#9: 'Bright-Eyed at Midnight'

By Leslie Stein, published by Fantagraphics Books

Leslie Stein has been doing comics for VICE for a couple years now so it should be no surprise that her latest book of watercolor diary comics is on this list. Some of the comics in this book originally appeared on this site. If you haven't already seen them, her stuff deals with loneliness and walking around and trying to find some sense of peace and satisfaction. Leslie primarily draws Leslie. She'll be walking, drawing, working at a bar, lying in bed full of dread, or remembering her childhood but all the while the comic is primarily about Leslie trying to understand herself. It's a good book.

Buy it from Fantagraphics Books.

#8: 'The Sandman: Overture'

By Neil Gaiman, J. H. Williams III, and Dave Stewart, published by Vertigo

Neil Gaiman made a new Sandman book! This was published originally as single issues, but Sandman is a comic that's best read in collected volumes. If anyone reading this comic is unaware of Sandman that would surprise me a lot, but I don't want to be exclusive.

Sandman is a comic that was published monthly starting in 1989 by DC Comics and ran for 75 issues. It tells the story of Dream, who is the god of dreams, and his siblings who are the gods of death, despair, desire, destiny, and other things that start with D. The comic tells stories set at different points in history that involved Dream as well as stories set in the present day, which is the early 90s in the comic. It's very gothy, literate, and was very progressive when it came out in its having gay and trans characters decades before any other mainstream comic did.

In the original series Dream was captured, and it was mentioned without explanation that he'd been off on another planet fighting aliens or something. This book shows what that was like. We also see Dream's parents, which is surprising and fun. Dream goes off with a giant cat meandering through the cosmos and different layers of reality. The art by J. H. Williams is beautiful and inventive. Almost every page is laid out differently, and Williams does more experimental comics-making than has ever taken place in Sandman before. It's the dreamiest Sandman book yet.

After leaving Sandman 20 years ago, Neil Gaiman wrote a bunch of entertaining fantasy novels that are a little like Stephen King's stuff and a couple children's books. He did a movie too. It's neat to see him back writing Sandman, even if it's just for one book. Maybe in 20 years, he'll do another.

Buy it from Vertigo.

#7: 'Real Deal #7'

By Lawrence Hubbard, published by Real Deal Production

Lawrence Hubbard is a true artist whose work is crude while also being sophisticated. The first issue of Real Deal came out almost 30 years ago and it took him this long to get to issue seven, but it was worth it. If you want graphic, over-the-top, unfiltered violence, violent sex, and zero justice in your comics, Real Deal is the comic to read.

Buy it from Real Deal Productions.

#6: 'Dream Fossil: The Complete Stories of Satoshi Kon'

By Satoshi Kon, published by Vertical Comics

Before Satoshi Kon made some of the greatest anime works ever, including Perfect Blue and Paranoia Agent, he drew manga stories and that's what this book is. The stories range in subject and genre. The first story is about people with telekinetic abilities being treated like second-class citizens. The second is about two friends having a summertime vacation adventure. The next is about young fuckup who make it to the Japanese high-school baseball championship. There's a ghost story, there's a samurai story. They're all good comics, and it's always interesting to see the early work of a creative dynamo like Satoshi Kon.

Buy it from Penguin Random House.

#5: '750 Years in Paris'

By Vincent Mahe, published by Nobrow

This is a beautiful book by Vincent Mahe. On the left page of each spread is a year and on the right page is a drawing of the same corner in Paris at different stages from 1265 to 2015. There's no real text except for graffiti, signs and advertisements, and a timeline at the back of the book. Not every drawing documents a historical moment; some just show the evolution of the structure or people repairing damage. The book shows this one spot during the Crusades, the Black Death, the French Revolution, the German occupation, and finally the Charlie Hebdo demonstrations in 2015. It seems to be about the tenacity of people or maybe Paris specifically... It's the best thing Nobrow has published.

Buy it from No Brow.

#4: 'Wally Wood EC Comics Artisan Edition'

By Wally Wood, published by IDW Publishing

To a lot of people who like American comics, Wally Wood was the greatest. Dan Clowes was inspired to become a cartoonist from a comic that Wood drew that ended with a self-portrait of the cartoonist sitting at his drafting table.

Wally Wood was one of the great artists that drew stories for EC Comics. EC published Tales from the Crypt, Mad, and other subversive material that was drawn by the best artists in American comic books at the time. This book presents scans of the original, uncleaned-up, and uncolored art for a lot of his best-known stories.

Instead of looking rougher, presented in its original form, Wally Wood's work looks even more slick and refined. Wally loved making things shiny, and he loved texture and detail. EC was banned from making comics because a child psychologist claimed that they were turning the nation's youth into homosexuals and juvenile delinquents. This doctor was an asshole just out to make a name for himself, but when I look at this book, I can see why people wanted to keep this material out of the hands of children. This is some sick, lurid greatness. I started crying when the dog dies of radiation poisoning in Wally Wood's adaptation of Ray Bradbury's There Will Come Soft Rains.

Buy it from IDW Publishing.

#3: 'Worst Behavior'

By Simon Hanselmann, published by Pigeon Press

Simon is the best funny person in comics right now I'd say. He used to do a weekly comic for VICE, but he got too successful for us and now just makes books and is a New York Times bestselling author. Simon makes comics about a witch named Megg, her boyfriend who is a cat named Mogg, and their nebbish roommate Owl. Their nosy neighbor is a terrifying but strangely innocent psychopathic wolfman named Werewolf Jones. Together they all get drunk and high and get into trouble. It's a little like Beavis and Butthead; it's a little like The Simpsons. It's not like most comics. There will be multiple hilarious moments on a single page, some large, punchline-style hilarious and some more quietly funny. Sometimes the comics will just deal with depression. It's funny that Simon makes these comics about wastoid slackers because he's a turbo-powered workaholic who pours all of his time into making comics.

Buy it from Pigeon Press.

#2: 'Last Man Volumes 1–4'

By Balak, Michael Sanlaville, and Bastien Vives, published by First Second

I was mailed the first four volumes of Last Man as they were released over the course of 2015 and they sat in one of several piles of books, unlooked at for most of it. When I finally opened the first book, I was unable to stop reading until I'd finished all of them. Then I tore through the piles in my house hoping to discover a fifth.

Last Man is a series of French graphic novels that were originally published by Casterman, the venerated French publisher. When the story of the comic is described, it doesn't necessarily sound like much. But the sophistication in the comic book storytelling at work here is as masterful as it gets.

Last Man starts in a medieval fantasy realm where an 11-year-old named Adrian Velba is eager to take part in a yearly Dragonball-style fighting tournament where the combat incorporates magic. On the day of the tournament, Adrian's partner falls ill and he teams up with a mysterious adult named Richard Aldana. Together they win round after round while Richard becomes something of a father to Adrian and develops a relationship with Marianne, Adrian's mother. The morning after the tournament is over, Richard takes off so Marianne takes Adrian to go looking for him. After that, the comic starts expanding and changing. It starts off feeling a little like Dragonball set in Narnia and then becomes more like Stephen King's Dark Tower series. It's hard to say who the main character of the series is, but this is a strength and not a weakness. When the books start, it seems like Adrian is who we're supposed to focus on. When Richard enters the comic, it seems like he's the main character. When Richard leaves it seems like the first two books were just a first act and Marianne was actually the main character the whole time. Creating three characters the reader can identify with, even when they're occasionally at odds with each other, is no small feat.

The art is loose and gestural for the most part but becomes more detailed and complete when it needs to. The art is highly sophisticated in how inconsistent it is. It gives you exactly what you need and is beautifully efficient. There are traces of James Harvey, Hugo Pratt, C. F., and Tadao Tsuge. The poses and compositions are perfect. The panel transitions are great. The action sequences and fight scenes are incredible, and I normally don't care about those. In Last Man, there's a lot of emotional set-up in between the fights and the fights are given room to happen in a beautiful way that you usually only see in European or Japanese comics. I eagerly await the next volume of Last Man.

Buy them from First Second.

#1: 'The Collected Hairy Who Publications 1966–1969'

By Dan Nadel, published by Matthew Marks Gallery

I first heard about the Hairy Who from Dan Nadel while taking his class at SVA. Dan once kicked me out of his class for eating a burger. He didn't return to teach at the end of the year because he hated me that much. Twelve years later, he has published both his and my dream book, a collection of the Hairy Who's art catalogues.

The Hairy Who were an art collective of six Chicagoans: Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum. For each Hairy Who art show, they would make and publish an art catalogue that was supposed to look like a comic book, but full of psychedelic and pretty drawings. This book presents all of the show catalogues in one great hardcover. Dan Nadel is great at putting together pretty books and kicking me out of his class. I wish I could have a hamburger I could start eating whenever I'm near him.

All of the work in this book is beautiful, but the most mind-bending work is by Karl Wirsum, whose stuff seems to be on another planet entirely. Instead of focusing on linework, he's all about mutating shapes and colors and creating different textures. His stuff varies wildly from image to image, but his work is writhing with life and emotion and new ways to draw. You can see his inlluence in Gary Panter's work.

Buy it from Matthew Marks Gallery.

Honorable Mentions:



'Only What's Necessary: Charles M. Schulz and the Art of Peanuts'

By Chip Kidd and Geoff Spear, published by Abrams Comicarts

When Chip Kidd and Geoff Spear get together and make a book, there's nothing else like it. Chip Kidd is probably the most famous book designer and Geoff Spear is a photographer. Together they made a book about Chip's Batman collection, another about his Shazam collection, and Bat Manga. Now they've made a book about Charles Schulz and Peanuts. The books that Chip Kidd makes like this are about his personal relationship to the subject, but he maintains a respectful distance. This book seems to often be about understanding Schulz as a designer and the graphic beauty of what he did. I feel personally honored that Chip Kidd cares about comics and blesses us by crafting perfect objects about comics.

Buy it from Abrams.

'Stroppy'

By Marc Bell, published by Drawn and Quarterly

Marc Bell used to do comics in the print magazine version of VICE about a million years ago. He did Shrimy and Paul as well as drawn interpretations of song lyrics. He stopped doing comics for a while to focus on paintings, but eventually came back. The word "fever dream" appears in a drawing on the back cover and that's what Marc's comics are like, very cute fever dreams with strange logic and a lot of things all happening at once. Marc Bell is a "world builder," and I want to exist in his worlds very much.

Buy it from Drawn and Quarterly.

'Biglouche'

By Arnaud Loumeau, published by United Dead Artists

There's almost zero text anywhere on or in this book. It's page after page of beautiful, candy-colored symmetrical, psychedelic drawings done on graph paper by Arnaud Loumeau. It's a special book. Get it if you can find it.

Buy it from United Dead Artists.

Thank you for reading my objectively correct list of the best comics. Please don't leave comments asking me why Saga or some superhero thing isn't on the list. I told you already, I am right and I wouldn't be able to print it if it weren't true.

If you need more recommendations, here are my favorite comics of 2014 and 2013. If you want to pay attention to me some more, go look at my Instagram.

The Man Who Shot a Philadelphia Cop Last Night Says He Was Inspired by ISIS

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Photo courtesy Philadelphia Police Department

A 30-year-old man who fired 11 shots at a Philadelphia cop late Thursday before being shot and arrested says he did it for the Islamic State, police said Friday.

The apparent attempt on the life of a local law enforcement officer bore an eerie resemblance to the successful assassination of two New York City cops in Bedford-Stuyvesant, Brooklyn, in December 2014. But whereas the gunman in that case was apparently enraged by police killings of people of color, the shooter in Philly is allegedly claiming a more divine form of inspiration, as the New York Times reports:

Capt. James Clark, commander of the Police Department's homicide division, quoted the suspect as telling investigators: "I follow Allah and I pledge allegiance to the Islamic State. That is the reason why I did what I did."

"He just kept on echoing those sentiments," Captain Clark said, "and he wouldn't give us anything more than that."

The suspect, 30-year-old Edward Archer, reportedly used a stolen police handgun and hit Officer Jesse Hartnett three times in the left arm before the officer, who had been sitting in his car, chased him on foot and shot him from behind. Archer has a lengthy rap sheet that includes a gun crime and a domestic incident, though it's not known whether he was in touch with any overseas terrorists.

Officer Hartnett was said to have lost a lot of blood and suffered nerve damage.

"This is absolutely one of the scariest things I've ever seen," Philadelphia Police Commissioner Richard Ross Jr., who took the reins this week, said after watching a video of the shooting. "This guy tried to execute the police officer. The police officer had no idea he was coming. It's amazing he's alive."


I Spent a Week in the Home of India's Most Famous Living Guru

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A shrine to Amma. Photo via Flickr user Mush M

One of the great traveler clichés of India is that you don't decide to visit the country—it calls you. The call comes in the form of a Taj Mahal-shaped Google ad or a Lonely Planet book in a thrift store back room, or even a samosa on a platter, passed in your direction at a gallery opening that you crashed for the free food and wine.

People look for signs before going to India, and while they're there too. And so it was when I ran into a German Buddhist nun in the lower Himalayas who urged me to hop on a plane and fly south to the ashram of Amma—India's hugging saint—I didn't question it. I didn't rightly surmise it as another person's will projected onto mine, I didn't sit on my hands and argue the pros and cons, I just went because being told what to do, as it had when I was a kid, was so much less of a headfuck than coming to a decision on my own.

I'd spent the previous ten days in silent meditation in a monastery in Dharmkot. The German Buddhist nun had checked me into the monastery and taken my passport, my phone, my wallet, and my iPad. When she checked me out, returning each of the items, I thanked her and she began crying.

"I'm sorry, is it not Buddhist to say thank you?"

"No, no," she said, "it's just that when I meet someone I've met before I cry."

"You mean ten days ago?"

"No," she said, "I mean in another life. You and I have met in different lives."

A chill ran down my spine. It felt like cold water—incidentally, the only type of water that comes out of the showers in almost all of India. I wanted to ask her questions (what was I like, what was our relationship, were we maybe lovers?) but I didn't. Instead I asked her, if she knew me so well, where should I go to next.

"Oh that's simple," she said. "The person I knew would go visit Amma. He wouldn't waste another day, he'd just go."

Amma is a 63-year-old woman from the Indian state of Kerala. To her followers, she's at least a saint and at best a reincarnation of god in a woman's body. Now that Mother Teresa is dead, Amma is the uncontested holiest woman on earth. Some would argue she's the holiest person on Earth.

I walked into the next village and booked a room in the first guesthouse I saw with a Wi-Fi sticker in the window. For the average traveler with two backpacks, slight malnourishment, fast-yellowing teeth, and perma-chafing from all the beads around his neck, Buddha is not god—his Wi-Fi is. The room had a bed, a desk, a stool, a wastebin, and two framed pictures on the wall: Amma as a child, and Amma as a grown woman. I came down the stairs and asked the owner for the Wi-Fi password.

"Ammaislove," she said.

"That's the Wi-Fi?"

She nodded. "And it's the truth."

I told her my story about the nun and the next thing I knew, she was writing out directions on a piece of paper. "You can fly or you can take the train, but either way you have to go," she said. "Amma is calling you."

Amma, who's name is really Mata Amritanandamayi, is short and round with dark hair that turns white at the front, like a strip of icing on a cake. She came from a poor fishing family and when she was born, they say she never cried. As soon as she could move she started going from home to home comforting her neighbors who were sick. She brought them food from her own house and gave them the clothes off her back, and then hugged them. Soon, people were coming to her for hugs. By her own count, she's hugged 35 million people in her lifetime and has a network across 40 countries. Her Ashram accommodates about 1,500 and serves three very basic meals a day. You can stay there as long as you like for a fee of $3, meals included. No matter when you go there's an unspoken promise that they'll find a place for you to stay. Amma means "mother" in Hindi, and no mother could live with herself if she couldn't find a place for her children to sleep.

Her take on life is very simple and very beautiful: "I don't see anyone different from my own self. A continuous stream of love flows from me to all of creation. This is my inborn nature. The duty of a doctor is to treat patients. In the same way, my duty is to console those who are suffering."

Amma on a keychain. Photo by the author

And so I went, like I was told, to Amma's ashram in Kerala, which consists of a cluster of giant, pink skyscrapers growing up from a thick palm tree jungle on a sandbank at the southern end of India, facing the Arabian Sea. A first thought as you arrive by riverboat at Amma's jetty is: Where did all the money come from? The second thought is: Where can a person get a cold drink around here? Kerala is deep in the tropics, where it's so hot and sticky that you feel less like you're in an ashram and more like the mouth of a holy cow. And that's not helped by the dress rules: no shorts, no t-shirts, nothing that shows more skin than your feet, your hands, and face. There are more rules, too: no intoxicants, no loud music, no sex.

The ashram operates on a strict daily routine. There's chanting in the temple at 4 AM, meditation at the beach or yoga in the hall at 6 AM, breakfast at 8 AM, then volunteer work, lunch, more volunteer work, singing in the main hall, dinner, and lights out by 10 PM.

On days when Amma is at the ashram (she travels extensively), she begins hugging at around midday and will hug, without interruption, until everyone has been hugged. On one occasion she's hugged for a straight 20 hours.

Getting a hug is easy. You ask for a token and you're given a time slot. If it's your very first hug, they attach a little yellow sticker to the side of your token so her assistants know to give you special attention. Then you wait.

A line of chairs snakes its way from the hall, out back, up a ramp, onto the stage, and then row-by-row until you reach Amma. You take your seat and every minute or so, everyone gets up and moves one place along the row. It's as hot as blood out and the plastic chairs all have a moist feel as you swing your butt down. There's a band playing these triumphant Hindi numbers and the lyrics flash up on two huge screens either side of Amma. Here's a sample:

The lion who ripped the face off the enemy's elephant
refused the wedding proposal of Krishna
who is the representation of the universe on earth
All praise her

When you finally get to the stage, you see Amma on her throne surrounded by a mixture of Indian and Western helpers. They double as her security, since Amma has been attacked on a couple of occasions, once with a knife.

The woman sits there all day in this hall, which resembles an underground parking lot, smiling, laughing, and giving advice to thousands of people who quite often stink and quite often grab her arms or waist pretty roughly. I don't know if that makes her a saint, but her patience is superhuman.

Just before you get to hug Amma, her assistants grab you by the arms and bring you onto your knees. They say things like "lower" and "keep your hands to the side" and then before you know it, you're being pushed towards Amma's breasts. I don't know how to say this without sounding creepy—even more so because Amma is kind of a saint—but her breasts are huge and warm as she pulls you in with both hands. The whole experience feels wonderfully childish, like eating chocolate spread with your fingers or peeing in the bath.

The hug takes half a minute. Then she whispers something in her native tongue in your ear, puts a hard candy in your hand, and you're done.

The author wearing a t-shirt featuring Amma's face. Photo by the author

After my hug, I walked the stairs back to my room on the 14th floor. The moon was out, but it was still hot as a pizza oven. The two guys in my room were both asleep and snoring. I padded around for my mattress on the floor. It was greasy to the touch but then so too was I, so too was the floor and so too were the walls. The only dry thing in all India that night was Amma.

My roommates were from England and Germany. There were a lot of Germans at the ashram and a lot of Russians too. One guy told me it was because of their karma—that the Germans and Russians have done so much bad shit historically that the younger generations are all out searching for god in India. Both of my roommates had been at the ashram almost half a year, and this was not their first time. Robin, the English guy, visited for the first time five years ago, and after he left, he said Amma told him to come back.

"How?" I asked.

"I'd rather not say," he told me. "It was too personal. But it was a very clear message, so I came back."

This is not uncommon: People at the ashram talk about the dreams, the messages, the feelings that don't go away until you've booked a new flight back to India. Some of the stories are a little ridiculous: John, a retired judge from Arizona, said he opened a book and out fell a postcard of Amma that he'd bought himself while at the ashram. It fell face up. Amma's eyes were looking at his. He knew then he had to go back to her, he said.

Other stories make you pay more attention: One woman says she prayed for Amma's help in buying a return flight and the next day, she claims the bank made a clerical error and transferred $648.25 into her bank account—the exact price of the flight.

Read: Buddhism, Gamified

Whatever the case, people keep coming back. I met a woman—English, early 60s, dressed in white with a shaven head—who was a renunciate, meaning she'd transferred all her possessions over to Amma and agreed to work for Amma until she died. She had been a devotee of Sai Baba, an Indian spiritual master who died in 2011. Quite a few of Amma's devotees transferred here from him.

The English woman had been here five years. I asked her if she ever got bored, and she shook her head.

"There's no time to," she said. "We're too busy."

Busy is the key experience at the ashram. Like most spiritual centers, there's a focus on actualization—not through meditation, but through work. There's always something to do: weeding, baking, carrying boxes of plastic in from the recycling areas. Of course, the work is voluntary, but it's that kind of fake voluntary where someone comes up to you right as you're finishing your dinner and says, "I have a job for a strong boy, if you're interested."

The German guy in my room was in charge of composting. I helped him out one day and together, in 90-degree heat, wearing long pants and t-shirts, we shoveled wet grass. One guy in the group, Adrien, turned to me and told me he felt jealous of people like me.

"You can just come here, with your tans, have fun, and then leave," he said, "and you don't even take it seriously."

"But doesn't that in some way mean we're lost souls?" I asked him.

"No, we're the lost souls," he said. "I don't even know if I like Amma."

Related: Photos of India's Quiet Places

There's a story that when Amma wants to be on her own, she goes to the nearby beach and digs a hole and then climbs in so no one can see her. Even Amma needs a break from her own ashram. Other people escape to the beach, too, because that's where the fun is at. It's just outside the ashram so it feels like a break from the rules without straying too far.

There's also a pool at the ashram. Twice a day, men and women are allotted separate times when they can use the pool. Men can wear shorts but the girls are obliged to wear long dresses. The pool is ringed by a tall wall.

In the swimming pool, I'd met a guy named Tre, a rapper from Arizona who had spent the past decade as a type of spiritual hobo. He complained that he'd met this really cute girl the night before but that today he went up to talk to her only to find out she had started a silent retreat and couldn't reply. India's not a good place for traveler sex anyway, said Florian, a German yoga teacher. "I mean, if you think of the girls here, they're either recovering from Delhi Belly or about to get it," he pointed out.

Amma is the most famous living guru in India—maybe the world—and because she's a woman, women are attracted to the ashram. The female-to-male ratio must be 65:35, which in any other place would be the perfect ratio for a young hetero male, if it weren't for that no sex rule.

The view of the pool, from the tenth floor. Photo by the author

On my sixth day at the ashram, while Florian was doing somersaults in the pool, he told us he planned to leave. Tre would stay a little longer—he had his eye on a young Californian who had arrived that morning.

If you weren't being "called" to stay, I could see why you'd want to leave: The incessant chanting, the blandness of the free food, the monotony of the place, and all the rules got old pretty quickly.

I had tried to leave too, a few days earlier, but when I went to buy a ticket at the train station, the attendant told me there were no tickets for that weekend. Robin, the English roommate, had told me he was planning to leave too—but said he couldn't go just yet. He had to ask Amma about it.

I didn't understand what he meant. Everyone says that Amma talks to them and they talk to her, but Amma doesn't speak English and apart from the 30 seconds on the stage where you're muffled in the deep valley of her bosom, she's not exactly hanging out for chats.

"How do you talk to Amma?" I asked Robin.

"You take your question to the stage and when you leave, it's always answered."

I decided to bring my packed bags downstairs and join the hugging line. While waiting, I visualized my question for Amma, which was this:

Listen, while I can appreciate this place and see nothing bad with it, it's really doing my head in right now, so can you in your infinite wisdom and power find a way for me to leave because the trains are packed and I've got no energy to think up of alternatives. Thanks.

Onstage there were people in wheelchairs, kids with physical deformities, old people clasping tissues to their faces, and the new Californian girl Tre had his eye on. She had a tan and looked clean and rested, like everyone does before they arrive at Amma's.

When my turn came, I got pushed into position and hugged Amma. I repeat the question twice in my head.

Don't let me down, I thought. Amma whispered a mantra in my ear and handed me a candy.

As I walked out of the ashram with my backpack on my back, a young woman stopped me. "Excuse me, young man," she said, "Can you help me with something a quick second?"

Half an hour later, I left the ashram.

I'd worked out that if I wanted to hitchhike my way to the next village, I'd need to head inland and then north, but it was already 90 degrees so I decided to wait for the travel agency to open up again. While I was waiting, I noticed something shining in the near distance—a plain white t-shirt hanging from a wall. There was a little window beside the tee shirt, where a head popped out.

"Taxi?" the man said.

"No," I said, "I want a train ticket."

In five minutes, I was holding a train ticket, leaving for Bombay via Goa in less than an hour. The man offered to drive me to the station on the back of his Royal Enfield.

I thanked the guy and then, for no reason other than maybe Amma's cosmic forces guiding my movements, a gust of wind caught the white t-shirt and spun it around. On the front was a rough, hand-drawn illustrated portrait of Amma.

I bought it for 70 Rupees, put it on, and climbed on the back of the bike to head toward the station.

Amma's ashram is not a bad place. It's cultish in a way, and there are some fucked up people spending month after month traipsing around the ashram in their dirty white robes wondering what all of this means, but there are fucked up souls everywhere. The ashram, at least, is kind to them. It's one of those places that you really believe a god exists because maybe, just maybe in life, you'll fuck up so bad that there's nowhere for you to go to and that's when you'll remember Amma's ashram.

Maybe one of the reasons people stay there so long is because the transportation out of the ashram is hit-or-miss. And maybe too, if you listen to non-stop chanting most of the day, it renders the decision making part of your brain useless. Maybe people just stay for the free food. But for the most part, people seem to like the ashram because there's always something to do, always someone to shoot the shit with, without having to spend too much time thinking about the weight of life.

Every now and then, there's a controversy over the ashram—that it's exploitative, or that Amma is a bully. I didn't see that. All I could see was an older woman with incredible energy, who day in and day out, dealt with the great expectations and plain curiosity of the thousands of people who came to see her with unwavering patience.

Amma is many things: She's a virgin, she's a guru, she's a small woman, no taller than a picket fence. But I've come to decide that, like the Wi-Fi password in the guesthouse in north in Dharmkot, Amma is love.

Follow Conor Creighton on Twitter.

The VICE Guide to Right Now: The Governor of Texas Just Called for a 'Convention of States' to Amend the US Constitution

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Texas Governor Greg Abbott. Photo via Flickr user Gage Skidmore

In a speech on Friday, Texas Governor Greg Abbott called for a "Convention of States" focused on amending the US Constitution to put more emphasis on states' rights. In the address, given to a largely conservative audience at an event hosted by the Texas Public Policy Foundation, Abbott said that he and other states' rights advocates would need to "take the lead to restore the rule of law in America."

Abbott joins US Senator Marco Rubio, a 2016 Republican presidential candidate, in calling for a convention aimed at limiting federal power. In an editorial published byUSA Today earlier this week, Rubio advocated for such a convention, although he suggested limiting the scope of discussions around practical ideas. His prescriptions include "imposing term limits on Congress and the Supreme Court" and "forcing fiscal responsibility through a balanced budget requirement."

Abbott, for his part, has also published a 92-page manifesto on overcoming what his administration perceives to be federal overreach. In the document, titled "Restoring the Rule of Law," Abbott provides an elaborate history of federal power, in which he describes The New Deal as an attempt to turn the federal government into a "bureaucratic behemoth that would regulate virtually every facet of American life."

The manifesto also calls for nine new constitutional amendments; many of these line up with Rubio's prescriptions, although Abbott's plan is much wider in scope. Under Abbott's plan, Congress would be unable to regulate any activity that only happens in one state, and will also be required to balance its own budget. A two-thirds majority of states wouldbe able to override a Supreme Court decision or federal law, and the Supreme Court would need a 7–2 majority to invalidate a law. States would also have the power to sue the federal government in federal court, and would be granted additional, unnamed powers in an effort to "restore the balance of power."

Despite calling for drastic revisions to the Constitution, Abbott claims that his plan will return the US to its founding principles. "We are succumbing to the caprice of man that our founders fought to escape," he said in his speech Friday. "The cure to these problems will not come from Washington D.C. They must come from the states."

Follow Mike Pearl on Twitter.

Leslie's Diary Comics: Leslie Ponders the Joy of Walking in Today's Comic from Leslie Stein


Throwing Confetti in Death's Face with Author Derek McCormack

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Writer Derek McCormack

The premise of Derek McCormack's new novel, The Well-Dressed Wound, is pretty simple on its face. A play presented by P.T. Barnum at his American Museum on Broadway in New York City (a location that burned to the ground in 1865), in which Abe and Mary Todd Lincoln take part in a séance in a parlor of the White House. The medium is played by Nettie Colburn, a woman who actually performed such events for Mrs. Lincoln in the 1800s. Colburn channels Willie Lincoln, the third son of Mary Todd and Abe who died at age 12. When he appears Colburn is wearing a suit by the notorious fashion designer Martin Margiela. Margiela is then also channeled into the room, in the form of Satan, "the king of fashion in Hell." After that, things start to get weird.

What transpires over the 71 pages of The Well-Dressed Wound evoke a wide range of effects and not-quite-nameable emotions. Margiela's ghost unveils his latest line, which features mostly repurposed clothing all painted white, with a runway show. As the models strut the designer stands spouting furious monologues about death, sickness, gay sex, war, pronouncing everything he's made and everything around him both haunted and plagued with AIDS. The ongoing spectacle feels intense, bending the lines between the historical and the fantastical, the reverent with the spiteful, the high-end aesthetic with blood and cum. It's like you're laughing and then the laughing hurts and then you aren't laughing anymore, which as an experience delivered on paper couldn't feel more immediate.

But for as wild and spastic as this book seems, it exudes the feeling of intense desire, one that surpasses hate and terror by throwing confetti in death's face. It doesn't try to explain the anatomy of terror, but to embody it, dress it up in costumes. For the reader who feels like nine-tenths of everything is already underwater, this book brings the heat.

Derek McCormack took the time to answer some of my questions about his book in the context of his battle with cancer while writing it, the effect of fashion in the face of death, and his fury both for and against writing.

VICE: It's clear from the first page of The Well-Dressed Wound that it takes on a tone and scope unlike almost anything else that has been put on paper. Where did the conception of this book begin?
Derek McCormack: I don't know how novel what I wrote is. At times I think of it as a fashion book—like the promotional literature designers send out as publicity, or like the statements that designers distribute at fashion shows or leave on the seats for editors to read. When I was writing it I was thinking of it as a publicity project for Maison Martin Margiela. I don't understand why the Maison hasn't bought boxes of it!

The conception, well, I wanted to write about Margiela, whom I adore. I had written about Nudie and Hank Williams in The Haunted Hillbilly, and about Schiaparelli and Jimmie Rodgers in The Show That Smells, and this was supposed to be the third book in a trilogy about country music and fashion. I never publicized that it was a trilogy; I never told my publishers that it was a trilogy. The third book would be Margiela and Stephen Foster.

Then I got cancer, and the cancer almost killed me, and then the cancer treatment almost killed me, and then I spent a year lying in a bed waiting for an infection or complication to kill me. And I was writing but I needed the book to be more than the other books had been. The book had to save me, or show me a way that I could be saved. I do have that feeling with fashion sometimes—that a brooch can make my life better, or that a bracelet might turn my world around. So I wanted to write a Margiela book that was a Margiela brooch—stunning and useless and in on its own uselessness. I feel that I succeeded in that way. The book could be pinned to a coat and worn as a brooch, or be strung with a chain and worn as a necklace or bracelet. It could be a purse—a terrible purse, but a purse.

Anyway my book brooch has saved me so far.

I'm glad you found a way for the brooch of the book to be a place of focus during such a hard time. And I'm not surprised this book emerged at least partly from such a complex emotional condition, because for as beautifully bizarre as its conceit is, there's a great deal of energy lurking here, a kind of fury and ecstasy at the same time. Did this come out during the shift between your beginning the book and then getting sick? And how did your approach to writing it (or writing at all) at the edge of death change?
I think that fury and ecstasy is an incredible description of what I was going through. The cancer changed the way I wrote in obvious ways—I had all these new holes and I kept leaking pus and blood onto my laptop.

I thought: I might have only a little time left. Should I spend it writing? I decided that the answer was yes, mainly because I was too broke and weak to do anything more exciting. It was hard to live life to the fullest when I was shitting constantly.

I decided that my book had to be brief, briefer than my other books. My other books suddenly seemed wordy to me. I decided that I didn't have the time to write something wordy, and I didn't have the wherewithal. I was not going to write about a struggle with cancer because it was no struggle. I capitulated completely to it. It fucked me completely. Writing the book was totally ignoble. My book wasn't going to be a triumph of my spirit; it was going to be a trifle of my spirit.

Which was fine because I love trifles!

I have always loved fashion for its capriciousness and its cruelty. I mean, I love that fashion destroys individuality or identity. I always dreamed of disappearing in designer clothes. What a way to go! I was aware that cancer had the same effect—it had so much power, a Satanic-seeming power, to make me disappear. Somebody suggested that the cancer was a fashion, that I was wearing it, but the truth is it was wearing me. I was a fad that death fell for for a while. Which is why I say in the book that death is a form of fashion and AIDS is a form of death—fashion is at the top, it's all-powerful, and there was a thrill when I was swept up in it. It was magisterial. Also, it was ghastly.

'The Well-Dressed Wound'

Writing in the face of death seems like a rebellion somehow, which I like, because the book itself feels like a rebellion—not only against the idea of death (there are zombies and ghosts everywhere), but against books themselves, and against patriotism, or war. Margiela says, "Faggots love to die!" and Mary Todd Lincoln's response is just: " !" Certain passages of the book feel like a machine gun shooting exclamation points and the words "faggot" and "AIDS" into the face of the reader over and over. I wonder if you would talk about the choices of those words and what they inflict?
A rebellion against books sounds right in a way, though I don't have a reason to rebel against them, or I don't have a good reason—only a general anger or disgust or something. When I was writing The Show That Smells , I dreamed it would somehow have the power to destroy all books. Why would I want that? Because I want it.

The things you said about the word faggot are as close as I can come to a clue. I'm a faggot, I always preferred faggot to queer or gay. I've been called a faggot my whole life so I don't feel bad about using that word—it's mine. When I was a kid, and kids called me faggot, and adults called me faggot, I always said: "Yes, I am. I'm as vile and perverted as you think I am. I'm even more vile." I mean, I've always thought of myself as disgusting physically and mentally. I still do. It seemed stupid to deny it, and it seemed smart to push the faggotry as far as it would go, to make myself worse than worse. I make my violence against myself worse than any violence against me, and maybe by doing so I do some violence to the world.

I guess what I'm saying is that I don't know if I'm staging rebellions so much as I'm siding with death and encouraging a catastrophe against books. I sort of picture fashion replacing books, and that's another catastrophe, but it sure would be stylish!

I like the idea of "a catastrophe against books," which for me always came out of a feeling of wanting more from them. Do you ever imagine the reactions of readers as you are writing? Are you directly addressing an audience, dead or alive?
I wanted to impress Martin Margiela, wherever he is and whatever he's doing. The guy's a ghost, so I'm trying to impress a ghost. The book's a sort of seance that way. He's living and dead.

I do like to picture reactions to the book. I want readers to be repulsed by it, and by me, but I want them to be impressed, too. The book is a fuck you to literature and to life and I want readers to get that, and then to admire the gall of it. I want to piss people off and to have them praise me for it. It's been like that with all my books—I always want to write stupid and shiny things that have to be admired for the artfulness of their stupidity and shininess.

I'm performing, really. I like to think of my books as performances—like magic shows, or fashion shows. I like them to be short and shocking and maybe sickening. Thanks to the disease, this book is an especially effective fuck you, I think. When I was writing it, I thought it could only be published posthumously, so I went all out. I always try to write all out but I have to tell you, it's easier to do when you're at death's door and a little demented.


Follow Blake Butler on Twitter.

Mark Flood Is Trolling the Art World with 4Chan Filth and Disgusting Memes

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Photos by the author unless otherwise noted

Mark Flood is roughly the same age as my father, but the 58-year-old artist lurks on both 4chan and 8chan more than a seasoned meme enthusiast. Known as a punk-y "artist's artist" due to decades spent toiling in Houston outside the White Cube world, the artist's career took off when he was well into his forties. Today, though, he branches into the same category of buzzy, market-friendly artists like Lucien Smith, Oscar Murillo, and Alex Israel—all at least 20 years his junior.

Call him the art world's Michael Gira—as Flood's gotten older, his practice has gotten better and more fun. From his pretty-but-not-precious lace paintings that originally bolstered his fame, to his canvases that spew bratty verbiage like "Another Painting," Flood is an artist whose mid-career success has served him well.

Despite his recent success, he's all too familiar with what it's like to be ignored by the institutional art world. It's that experience that likely inspired him to start Mark Flood Resents (2014), an experimental show at a DIY space next to Zach Feuer Gallery that featured work from a variety of obscure Houston artists in which nothing was for sale. The room was filled with couches and mattress beds for visitors to hang out on while they looked at art.

His latest exhibition makes it clear Flood has kept his eyes on both the internet and the creatives from his Texan hometown. It's called The Future Is Ow and it's on view at Marlborough Chelsea through February 6. The exhibit takes the same salon-style concept as Resents and ups the ante. There are more mattresses on the floor (plus TVs), more paintings by each artist Flood asked to contribute to the group show, and more piss-takes: The largest work is a 110-inch-by-200-inch painting by Flood in which very NSFW memes (one features a photo of a woman violently biting a man's dick) spell out "YOLO." In a hidden corner of the established gallery, four pieces of printer paper are tacked up on a wall, featuring a fabricated Facebook page for "Mark Flood" that sports a terrifyingly obese, naked man as its profile picture.

"Hell yeah, I'm a troll," Flood told me as we lounged out on the mattresses in Marlborough and looked at works by Houston natives Paul Kremer, Susie Rosmarin, Chris Bexar, and the awe-inspiring El Franco Lee, whose paintings of DJ Screw and hip-hop revisionist history are an exhibition highlight. "I'm attracted to things like memes and the internet because they feel like they're relevant to art. 4chan has just turned me on to some shit," the artist explained. Flood chatted with me about lurking on the web, his new group show, and how he's viewed Picasso as his greatest creative competition since childhood.

VICE: Can we sit on these crazy beds?
Mark Flood: It's funny how little things like this make a difference. It took nerves of steel to do this shit. I want people to have this great experience but I know they're not going to embrace it unless there's a mattress with a cover laying there in front of the art.

What exactly makes this new show different from Mark Flood Resents?
Well, none of the work in Mark Flood Resents was for sale. Things are for sale at this show. I thought of the title and the idea together—The Future Is Ow!, all digital printing. I did this originally in Houston and never would have thought of a show like this for New York, but it ended up being here.

The last time you did this was at that DIY space next to Zach Feuer Gallery, right?
Yeah, and then we moved down to Miami Beach for the art fairs. Nothing was for sale. They were just things for me to waste tons of money on and just do. I highly recommend pouring out money like a severed artery on the hot sands of Miami Beach.

But you get to showcase the homies!
That's true. I do get to showcase the homies. In it's own way, it's totally selfish because it's just what I like to do.

El Franco Lee has a lot of hip-hop references in his work at this show, and one thing I like about hip-hop is that successful artists rep both their city and other artists from their city. You're kind of doing the same thing here.
I think about that all the time, like Lil Wayne repping New Orleans and Drake repping Toronto. Houston has it's own version of that and it's cool for me to do something similar. I'm obsessed with a lot of obscure Houston hip-hop. Candy Red, for example. Slim Thug. Just Brittany. OG Ron C.

What about DJ Screw?
El Franco Lee used to buy his weed from DJ Screw. There's a painting in the back room that has a Screw cassette glued to it. Yes, I love that and I'm Houston-proud about that shit. I listen to chopped and screwed music, mostly. I considered playing it when you entered . I routinely take the pop songs I like and then I find the chopped and screwed versions of them. I'm not doing lean or anything. I don't do drugs. Well, I'm a pothead; I just don't smoke anymore.

Why'd you stop smoking?
I lost my sense of smell. I couldn't stop crying. My life was falling apart.

Image courtesy of Marlborough Chelsea and Creative Counsel

What have you noticed about Houston artists as of late, versus New York artists?
New York artists probably have to suffer more. New York is more competitive, harder to live in, more expensive, etc. But Houston is easy to live in, zero competition, nobody has any ambition. People in Houston don't even know this world exists, really. At the same time, I always made my work for the world stage, even when I was totally obscure.

Did you actually have the goal of being on the world stage?
Since I was a little child, like four or five, I remember being competitive with Picasso when he was oppressively big. Picasso was a motherfucker. I felt the same way about Jasper Johns. That's what you do when you're an artist. You have these people who are huge, and you're nothing. By the time you get there, you already know what it means. But I still appreciate it.

How do you feel about your career now?
I like it and I'm used to being successful. I'm used to having money. I like what I can do for other people. I try not to take it for granted, to take care of business. At the same time, the pace of it all is a bit much for my 58-year-old mind. It's a lot.


Since I was a little child, like four or five, I remember being competitive with Picasso when he was oppressively big. Picasso was a motherfucker. — Mark Flood

Will you tell me a little bit more about El Franco Lee?
His father was the Harris County Commissioner and he died the day before yesterday. It's tragic. He was very popular and beloved in his community. El Franco Lee is very super private, he's very good looking, he's young—late twenties. He's very friendly, polite. He has a nice house. We became buddies over the years.

He has this one image of a bank robbery that's incredible, but it felt wrong for me to own it. It felt bigger than me; owning it would be like owning "Starry Night." I just had this weird feeling that I had never felt so strongly before. I'm not sure how well I understand him, but I told him this show wasn't going to help him remain in obscurity. You can't be this great and hide out. It's not going to work.



'YOLO' installation view, courtesy of Marlborough Chelsea.

How did you find some of the memes in this painting behind us that says "YOLO"?
You already know how I found them. I made those memes and I love this painting. Meme generator.

What are your internet search habits like? Are you a Reddit man, a 4chan-type of guy?
No, I hate Reddit. I'm 4chan, and even 8chan. 4chan is super boring now. 8chan is where it's at. I've been doing this for a long time. I'm on that every day. The image of the woman biting that guy's dick comes from 8chan.

When did you start getting interested in meme culture and virality?
I'm attracted to those things because they feel like they're relevant to art. I kind of think it's my job. I kept seeing references to 4chan and other image hosting sites and I felt that it was something I should be going to and interacting with. I went to stone cold, like I do a lot of things. No one guided me, no had to show me how to use it. I just started going there and lurked, as they call it, and I lurked a long fucking time. I still lurk. But I'm glad I did that because it's exactly the thing I like. An edge. A leading edge because so much shit comes out of there. 4chan has just turned me on to some shit. It sounds crazy because it might not seem like I'm that guy. I wouldn't be that guy, but I worked at a museum, they put a computer at my desk, and I had to start learning how to use it.

There are some pretty gnarly internet images included in this exhibition.
I hate Facebook, and so I made this horrid Facebook thing that is so nasty. Paul Kremer, who's also included in this show, helped me make these fake profiles: Mark Flood; Mary Flood; Mike Lude; Mina Lude. They're all naked and covered with shit.

When me and Kremer were making them, we couldn't stop laughing because he has a teenaged son and every time his soon came into the room we'd hide the computer screen like we were little kids. The images make me laugh so hard but most people find them disgusting.



Mark Flood looking at his fabricated Facebook profile page

Would you call yourself a troll?
Hell yeah, I'm a troll. I absolutely would. I'm pretty benevolent for a troll. There are all these people in the art world who really are trolls who think they're so great and they're not. But I try not to be negative towards specific people.

I really like art that's funny.
I've always said that and feel the same. Marcel Duchamp's "The Large Glass" is funny. Andy Warhol's work is funny. I don't see how people could look at this new work here and not laugh. These make fun of stuff like applying for grants, which is something I hope to never do again. The pieces reference art fairs and how I don't want to kiss those motherfuckers' asses. They can all go to hell.

What would be the ideal reaction from someone coming into this exhibition?
Well, you know art casts a long shadow into the future. Just to inspire young people, even though that's a cliché. But I do feel that way. I like it that young people like my work. They get it. I think if young people were all rich, I'd be a billionaire.

The Future Is Ow is on view at Marlborough Chelsea through February 6, for more information visit the gallery website here.

Follow Zach on Twitter.

The Nazi-Loving Drug Lord Who Revolutionized the Cocaine Smuggling Industry

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Image courtesy of Ron Chepesiuk

Carlos Lehder first got involved with the Medellin cocaine cartel headed by Pablo Escobar in the mid 70s, when it was stuck in the stone age of drug smuggling. The notorious Colombian crime syndicate had been using a variety of high-risk, low-reward methods to transport contraband, such as drug mules that had to be sent on commercial flights one at a time. Lehder revolutionized the way the cartel did business by introducing small aircrafts that could be flown at low altitudes to avoid detection, exponentially increasing the amount of cocaine Escobar's empire could transport across boarders. When federal US prosecutor Robert Merkle eventually prosecuted Lehder in 1988, he compared the drug lord's cocaine transportation system to what Henry Ford was to automobiles.

In less than a decade, Lehder went from a small-time marijuana crook to a major cocaine cowboy, allegedly accruing a fortune worth billions during the peak of his criminal activity. As his wealth and stature multiplied, the Colombian-born man became known for his erratic behavior, uncontrollable hedonism, and vocal support of both Hitler and John Lennon. Lehder also hated America, and was said to have viewed the cocaine trade as a way to spread chaos in the States. At one point, the crime boss bought an island in the Bahamas called Norman's Cay and used it as a midpoint to transit planeloads of cocaine into Florida, as well as a getaway for him to indulge in drugs, debauchery, and wild sex parties.

Ultimately, his inconsistent personality led to tension with his cocaine colleagues, and Lehder was ultimately caught and extradited to the US in 1987. Rumors abound to this day that Escobar himself was the one who told police of Lehder's whereabouts, as the cartel boss feared his one-time logistics mastermind would ruin the entire operation.

Lehder has been imprisoned since 1988 and he's allegedly protected under the US Marshals Service Witness Security Program, a security blanket granted after he agreed to testify at the trial of Panamanian General Manuel Noriega, another cocaine kingpin. In a new book by true crime author Ron Chepesiuk titled Crazy Charlie: Revolutionary or Neo-Nazi, the life and times of the Nazi-sympathizing drug lord cartel are explored in depth. Chepesiuk spent years reaching and talking to prosecutors, defense attorneys, law enforcement personnel, and incarcerated criminals to gather enough resources to publish the first biography on Lehder. VICE chatted with him to learn more about Crazy Charlie and the cocaine cartel.

For more on the Medellin cartel, watch our doc about the lasting legacy of Pablo Escobar:

VICE: Why did you title the book Crazy Charlie?
Ron Chepesiuk: It's the nickname that Lehder picked up along the way in his life of crime. I was never able to identify the source of the nickname definitively, but given Lehder's eccentric behavior, I think it fits him like a glove. He was impulsive, unpredictable, and unafraid of public opinion. The fact that Lehder was a free spirit was one of the factors that attracted me to writing the book.

What was Lehder background like before he became involved with the cartel?
He was essentially a loser. He grew up in Armenia, Colombia, went to the US in the 1960s, got involved in petty crime (selling marijuana, auto theft), and was busted and kicked out of the US. By his mid-20s, his life was going nowhere. Then he met George "El Americano" Jung, the cocaine smuggler who was a major player in the Medellin cartel.

Lehder was also depicted alongside Jung in the movie Blow. How would you characterize their relationship?
In the beginning, it was a pretty good one. They had a good business relationship. Lehder needed what George had in the US side of their partnership, and Jung needed what Lehder had in the Colombian side of their relationship. They made a lot of money together. But the relationship eventually soured. Lehder was ruthless in conducting business, and he eventually got Jung to reveal his connection. Once he had that, Lehder cut Jung out, went on his own and became a big shot in the Medellin Cartel. Jung was bitter and even contemplated killing Lehder.

What role did Carlos Lehder play in the Medellin Cartel?
In the early stages, Lehder played a very important role. He devised the transportation system that began the mass marketing of cocaine to the US market, the biggest in the world, which, in turn, led to a drug epidemic that ravaged the US in the late 1970s and the 1980s. Before Lehder, the Medellin Cartel and other Colombian cocaine traffickers relied on so-called mules, humans that smuggled drugs on their person. That isn't an efficient smuggling method, and you really can't smuggle large quantities of drugs.

Lehder bought an island in the Bahamas called Norman's Cay, which, in a nutshell, became a transit point where drugs were flown on to the island, and in which small planes were used to fly the drugs into the US. Before this time, it was too long a trip to fly drugs directly from Colombia to the US and this allowed the Medellin Cartel to smuggle not kilos on an operation, but tons. The Norman's Cay smuggling routes essentially operated from about 1978 to 1982 or '83 when the US closed it down and the Medellin Cartel developed other ways to get their drugs into the US. After this point, Lehder became less valuable to the cartel.

Can you tell me more about the island? What was going on there?
The island was about 210 miles from the Florida coast. It was ideally situated for drug smuggling. Published accounts say Lehder used it for his criminal purposes from 1978 to 1982, but I believe it was still being used until the mid 1980s. Lehder did what he wanted to do on the island because he had the right Bahamian authorities on his payroll. Lehder imported woman, and under his control the island became notorious for its sex parties and drug use.

What type of personality did he have?
An interesting and complicated one. Talk to sources, both the good guys and former bad guys, and they acknowledge his charisma. He was very handsome and both woman and men found him really attractive. There are stories about Lehder being bisexual. He was a hedonist and I think he had a problem with self-control. But when under control, which, with time, became less and less a reality, he could be quite capable and even brilliant. Contrary to the legend, he was not really violent. When I finished my book, I had to wonder if he had ever killed anybody.

It's said that Carlos had Nazi leanings. How intense was his support?
Wilhelm, Carlos's father, was a Nazi sympathizer and admirer of Hitler. Wilhelm emigrated to rural Colombia from Germany before World War II. He was a civil engineer and actually played a big role in modernizing the transportation system of rural Colombia. During World War II, the US Embassy in Colombia kept a watch on Wilhelm because of his Nazi sympathies. I think that, growing up, Carlos absorbed his father's neo-Nazis leanings and anti- Semitism. For example, he denied the existence of the Holocaust. There is plenty of evidence to support the characterization that Lehder was a neo-Nazi. He certainly wasn't shy about giving interviews or expressing his views. He often praised Hitler and railed against the Jews.

How did he mesh with the larger than life Pablo Escobar?
Escobar always had an uneasy relationship with Lehder because of Lehder's unpredictability and hedonistic personality. Escobar liked to operate low-key. You can say it was a personality clash. But in the beginning when Lehder devised the Norman's Cay connection, Escobar found him extremely useful and tolerated him, as a result. With time, as Lehder's value decreased to the cartel and he became what the Medellin Cartel considered a public embarrassment and even a liability, Escobar reached the point where he did not respect Lehder. Frankly, I'm surprised that Escobar didn't have Carlos killed. There is even suspicion that it was Escobar who actually snitched on Lehder's location, which allowed the authorities to bust and extradite him to the US, although Escobar denied he snitched in a letter he wrote for public consumption.

He was one of the first big cartel leaders who was captured and extradited, right?
Before Lehder's capture and extradition to the States, Colombia did not send traffickers to the US when Uncle Sam requested their extradition. But after Lehder, there have been, I would say, hundreds of drug traffickers extradited to the US. Extradition became so common that the US media doesn't even report the extraditions. At the time, Lehder's trial was the biggest trial of foreign drug trafficker in US history.

Did he end up testifying against anyone else?
A lot of his comrades testified against him at his 1988 trial in Jacksonville, Florida, but he didn't really turn on anybody. He was a major witness in the Miami trial of General Manuel Noriega, the dictator of Panama in 1982. The US had invaded Panama in 1989 and hauled the general back to the US for trial. Lehder was hoping to get some kind break on his prison sentence. The word was he wanted to serve his time in either Colombia or Germany. Lehder was serving a sentence of life without parole, plus 135 years. Reportedly, in 1992, his sentence was reduced to a total of 55 years in exchange for his agreement to testify against Noriega,

Is it true that Lehder is in the federal witness protection program in prison? That's pretty unusual.
He is in what is known as WITSEC, the federal witness protection program administered by the United States Department of Justice and operated by the United States Marshals Service. It is designed to protect threatened witnesses before, during, and after a trial. Three years after Noriega was convicted, Lehderk wrote a letter to a Jacksonville federal district judge, complaining that the US had reneged on a deal to transfer him to a German prison. The letter was construed as a threat against the judge. Within weeks of sending that letter, Lehder was whisked away into the night from Mesa Unit in Arizona where he was incarcerated, according to several witnesses at the Unit. Lehder has shown up in court a couple of times regarding his grievances against Uncle Sam, but I'm certain he is still in WITSEC.

Where do you think he is now?
There have been a lot of conspiracy theories about Lehder's whereabouts. Some of them are really ridiculous. One of them even has Lehder out of prison and working for the CIA. But that theory was put to rest a couple of years ago when Lehder's lawyer showed up in US court to sue the US government on Lehder's . I have no doubt Lehder is in prison where he will remain for the rest of his life.

Crazy Charlie is out January 15. Pre-order the book here.

Follow Seth on Twitter.

Comics: A Woman Gets Distracted in Today's Comic from Nina Vandeweghe

This Palestinian Artist Embroiders Images of Syrian Gore and Violence

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'Unknown Man Bleeds Out After Being Shot' Aleppo, Syria (2015). All images courtesy of Majd Abdel Hamid

Lately, Majd Abdel Hamid has been collecting images of death and turning them into embroidery. The 27-year-old Palestinian artist has dabbled in sculpture and painting, with exhibitions at London's The Mosaic Rooms (2013) and Poland's Laznia Centre for Contemporary Art (2011), but fabric and thread is the medium Majd returns to time after time.

Born in Damascus to Palestinian parents, Majd moved with his family to Amman, Jordan, at the age of three before they permanently resettled in the West Bank's de facto capital, Ramallah, when he was seven. Today he splits his time between Ramallah and Beirut, undecided where he wants to be based, in part due to his habit of "never planning further than two months in advance," as he told me over Skype.

The images he picks—all of people dying in public—are collected from the media, photos from top-images-of-the-year-style lists, and hundreds of video screenshots from the early months of Syria's revolution. Using colors he describes as "not sexy, but pop," he then recreates pixelated embroidered versions of horrifying images from the country's five-year crisis.

Along with his willingness to create art that addresses matters outside of Palestine, an act he says can make you feel isolated or marginalized, he's a pioneer of sorts amongst young artists in Palestine. Earlier this year, he was listed as Ramallah's "Best Local Artist" in a city guide published by The Guardian.

"The criteria is mostly about this performativity of death in public space and this idea of the spectacle, whether it's in a demonstration or an execution or, you know, barrel bombs," Majd said of the images in his embroideries. "It's not about political discourse or who's committing the crimes. I'm not trying to showcase the Assad regime to the people in Syria—I don't think that's my role. But I also have a political opinion about what's happening in Syria."

'Man Thrown from Roof as Crowds Watch' Al Raqqa, Syria (2015)

In the final images, the dead are removed from their contexts, made almost abstract. Majd spends roughly 80 to 100 hours per piece, stitching together both identified and anonymous deceased persons. Despite their morbidity, he finds the hands-on process to be soothing. By April, he plans to have completed a 25-piece series for an exhibition in Sweden at Krognoshuset.

"It's this horrifying image of death, but without really capitalizing on the blood aspect," he says. "When you do embroidery, it's not very visually clear what's happening—the blood or the setting—but when you see a dying child you see the image automatically. You get upset. I'm also experimenting with these images, and what it means to embroider them and how people react."

The project is partly a response to the work of the Syrian writer Yassin al-Haj Saleh, who has debated the ethics of using images of victims of war and violence. "In order for future generations to be able to get over this, we need to document these images, document brutality," Majd said.

Embroidery is not normally used to create a window onto this sort of pain, but Majd's representations of death are somehow more harrowing because of the sense of unreality the medium imparts. It could also be seen as a commentary on the illogic of war, the Syrian war in particular—on how such a horror can be allowed to exist.

"You can either say this is all a conspiracy, the world is washing their dirty laundry in Syria, or you can actually face the monster," Majd told me. "These people did not fall from the sky, they are not aliens—people enjoying death and killing and mutilations. So how do you deal with that as well? How do you deal with this imagery?"


'Untitled 3'

Majd attended the International Art Academy of Palestine and graduated from the Malmo Art Academy in Sweden in 2010. In Palestine, he learned about the pioneers of Arab art, who he says are all modernists, in classes focused on local art history. For Majd, embroidery is a reaction against this.

"It's not about me being a man and doing embroidery," he says. "It's about the medium itself being, I wouldn't say maternal—I really don't like this word—but it's really not patriarchal. The structure, the way you produce it, how it's produced, historically as a cultural production, it has this quality which I really admire. It's this autonomy, and it's really postmodern."

For Palestinians, the hands-on craft is deeply embedded in the culture, and historically has acted as a form of resistance. In the 1980s and early 1990s, during Israel's ban on the Palestinian flag and artwork using its four colors, women embroidered the flag and iconic images, such as the al-Aqsa Mosque, into traditional dresses.

Though his work prior to the embroideries featured sculptures made of painkillers and sea salt, the artist prefers to use textiles, seemingly less exciting material, to address complex issues in the Middle East. His first embroidery project was centered on four military figures who lashed out after completing their service, such as Nidal Hasan, the army psychiatrist who killed 13 in the 2009 Fort Hood shooting rampage, and explored the "system of soldiery." But it was his next stint with cross stitching that would garner international attention.

'Mohammad Bouazizi' (2012)

Working with eight women from Farkha, a small village in the West Bank, Majd curated a nine-piece pop art series of portraits of Mohammad Bouazizi, the Tunisian man who set himself on fire and is often credited for jump-starting the Arab Spring.

"After you could see the changing of the pop figure," Majd said. "The pop figures I grew up with in the Arab world were Mohamed Aboutrika, the Egyptian football player, and Nancy Ajram. And then suddenly Bouazizi makes headlines and his picture is everywhere—spilling out."

Majd added that with Bouazizi, "it's not only the over-romanticizing of the revolutions... it's also about this really significant moment in history. In a way, Bouazizi became part of the generational change."


Majd hopes to expand on the practice by experimenting with larger-scale pieces and how people interact with them, although he worries that could detract from the intimacy that his smaller embroideries possess. But to his admirers, the artist's delicate work already packs enough of an emotional sucker-punch in a way where any anxieties about the future of his practice feel unwarranted. Experimenting with the medium of embroidery, giving it a new face, is a way to ensure that the traditional art practice won't become stagnant enough to eventually be killed off.

Follow Amira on Twitter

​How a Texas Court Battle Could Undermine Obama’s New Gun Rules

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Photo via Flickr user kcdstm

President Barack Obama stood in front of the world on Tuesday, wiping away tears as he discussed the 2012 Sandy Hook shooting and laid out a set of executive actions he hopes will help stave off gun violence in the United States.

Among other things, the president said he would increase federal licensing to bolster background checks and offer up new resources for agencies charged with licensing dealers and enforcing gun laws.

"Second Amendment rights are important," Obama said. "But there are other rights that we care about as well. And we have to balance them."

It was an unprecedented step taken by a commander-in-chief in the face of congressional opposition. But left unsaid for now is how effective this policy will prove thanks to a federal appeals court debate over a pair of 50-year-old laws limiting out-of-state handgun purchases.

A group of gun rights advocates last year successfully argued in Texas's Northern District federal court that the so-called "handgun transfer ban," which requires purchases from out-of-state dealers be completed in the buyer's home state, impinges the constitutional rights of law-abiding citizens. A judge in February agreed, striking down the federal laws as overly burdensome and unconstitutional—a decision the government's lawyers say undermines states' rights to administer their own gun laws.

"Many states have requirements that you need to meet in order to have firearms that are separate, in addition to those imposed by federal law," attorney Mark B. Stern told the Fifth Circuit Court of Appeals on Wednesday, arguing for the feds. "When Congress creates a scheme to protect the ability of the states, the fact that in some instances it's not going to be of great utility doesn't undermine the validity of the scheme as a whole."

Under the two provisions passed during the Lyndon Johnson administration as part of the Omnibus Crime Control and Safe Streets Act of 1968, anyone who purchases a handgun from another state must have the gun shipped to a federally-licensed dealer in their own state. The laws were enacted to reduce gun violence politicians said was plaguing the country: Evidence before Congress at the time showed that firearm trafficking subverted state laws and led to an increase in shootings. In Detroit, for example, law enforcement officials testified that 90 percent of confiscated guns were not purchased or registered in Michigan.

Under President Obama's proposed executive actions, some smaller sellers would be required to register as a federal firearm licensee—or FFL—and therefore will be federally regulated. But gun-control advocates say federal background checks can only go so far, and that states must be proactive in keeping handguns away from people who shouldn't have them. To these groups and to the feds, requiring all handgun purchases to be completed in the purchaser's home state is an important step: Local FFLs can perform not only the required federal background check, but also make sure the purchaser complies with other state laws governing handgun ownership, which are generally more strict than rules on shotguns or rifles.

"If all of a sudden these laws are taken off the books, I think it certainly undermines what the President is trying to do," said Mike McLively of the Law Center to Prevent Gun Violence, a gun control advocacy nonprofit that filed its own amicus brief in the appeal. "It takes away another tool, and we don't have that many federal tools right now for combatting illegal gun trafficking."

One of the greatest problems facing states with strict handgun laws is trafficking from other states that are more lax. A large number of illegal guns used in Chicago, for example, come from nearby Indiana and other states with far less restrictive laws than Illinois. And in Nevada, which has looser gun restrictions than most other states in the US, California residents who are unable to buy a gun in their home state can enlist so-called local "straw buyers" to illegally purchase a gun for them, with little chance of prosecution, according to the Law Center.

Differences in state laws mean it's crucial for each one to be able to verify as many out-of-state gun purchases as possible. And with a "patchwork" of state laws, it would be extremely difficult for outside dealers to understand every gun law in all 50, according to McLively.

"Dealer oversight in general, some states are very serious about that, and others aren't," he said. "And the other thing is background checks. Some states like California are called point-of-contact states, so they do basically the federal system, but they also supplement that by checking their own state records. And so those background checks that are done in California are going to be more thorough than in the states that rely just on the federal system."

The Fifth Circuit case stems from a June 2014 incident, in which Washington, DC, couple Tracey and Andrew Hanson approached Arlington, Texas, dealer Frederic Mance to purchase a pair of handguns. The Hansons each picked a gun for themselves, but were prevented from completing the sale in Texas under federal law.

Instead, the Hansons were told that they could buy the gun, and have it shipped to another FFL in Washington, DC, But in order to do so, they would be charged a $125 transfer fee, as well as shipping costs. The couple declined to pay the fee, and sued the government along with Mance.

A lawyer for the three argued that the law, which only bans the sale of handguns and not so-called "long guns" like rifles or shotguns, is arbitrary.

"They can certainly sell rifles, and they can certainly sell shotguns to people that live outside their state of residence," attorney Bill Mateja told VICE on Friday. "But they can't sell handguns. And why is that, is our question. There's not a good reason for it."

The case is not without some political calculus. The three plaintiffs are members of the Citizens Committee for the Right to Keep and Bear Arms, a group that bills itself as "The Common Sense Gun Lobby." The committee has also signed on as a plaintiff in the case, on behalf of all its members. (Mateja said the trio did not know one another before the attempted purchase.)

Conservative activist Alan Gottlieb, chairman of the Citizens Committee, told VICE the Hansons' rights were infringed upon in part because, in Washington, DC, there is no dealer that stocks firearms. Instead, there's one FFL who will assist you in ordering a gun from out of state.

"He's the only one doing it," Gottlieb said. "What happens is, he has a cartel. He has a monopoly."

What the plaintiffs maintain, in part, and what the district court agreed with in February, is that there is no longer a need for such laws after the creation of the federal background check system as part of the the Brady Handgun Violence Prevention Act, passed in 1993.

"The background check that gets done is the same check no matter where you live," Gottlieb said. "So why does it matter if you buy the gun in Texas or you buy the gun in your home state, so to speak? It's the same background check."

Not true, the government argues, thanks among other things to the state "patchwork" described by McLively. But in some cases, there may not even be the proper technology in place to do a proper check.

In California, for example, dealers advertise themselves as experts in the process, and use special equipment to scan information, which then goes to a state agency that performs a unique check. If the laws limiting interstate transfers are struck down, nearby states like Nevada and Arizona cannot be expected to perform the exact same search, the government says.

The US Supreme Court, in its 2008 District of Columbia v. Heller opinion, reaffirmed a personal right to bear handguns for legal purposes such as defending yourself inside your own home. But since that time, most lower courts have upheld federal, state, and local gun rules, leaving the country's gun regulations mostly intact, according to Martin J. Siegel, a Houston appellate attorney who practices before the Fifth Circuit.

"This case may be a little different, since it's about how guns are bought and sold rather than limits on this or that type of weapon. And the Fifth Circuit is one of the more conservative federal appellate courts in the United States," Siegel said. "But generally, challengers to gun rules have found it to be rough sledding."

The Fifth Circuit will decide this year whether the law is a reasonable response to gun violence, or whether the alleged infringement on Constitutional rights is overly burdensome. But right now, advocates hope the court agrees with its argument that, in reality, this so-called "ban" isn't really banning anything.

"You can still buy a gun. So what they're really arguing is, this is inconveniencing them because they want to buy a gun in Texas and not have to pay to ship it back to a DC dealer," McLively said. "My response to that is, the Second Amendment, as the Supreme Court has said, does not protect an absolute, unlimited right to bear arms."

Paul DeBenedetto is a journalist in Houston. Follow him on Twitter.

'The Things I'm Interested in Have to Be Cheap and Strange': Talking to Artist Jim Shaw

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All images by Maris Hutchinson/EPW, courtesy of the New Museum

Jim Shaw's retrospective The End Is Here at the New Museum was my favorite exhibition of 2015, and I wasn't alone. The New York Times called the show "mind-blowing" and said his work was "gleefully demonic"—what other artist would showcase a painting of an elderly woman pushing cans of beer out her vagina in a museum, especially a painting the artist didn't make himself?

For those unfamiliar, Shaw is a Michigan-bred, 64-year-old contemporary artist who, alongside Mike Kelley, became known as one of the leading lights of the "lowbrow art" movement, which took inspiration from underground comics and other bits and bobs of both mainstream and fringe culture. Shaw, who was also a member of the protopunk band Destroy All Monsters (also with Kelley), has made his mark through multi-disciplinary work that's full of pop surrealist motifs and sometimes straight-up rips imagery and ideas from a million pop culture sources. For example, the biggest (and newest) works at his retrospective are giant theater backdrops that Shaw covered with a bricolage of imagery ranging from Casper the Friendly Ghost to a creature from Picasso's Guernica having sex with Dick Cheney.

In the 90s, the artist was lionized for exhibiting a massive collection of paintings bought in thrift stores, small-town flea markets, and junkyards—amateur works, like the elderly woman giving birth to the can of beer. At his retrospective, this work was given its own floor titled "The Hidden World," which also included a deluge of quirky ephemera Shaw picked up over the years, including religious tracts, tarot decks, and other cultural detritus. People often describe the objects in "The Hidden World" as representative of the Average American's psyche, or a visual vernacular that speaks to the politics of Americans taste—the low-brow and the high. Shaw describes it differently though.

"I guess it's stuff that has a sort of psychotic undercurrent to it—something that shows either a sad aspect of familiar life, an undercurrent of anger, something that's pathetic," Shaw told me over the phone from his home in LA. The same description could likely be applied to Shaw's own work in the New Museum's other two floors, which is funny, grotesque, and unsettling in almost equal measure. On the day before the retrospective ended, I talked to Shaw about his career and how young artists should navigate the sometimes cruel art market.

VICE: Can you tell me about making those new, giant theater backdrops that were included in the retrospective?
Jim Shaw: I came across them and they had this Americana content I wanted to speak to. I've been long interested in the political cartoon—both the ones that we grew up with as well as the 1800s when it was more related to history painting and it was sort of part of the way they were showing off their colored printing presses in the news media.

I'm working in a way that's similar to the dream logic I tapped into for my Dream Drawings and Dream Objects work. Puns, visual puns, are an important part of political cartoons, and they're an important part of the way dreams work. And the way that symbology functions visually. So I'm kind of working on that, and the history that's built into these theatrical backdrops.

I remember reading an interview between you and Peter Saul where you said you kind of ceded total control for the retrospective.
Pretty much, but I did make sure the thrift store paintings and collected objects on view weren't seen as my work and didn't bleed into the rest of my work—because they're not my work. That's just stuff I collected.

What I ceded to the control of the curators was the kinds of works that they were selecting. They didn't allow me to touch much of anything other than some of the thrift store paintings and the pieces in The Hidden World section, because it's not of any real value. I see myself as a curator. I mean I felt kind of guilty selling , but I couldn't afford to not sell it—it was spilling out of my basement.

What do you notice about your collecting habits today, compared to when you were younger?
Pretty much the same things, although, you know, like a screwed-up portrait has to be screwed=up in a more interesting way now versus when I first started collecting things. The things I'm interested in and collect have to be cheap and strange.

I'd say, anything that's got enough surrealism thrown in it will attract my eyes. Or something idiosyncratic like this painting I recently got of some old folks in wheelchairs in front of a pavilion of some sort. That one flirts the line of being too well painted, though, because it might be an art student painting rather than a strictly amateur painting.

Can you elaborate what you mean by "strange"?
I guess it's stuff that has a sort of psychotic undercurrent to it—something that shows either a sad aspect of familiar life, an undercurrent of anger, something that's pathetic... There are many different reasons to find something interesting.




Jim Shaw's collected ephemera, "The Hidden World"

What's your relationship like with the internet, generally?
I look at Google Images and I find things, bizarre images, accidentally, that way. I'm not on Facebook; I'm not on Instagram. My daughter wouldn't want me to be on Instagram. I like the random generation that you get off of Google Images. I looked up "Wrestling with God" yesterday and I found my own image on there.

What sort of pop culture do you consume?
I'm very interested in all the horror comics from the 50s that are out of right now. I hardly read any fiction. I read mostly just research materials, lately stuff about the intertwining of slavery and the industrial revolution. I'm also reading a really lurid book about Hollywood in the 30s and 40s, as well as about Ronald Reagan's sex life. I'm constantly in need of new stuff, new ideas. This is problematic because it's hard to sell art that's new.

You've been vocal about your dislike of art fairs in the past. Do you still feel the same way?
Art fairs are the bane of my existence, really. Instead of being able to concentrate on a show and then another show, you have to concentrate on a gallery show as well as making artwork for art fairs. And the art fair has become the main venue now for artists to exhibit work, whereas before it was the show, where you got to make a coherent body of work with a coherent idea behind it.

I don't know that I'll ever attend another because they're just depressing. I think Billy Al Bengston once said an artist going to an art fair is like a cow going to the slaughterhouse. You go there and you see how much art there is there, and you realize that your art that you slaved over is just a drop in the bucket. And you see what people spend their time looking at, which is, mostly, pieces that are by really well-known artist and have recognizable styles.

What about that is bad, exactly?
Well, if you're not that artist, you know, what are you doing there? It's like, you're just screaming for attention. Do you put florescent paint and giant arms that reach out to the viewers? It's not the best situation for subtlety.

Collected thrift store paintings

What are ways that young artists can subvert the "look at me" attitude and still participate in the art market?
Well, you could find your way completely away from the art market. I'm not sure how to do that. You could live in a cheap place and make your art regardless of the market itself and then hope that someday someone finds your work and thinks it's interesting. That's the long route.

You could maybe make artwork that's not really for sale but somehow it exists on the internet. It could be interactive; it could be images; it could be writing. You'll never make a living doing that, as far as I know.

It's kind of a weird thing because when I was a young person, there wasn't really an art market, so it wasn't there for us to subvert. And now, there is. If you play your cards right, you could be one of those newly minted art stars for a little while.I just hope that you save up some money for when the prices drop.

To me, your work is distinctly American—from the reference points and influences to the things you've collected. What's your current relationship like with America and how do you feel as an America citizen?
I feel weird as an American citizen. I was just reading a long analysis of my work and this other artist, who I think was from Pakistan, in relation to religion, and they noted that one of the gallerists who had shown the Pakistani artist had been murdered. And that's not something that's likely to happen to me. It's like we're insulated and isolated in that sense, so we've got this delusional idea here of how we're being attacked, and all that violence is really occurring to other people elsewhere for the most part.

Do you feel guilty?
Guilty? Yeah, sure. I was born feeling guilty.

Are you a religious person today?
Vaguely. I'm not a believer in any particular faith, but I think there is a sort of a faith that you can experience in abstract ways because you can tap into the same part of the brain that is being tapped into by people who are having ecstatic religious beliefs. It's hard to have zero religious beliefs because then what's the point?

Do you have any other new projects you can tell me about?
I'm still talking about doing a prog-rock opera. It's just time-consuming, and, you know, I'm always running out of time, as well as the money to pay my collaborators.

I've been thinking about doing [one painting] for a while that's gonna include a fat-cat robber-baron type who's dancing the can-can. Money is flowing out of the sort of symbolic vagina of the skirts that are flinging around, and the crowd is horrified of the vision of what's coming out of this fat cat.

What advice would you give you people who want to be a full-time artist but are also skeptical of the art market and institution?
My career came about accidentally, you know. If I hadn't gone to school with Mike Kelley, if I hadn't been a student of John Baldesari, etc.... I wasn't aggressive enough to attain a career in the art word. So I'd say be patient. I think the internet has got to be the gallery of the future, in some way. I just don't know how you'd make a living at it yet. Just don't spend a lot of money getting a degree. Also, unless you've got it in the bank already, don't go into debt to become an artist.

Jim Shaw: The End Is Here closes tonight at The New Museum, for more information visit the museum's website here.

Follow Zach on Twitter


Asian Rap's Biggest Fan Is a White Guy from Staten Island

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Photos by the author unless otherwise noted

When pressed to name just one Asian-American rapper, most people can't. I'm Asian myself, and a year ago, I couldn't identify any besides Heems and Big Baby Gandhi. Asian-American hip-hop is an oft-ignored demographic of hip-hop artists still chugging on light milestones—the Far East Movement (tangentially hip-hop) became the first Asian-American group to have a #1 hit in October, 2010 with "Like a G6."

The history of Asian-American rap goes back to the 80s, starting with Fresh Kid Ice, one of the co-founders of Miami's legendary 2 Live Crew. In the 90s, there were the Mountain Brothers, the first Asian-American rap group to sign to a major label, who were beset with cultural ignorance—alternately being asked to wear martial arts outfits on stage to being told that the label "didn't know how to market a 'white' group."

Being an Asian rapper in America is complicated. On one hand, Asian rap actively fights the "model minority" tag, the passivity that Asians have been branded with in America. Yet the more traditional Asian community often disapproves of rap music. To this day, an Asian face in a sea of hip-hop often stands out as the odd fish, not quite white and not quite black.

In the 2000s, emboldened by their predecessors, a new generation of Asian-American rappers emerged, arguably helmed by Chinese-American MC Jin and Korean-American Dumbfoundead. Jin's popularity peaked in the mid-2000's, becoming the first Asian-American to sign to a major label, but his lead single "Learn Chinese" never really took off. Dumbfoundead got his start as an ingenious battle rapper in Los Angeles, but today his fans include top-tier artists like Drake, who invited the artist to perform at the OVO-hosted King of the Dot's Blackout 5 battle rap event last year.

All this time, Asians on the other side of the Pacific were growing their own popular strain of hip-hop. K-pop, influenced by hip-hop, has become a global cultural monolith. But to succeed as a rap artist in Asia is different because the majority of the fans are Asian and the musicians aren't competing within the over-saturated mainstream hip-hop scene that thrives in the States. The Asia-based musicians can define it on their own terms (sometimes even getting away with problematic caricatures). There's no one to tell them it's "not black enough"or "not white enough."

In America, in the mercurial lens of hip-hop, Asians have to wonder about where they fit in. Asian-American hip-hop doesn't necessarily sound any different from other types of rap, but in an art form where personal history, identity, and geography often provide the backbone for the music, especially with regards to lyrics and narrative, ethnicity can be a defining characteristic. Asian artists can either downplay their race, as the Mountain Brothers did by not including their picture with their demo, or embrace it, as Jin did with his song "Learn Chinese."

In the last few years, a variety of rappers of South Asian decent have become popular, too, including Heems and Honey Cocaine, whose music videos have racked up millions of views on YouTube. But many of these rappers grew popular in the age of social media and the internet, and though it doesn't necessarily define their music, it's tough to consider their releases without the term "blog rap" floating around in the periphery. Regardless of unique views, it seems there is still a bamboo ceiling in hip-hop that Asians just can't penetrate through. There have been players in the game, but there has never been an Asian superstar in American rap history.

The paucity of successful artists in the genre has translated into a scarcity of fans. But to one man, a white dude from Staten Island, Asian-American rap is everything. His devotion is rare and real enough to make an impact on the artists themselves.

Mark Seaquist's autograph-filled Daewoo car.

I've written about rappers multiple times for VICE, and during my conversations with different generations of Asian-American rappers, the name "Mark Seaquist" kept coming up. I first heard it from producer and DJ Mike Gao. "If you're interested in Asian-American rap," Gao said, "You have to find this guy. He's a white guy from Staten Island, but he knows more about Asian-American rap than anyone else." Other Asian rappers I talked to confirmed Seaquist's commitment. It was clear: to understand the genre, I had to find its biggest fan. "Go soon," an older Asian rapper urged me. "He has a pretty severe health issue right now. He might not be around for much longer.

I found Seaquist through a trail of YouTube comments and tweets. He goes by the handle "daewooparts." He is obscure—his profile pictures are of Korean miscellany—but his tweets are rich in links and artist handles of Asian-American hip-hop artists. According to some, he's the biggest fan of Asian rappers, generally, though online it appeared as if he favorited Korean and Taiwanese artists. After talking over the phone, Seaquist agreed for me to visit him on Staten Island.

A week later, on a Friday afternoon, Seaquist picked me up from the Staten Island ferry station. His car was Korean, of Daewoo make, evinced by the Korean Hangul writing on the side mirrors. The car's roof was covered in more signatures than a dive bar's bathroom wall. "That's the biggest collection of Asian rap signatures in the world," he said. "That's everyone. That's over 150. I got them all to sign it." It was like reading the all-star roster of Asian hip-hop: The Mountain Brothers, Dumbfoundead, Awkwafina, Rekstizzy, Far East Movement, Jin, Decipher, Timothy DeLaGhetto, Jay Park, Manifest, Lyricks. "And that's Keith Ape right there!" he said giddily as we drove.

Seaquist speaks with a slightest whine of a New York accent, as if a small balloon in his esophagus occasionally leaks air. He's an older guy, born in 1968, but his passion for hip-hop culture is always evident. When I first heard about Seaquist and his love of Asian-American rap, he sounded like an eccentric white guy with a cultural fetish. But when more and more artists vetted the claim that this guy was an important thread in a rather disparate music scene, I became curious.

Seaquist drove me to his parent's house, where he lives, and brought me to his sparse childhood room. He began bringing down boxes of his Asian-American rap memorabilia. There were crates of albums, rolls of posters, and dozens of shirts. Many had multiple signatures from multiple artists.

"This one, I drove six hours down to Virginia for this show, back in November 2010," he said, unfurling a poster. "Dumbfoundead and DJ Zo." Seaquist considers Dumbfoundead, the popular Korean-American rapper, a good friend.

Seaquist held up a Wu-Tang white shirt. "I'm never selling this, or giving this to anyone." He showed me the back, which was was signed by the Asian-American rapper Lyricks. "That's one of my closest friends," he said. "He wrote this message to me personally."

I read the message: "Mark, you are one of a kind...Ephesians 4:31. Read it, imma test you! One love. Fuck haters, love em. They hate it, Lyricks!"

"There's a dark side to some of this, which I might tell you about later," Seaquist said as he folded up the shirt. "And Lyricks helped me out during that time, so he was a true brother."

I wondered how did Seaquist get into Asian-American rap? The only reason I learned about Asian-American rap is because I wanted to find where my ethnicity intersected within mass hip-hop culture. But the white dude rattled off names, shows, and esoteric trivia like it was common knowledge.

"Because I grew up with it," he answered. "Something real bad happened to me as a kid... but my family wasn't there for me." When pressed for more details, he wouldn't answer. However, he did explain, "The people who kept me going were my good Korean friends. My friend's dad was a Korean pastor, so I grew up listening to the music and culture and started learning everything about Korea. I've gone to Korean churches since I was little... I still go to Korean Church now."

For the rest of primary, junior, and high school, most of Seaquist's friends were Korean, Taiwanese, or Vietnamese. "I saw the obstacles they faced. Some of them tried to go into music in the 80s and they got mad hate," he said. "Hip-hop, rock, everything—no matter what they tried, they just got shitted on. They got no love whatsoever."

I nodded. I knew from experience that Asians can have a hard time being taken seriously.

"I had friends that almost committed suicide because they got shitted on," he said as he stared at his collection of memorabilia. "It was just so unfair."

After high school, Seaquist started to go back and forth to Korea, accompanied by his friends from high school and college, the College of Staten Island. He then started working in Korea, buying and selling car parts for Korean car manufacturer Daewoo. "That's why they call me 'Daewooparts,'" referencing his online usernames, "and that's why I have a Daewoo car." Seaquist speaks "broken Korean," as he describes it, enough to shoot the shit, but not carry a full conversation.

While in Korea, in the mid-90s, he was introduced to the budding hip-hop scene. "The first time I listened," he said, "I was like, this is good! They sounded real, most of them rapped in Hangul, the Korean language, but they were keeping the flow good." He began following Korean and Taiwanese hip-hop, "before it became big," he said, referencing the former's descendants, which includes modern K-pop. "I don't really like when it becomes big like that," he added.

Seaquist wouldn't become obsessed with Asian- American rap until the early 2000s, when he was in his 30s. As a friend to the underdog, and perhaps seeing himself as one, it was here he would find his calling. At the time, Seaquist was regularly traveling to Korea, New York City, and Los Angeles for work. A friend, knowing his penchant for Korean rap, told him about the burgeoning American scene, where a kid named Dumbfoundead was making a name for himself as a hilarious and witty battle rapper.

"My friend said, 'Yo check out this underground scene, check out the Asian-American people coming up. Check this cat out, Dumbfoundead; check out this other guy Sean Rhee. This was before they were popular, but I liked what I was hearing," Seaquist told me.

"There was something about it that was real," he continued. "The old hip-hop scene in America was true. They rapped about real stuff, real meaning, they always had a story. It's not like the new shit today that's bling bling, and drug drug, and molly molly, you know what I'm talking about? I'm not into the fakeness."

Seaquist listed some of his favorite old-school rappers as KRS-One, Rakim, Raekwon, and Wu-Tang. He doesn't listen to many new rappers or "super-commercialized-stuff. "In fact," he said, "I've seen more of that old-school spirit in some of the Asians than the new generation of hip-hop artists."

A shortlist of his favorite Asian-American rappers includes Lyricks, Manifest, Decipher, Dumbfoundead, Souleaf, and WONHYO. Although he mostly follows East Asian artists, he's familiar with many from other areas—"I was at a Honey Cocaine show last Spring,"he said."I got it on Youtube. I know the Filipinos, the Cambodians, the Laotians, I know'em all."

By the end of the decade, Seaquist had arguably become the American scene's biggest supporter. He'd go to all the shows (some of which are documented on his Youtube channel), buy all the merch, and provide an endless supply of positive online comments. "I spent about $20-$80 at each merch table plus tickets to the show," he said. "Plus I'd buy friends' tickets too if I had a few extra dollars."

A week after my visit to Staten Island, Seaquist and I attended the first private screening of Bad Rap, an Asian-American rap documentary, in Manhattan. The film follows four rappers—Dumbfoundead, Lyricks, Awkwafina, and Rekstizzy—as they face cultural hurdles and pursue success as Asian-Americans in hip-hop.

Afterwards, there was a Q&A featuring the director Salima Koroma, producer Jaeki Cho, and rappers Lyricks and Decipher. Seaquist walked up to the microphone. "Brothers, I've been watching you guys since the 80s," he started before abruptly tearing up. "I just want to say, you've come so far." The balloon in his throat lodged there and he stopped. Applause erupted.

After the screening, I talked to Lyricks, the Korean-American MC who had signed Seaquist's Wu-Tang shirt. I knew about Seaquist's relationship with the scene, but I wanted to know about the scene's relationship with Seaquist. I asked Lyricks to clarify, and he smiled as soon as I mentioned the superfan. "Mark's name [in the scene] is almost as big as an artist's name," Lyricks said. "His moniker is Mr. BTS, Mr. Behind-the-Scenes, cause if you look at any footage of any show that we've done on the East Coast, you're bound to see Mark in the front, with the camera, just capturing everything."

His support "goes beyond one or two shows and just status updates," Lyricks said. "I could arrive in New York at 5:30 AM he'd be in his Daewoo to pick me up and drive me wherever I want to go." In the last several years, Seaquist has become the New York City point-man for many Asian rappers. He gives them rides to the airport, helps out at shows, and acts as a one-man entourage.

Seaquist has friends in radio that he sends Asian-American rap to, getting the artists airplay and interviews. He also once facilitated a show in Korea for artists Dumbfoundead and David Choi. "I do stuff for free that people would charge," Seaquist said. "Which is why I think some people started talking shit... It might have been a promoter who didn't get his cut."

Seaquist was alluding to the blowback he received at one point early in his fandom. Before he became friends with Lyricks and others, a lot of Asian hip-hop artists viewed him with the skepticism given to many white people who take a interest in the culture. "People would see my comments on YouTube or Facebook and say stuff like, 'Who's this white guy who's following us?'" he said. "They treated my presence as if I was a stalker, and that's where I think the hate came from. Even some artists dissed me and shit." But those negative impressions didn't last forever.

Mark Seaquist at a screening of 'Bad Rap'

In the fall of 2013, Seaquist was hospitalized and diagnosed with a brain tumor. He was reluctant to speak on the details, as if saying them would add to their burden. The future of his health remains an uncertainty.

"I was so down , so depressed, I didn't have the support of family, and then this shit started happening," he explained. "It was like a dark side of me. I almost committed suicide from all this shit. Then Rick came forward."

Rick, AKA Lyricks, reached out to Seaquist. "When I was in the hospital, you want to know the few people I kept in contact with? Lyricks and CHOPS [another Asian rapper and frontman of The Mountain Brothers]. They always kept in touch with me. That's when I really started to become friends with some of the rappers," Seaquist said. Lyricks helped clear Seaquist's name among the artists and introduced him to more.

"Mark is one of those dudes whose passion was unfortunately taken as fanaticism... He had a negative connotation," Lyricks explained to me at the screening. "His name was synonymous with creepy. We'd have a show in Boston, we'd have another show the next day in New York, and another show in Virginia the day after, and Mark would be at all three."

"So it was kind of at the point where we were like, 'Who is this guy? Why is he so interested in Korean-American rappers? He looks like an undercover cop...'" Lyricks laughed. "But when I met Mark, he told me a story of how he got to know us and why he Asian hip-hop and music, and he just became a brother to me. He went from fanatic, to fan, to friend, and now brother."

Lyricks' words inversely paralleled a previous conversation I had with Seaquist a week before, as he drove me back to the Staten Island ferry. It was our final conversation of the night, and the tone had been colored somber by discussion of his illness. At one point, he stopped the car and pointed to the CD player, which was playing Lyricks' music.

"To be honest,"he said, "this is what keeps me going—the idea of these guys being successful. I feel like I have to live, to keep supporting this new generation, my brothers and sisters."

Mark Seaquist doesn't have a job right now, he doesn't have a permanent home, and his long-term health has been compromised by his brain tumor, but he's someone who has—dollar-by-dollar, ride-by-ride—helped nurture Asian rap in America. He's a white man who has spent his life advancing an Asian cause, when it's usually the other way around. That may challenge cultural expectations, but that's part of what rap is about anyway.

'Bad Rap,' the Asian-American rap documentary, is beginning its film festival run this year. One can find more information about it here.

Follow Zach on Twitter.

What Would Sex Robots for Women Look Like?

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A bunch of sex toys at a Doc Johnson Enterprises factory in LA Patrick T. Fallon/Bloomberg via Getty Images

"Once you've had a lover robot, you'll never want a real man again." That's a line from Gigolo Joe, the sexbot played by Jude Law in A.I. Artificial Intelligence, the 2001 Steven Spielberg film. What makes Gigolo Joe special—aside from his dewy skin, gnocchi-plump lips, and shiny-suit razzmatazz—is that he represents a very rare filmic depiction of a male sexbot .

Think about it. The sexbots you know and love are almost exclusively female bots servicing human men. They're the Stepford Wives' gynoids and Austin Powers' s fembots; they're Ava and Kyoko of Ex Machina and Pris of Blade Runner. Chick sexbots populate television, too. Buffy the Vampire Slayer's April and the Buffybot were lovingly crafted with the express purpose of fucking. Humans' bellicose Niska is a sexbot, as, arguably, is Battlestar Gallactica's Six. Dark Matter's Wendy is an "entertainment android," whose abilities include sex. While Star Trek: The Next Generation's Data is "fully functional," his functionality is more a feature than his purpose—being able to have sex does not a sexbot make. Intentionality is key.

These media representations have set up both our expectations of what sexbots should look like (undeniably hot, recognizably human, and typically female) as well as what our reactions should be (an erotic frisson of fear and curiosity). Think of Pris's manipulative shy-girl act in Blade Runner, Kyoko's placid, mute unbuttoning of her blouse in Ex Machina, or the bright red dress of Six and her wet, hot, world-destroying kiss. Movies and television depict sexbots as women who are simultaneously objectified and untrustworthy; sexbots personify a metaphor for a walking, talking, seducing monster. Given this model, it's especially important that the sexbots you see are female and their consumers are male.

Fictional sexbots matter because every month drags sexbots closer to becoming a reality. Last September , Kathleen Richardson, a robot ethicist at England's Montfort University, launched her Campaign Against Sex Robots with Erik Billing of Sweden's University of Skövde. Steeped in anti–sex worker rhetoric, the campaign's manifesto states, "We take issue with those arguments that propose that sex robots could help reduce sexual exploitation and violence towards prostituted persons, pointing to all the evidence that shows how technology and the sex trade coexist and reinforce each other creating more demand for human bodies." It's a dystopian vision.

The Campaign Against Sex Robots is a prophylactic organization, since no sexbots really exist. A company called TrueCompanion claims to make "the world's first and highest quality sex robot doll," but their female model, a $7,000 machine dubbed Roxxxy, is essentially a stationary rubber-clad computer equipped with touch sensors and a vibrating vagina. But Richardson is right that there are a lot of would-be sexbot creators who see her sci-fi nightmare as a shiny future full of possibilities.

One of these people is Matt McMullen, creator of the RealDoll, who is currently developing an animatronic sex doll with artificial intelligence. "The hope is to create something that will actually arouse someone on an emotional and intellectual level," McMullen avers in a slickNew York Times video segment that's lit with an Instagram-like romantic haze. The video profiles McMullen's quest to make "the world's first sex ro-obot," as Denise, the computer animation, says with a telling diphthong. His company's RealDolls are touted as the Rolls Royce of sex dolls, but even a Rolls Royce Wraith looks pretty antiquated to people who lust after a MacLaren P1. Hence the need to create something that walks and talks—or at least writhes and whispers—like a living human woman.

Though McMullen and Richardson are diametrically opposed, they assume three very crucial points about sexbots, and none of them are necessarily true. First, that the primary consumers of sexbots will be heterosexual men. Second, that these consumers need their sexbots to look recognizably human. And third, that consumers require an emotional attachment to their bot.

So here's my radical thought: What if we throw those assumptions aside? Fuck men and their need for bots that fall into the uncanny valley. What if we choose, instead, to market sexbots to women? How does that one simple change rewrite the entire sexbot script?

Watch: Behind the scenes at a VR porn shoot

It wouldn't take tech as advanced as Gigolo Joe to pique women's interest in sexbots. For one thing, women already use sex toys. While some, albeit limited, studies suggest sex toy purchasers are split roughly evenly between women and men, there's no denying that the sex toys made for women are more common, better functioning, and more interesting. Moreover, women don't really care whether the toy they're using to orgasm even faintly resembles the anatomy of a human man. The closest cousin to a Hitachi magic wand is a handheld blender, but no one cares that this iconic vibrator looks nothing like a dick. While toys for men, whether Fleshlights or RealDolls, conjure the appearance of an actual woman, women's toys don't. They can look like woodland creatures, alien genitals, lipstick cases, or militarized hassocks. Women can—and will—get off on just about anything as long as it works for them.

Women's flexibility even extends from toys into porn. Women's porn viewing habits, which range from Kim Kardashian to gang-bangs to gay male porn, tend to be more varied than those of men. All of these points together suggest that there's a strong argument to be made that we women—way more than men—are polymorphously perverse, being sexually aroused by far more configurations of bodies than men. It's a fluidity of sexuality that matches the limitless anatomical potential of a male sexbot.

Let's take as given that women already buy and use sex toys and that, whether because of nature or nurture, we have more flexible sexualities. Now let's add the facts that women's male partners die earlier, that women are critiqued more harshly for casual sex, that women can get pregnant, that women experience higher rates of rape and domestic assault, and that lots of women have a hard time having an orgasm from penis-in-vagina sex. Hold all this in our heads, and we get a glimpse of why women would be the consumers of sexbots.

Now let's imagine what a male sexbot could do. For one thing, it wouldn't have to look like or sound like Denise, the "world's first sex ro-obot." We can begin by tossing out McMullen's male versions of RealDolls—a scruffy metrosexual reading How to Make Love Like a Porn Star, a bro in gym shorts and tube socks casually leafing through a magazine, and a mohawked drummer lounging in leather—all three show a tragic lack of imagination.

A drawing of a sexbot done by one forward-thinking individual interviewed by Joel Golby

Given that women are inured to sex toys that resemble a sonic screwdriver designed by a Teletubby, a sexbot for women could be vaguely torso-shaped, equipped with vibrating pads and oscillating nubs, and furnished with outlets that would allow for multiple snap-on tools. You could refashion the bot to play to your pleasure de jour—a single guy for a day; a safe, sane, consensual gang-bang for a night. Maybe make it's voice-activated so that you could rotate between modes without the tiresome pressing of a button. Give it rechargeable batteries, cover it in silicone skin (blue is nice, or maybe a cheery fuchsia), and it's easy to clean and ready to go whenever you are.

No fuss. No muss. No singularity. And no uncanny valley. Perhaps most important of all, this vaguely man-shaped sexbot would be to a Hitachi as a chick's Roomba is to her vacuum cleaner: an improvement on an existing technology, and one that's entirely possible to create today. Orchid colored and vaguely man-shaped, this bot could also sidestep the major controversy of sexbots: that of emotional connection. Richardson sees emotional attachment as an ethical problem, calling it the human-sexbot connection an "asymmetrical relationship," while McMullen is counting on it to help sell his toys. Our bot avoids all this drama.

The fact is that we don't yet know what kind of relationship humans will have with their robots, sexual devices or not. Robot ethicist Dr. Kate Darling, a research specialist at the MIT Media Lab and a fellow at the Harvard Berkman Center, who studies the way robots affect human empathy, told me that human feelings for robots will be "a different type of thing... I don't think that it's ever going to rival human relationships, because we're so complex and we're so far away from building that type of AI."

There isn't a lot of research yet that documents what humans feel for robots, but Darling suggested that humans may come to think of sexbots in the same ways that we feel for cats. "Cats may not give a shit about you," she said, "but you can love them anyway and care for them. You get something out of that." In short, we humans will always anthropomorphize our tech and imbue it positively or negatively. Ultimately, however, the ways we see our tech say more about us than the tech itself.

"A sex robot seems like an enhancement of sex toys," Darling said, adding, "maybe sexbots for women wouldn't even look like men, although I think the intimacy aspect would lead them to be designed like male bodies." (Although perhaps not. A while back, VICE UK's Joel Golby invited a bunch of people to draw their visions of an ideal sexbot and his respondents came up with an array of models.) The design is limited only by our tech, our imaginations, and consumer drive—and there's consumer evidence to suggest that women could be induced to buy a better, bigger, smarter, and more expensive sex toy.

However logical the idea of a sexbot designed and made for women, it's the representations of Ex Machina, Blade Runner, and Humans that prevail, at least for now. I've looked around, and if companies are designing sexbots for women, they're playing it very close to the vest. Still, I suspect that the ideal consumers of sexbots will be women, and both robot ethicists and sexbot designers should take us into account. Still, these designers can let film be their guide. "We are the guiltless pleasures of the lonely human being," says Gigolo Joe. "We work under you, we work on you, and we work for you. Man made us better at what we do than was ever humanly possible."

Sit back, and imagine the possibilities.

Chelsea G. Summers writes for Adult Magazine and many other publications. Follow her on Twitter.

How Rikers Island Became the Most Notorious Jail in America

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Rikers Island has never been just another jail. The compound, which sits between the Bronx and Queens, is a metaphysical and literal island surrounded by New York City's towers of wealth and industry. It's a way station for those awaiting trial, a penal colony for the poor and the criminal, the unlucky and the fucked, a void of misery that it's hard to believe sits in the middle of America's richest metropolis.

The jail's problems are well-known and longstanding: bureaucratic brutality, corruption, pain and injury inflicted upon inmates who have not even been convicted of committing a crime. In August 2014, when his office released a scathing investigation of the jail, US Attorney Preet Bharara wrote that a "deep-seated culture of violence" is embedded in the very fabric of Rikers. To fully understand how Rikers became what it is today, one has to look closely at its past, what it was long before calls for investigations and reforms.

I asked the city's Department of Correction for a tour, and to speak with captains and their resident historian, but all requests were denied or not answered. (A not surprising response for those of us who cover the city's penal system.) So I spoke with those who know Rikers best: the people who've lived and worked there, and those who have worked to change the place. In their own words, this is how a tiny island floating in between Queens and the Bronx became synonymous with everything wrong with America's criminal justice system.

BRUTAL ORIGINS

This past summer, Jacob Morris, director of the Harlem Historical Society, grabbed a few headlines with a petition to change the name of Rikers Island. His reason? The Rycken family—the wealthy, prominent Dutch clan that purchased and settled the island in the 1660s, when New York was still New Amsterdam—were inextricably linked to a slave legacy the city has been shrugging off for centuries, particularly through its patriarch, Richard Riker. (The name was Anglicized during British rule.) Or as Morris calls him, "the spider at the center of the web."

Intermittently, from 1815 to 1838, Riker was the recorder of New York City, a term then used for a municipal officer who oversaw the city's criminal court, once called the Court of Special Sessions. According to Morris, and a litany of accounts from that time period, the island's namesake was responsible for deeming handfuls of free black men, women, and children "fugitive slaves"—thereby enabling their kidnapping and sale in the South without trial. (This phenomenon is well known to anyone who has seen or read 12 Years a Slave.)

According to historical accounts, Riker received a kickback from kidnappers and was apparently so renowned for these actions that he and two other policemen, whose primary goal then was catching slaves, were labeled the "Kidnapping Club" by local abolitionists. Therefore, any association with him, Morris argued, is an ugly blemish on the Big Apple.

To hear Morris tell it, the island is inextricably linked to the racist history of its former owner, and the name reinforces this. He was spurred to demand the name change by the case of Kalief Browder, who was notoriously stuck on Rikers for three years without a trial and committed suicide after his release.

"I had heard the Kalief Browder story, and that was it," Morris told me. "I said, 'Fuck this, let me write the petition.' I saw it as a perversion in the structure of our criminal justice system. That symbolism, and that relationship of the symbolism, is what motivated me."

In other words, injustice was in the island's DNA before it became a home for the incarcerated.

In 1884, years after Riker had passed away, the city bought his estate for $180,000, splitting the cost with Queens County, which had not been incorporated into New York City yet. It was a purchase of convenience: Hart Island, where the city's deceased indigent population was getting buried by inmates, was a boat ride away. And, having been used as a training ground for Union soldiers during the Civil War, Rikers's land seemed valuable to a growing city.

So in the charter that created the Department of Correction, in 1897, Rikers's eventual fate was written. It would, one day, become the city's main jail. Officials kept the name "Riker's Island" by default.

The idea was to eventually build a facility that could accommodate the runoff from the city's two main overcrowded jails at the time: the notorious Tombs in Manhattan and the Blackwell's Island Penitentiary, a jail that was described back then as "the Alcatraz of the East." In order to do that, the city began to build up the island in the 1920s, pulling up shoals from marsh in the East River and piling on garbage from the city. By the end of the 1950s, this would expand Rikers Island from 87.5 acres to 451 acres.

It's seriously like going to hell. The minute you cross that bridge from Queens, you can feel the fire. —Former guard Robin Kay Miller

According to CorrectionHistory.org, the website of DOC historian Tom McCarthy (who would not be interviewed for this article), the predecessor to Rikers, Blackwell's Island, was home to a 600-foot-long penitentiary that once held roughly 7,000 inmates. For years, it was where the Commission of Public Charities and Corrections' (the agencies would be split in two) central operations were situated. And nearby, an insane asylum and hospital were built for inmates to work in. Eventually, the eerily named Blackwell's Island was tainted by scandal, and, in 1921, it was rechristened Welfare Island, then Roosevelt Island.

At first, the transfer of inmates to Rikers, which officially opened in 1932, was supposed to be gradual and partial. But in the 1930s, under populist Mayor Fiorello LaGuardia, a major corruption scandal was uncovered on Blackwell's, when the city found out that organized crime and gangs had essentially taken the place over. A raid found conditions to be abysmal at the jail, and so it was closed—permanently—in 1935.

"The original intention to move to Rikers was to clean up Roosevelt Island," Morris pointed out to me, laughing. "Oh, the irony."

But trouble came quickly: In 1939, a Bronx court found Rikers to be nearly unlivable. Quarters were cramped, conditions were declared unhygienic, and there was already a running belief that contraband was being smuggled in.

The jail hadn't even been open five years.

A guard at the entrance to Rikers Island, circa 1955. (Photo by Vecchio/Three Lions/Getty Images)

Nevertheless, Rikers's first few decades were dedicated to expansion. There was a jail built for additional men in 1964. There was a jail built for women in 1971. There was a jail built for adolescents in 1972. Yet another was built for yet more men, and to provide methadone and mental services, in 1978. And there was even a housing unit built for LGBT inmates, often victims of harassment, in the late 1970s.

In those years it was other New York State penitentiaries attracting unwelcome attention. An inmate-led riot at the Tombs in 1970 led to five COs being held hostage; eventually, a bargain was struck with Mayor John Lindsay for their freedom. Then, a few years later, the famous riot at Attica broke out (some argue that its provocateurs were the same crew from the Tombs). And in 1974, due to a class-action lawsuit brought by the Legal Aid Society, the Tombs was forcibly shut down for a time, its inmates moved to their new home on Rikers Island.

Then the 80s happened.

THE BAD OLD DAYS

When I asked Robin Kay Miller—a retired correctional officer who worked for two decades in the city's jails and is the author of an upcoming account about her job—the simple question "what is Rikers Island?", she responded effortlessly, like she had heard the question time and time again.

"A hellhole."

"It's seriously like going to hell," she continued. "The minute you cross that bridge from Queens"—a passage known as the Bridge of Pain—"you can feel the fire."

In 1983, Ms. Miller graduated from the DOC academy and began her two-year career on Rikers at the tender age of 21. She said she was among the first few female COs who were stationed in all-male dormitories. She was street tough, having grown up in the housing projects of Brownsville, Brooklyn. But that didn't prepare her for what lay ahead.

"They were training us for war," she told me. "Like we were being sent to Guantanamo Bay."

The scene at Rikers Miller paints is like a hyper-sexualized version of public school—a description I have heard before—with the male officers acting as hybrids between jocks and bullies. In this "Who's gonna hook up with you?" culture, officers, she said, would try "to get into any woman's panties," including hers, all the time, and drugs and booze were constantly being snuck in by officers.

At the beginning of shifts, she told me, female officers were trotted out in front of captains like pageant contestants. "This way, the bosses got their pick," she explained. "You're on display." Sometimes, female officers were complacent with being objectified; in certain situations, some would even perform oral sex on captains, Miller said, just so they wouldn't have to work in certain areas or with certain inmates. Male officers were equally reluctant to do their duties.

"I would hear an inmate ask a CO something," Miller said. "And just hear, 'Shut the fuck up! Don't talk to me.' But like, that's your job!"

The inmates, she said, were used by officers as "punching bags." Hitting those who had interfered with the COs' flirting, or just to impress female officers, was routine. The cruelty towards them was rewarded—if not encouraged. "The problem wasn't the inmates," she told me. "The problem was always the officers."

She recalled one instance, in her first year on the job, where one of her inmates was being jumped in the hallway by a handful of COs. They were kicking and hitting him; she said she could see his blood on the floor. "It still haunts me," she recalled. From that day forward, she sought to protect her inmates from her coworkers.

"Before we'd go out into the hallways," Miller explained, "I'd tell them, 'Don't say shit. Because they'll fuck you up.'" She warned them that their complaints were worthless—they would go nowhere, or just be covered up.

"I didn't like it," she continued. "But there wasn't anything I could do. The only thing I could do was correct it."

Miller stayed on patrol as a CO at Rikers until 1985, when she left for a few years to have her daughter. She returned to work after at the Brooklyn court pens and the Tombs and retired in 2005. But the brutality she saw on Rikers has stuck with her all of these years: The problems would only grow worse, she said, and what we're seeing these days is the culmination of what she witnessed then.

"That's why you see all of these officers getting arrested," she said. "That's the culture left over from the 1980s."

Just a few days before the Christmas 1988, Carole Eady woke up in Elmhurst Hospital Center, in Queens. A corrections officer was standing behind a team of doctors and nurses. She was in labor with her daughter, Jahmil, but still an inmate of Rikers Island.

"In recovery, I was still shackled to my bed," she told me. "They placed my baby in the one arm that wasn't shackled, so I could hold her. Later on, I couldn't feed her, because I only had one arm. I had to call the nurse, just to hold my baby.

"Even in the ambulance to the hospital," she continued, "I was in handcuffs."

On Christmas Day, Eady had to return to Rikers, but her baby couldn't go with her for health reasons. When she refused to leave her child's side, she said, the female officer fumed—it was Christmas, and past the end of her shift. "She said to the nurse," Eady recalled, "'If she really wanted that baby, she wouldn't be in jail.'" The nurse reassured Eady that the baby would be fine, and she went back over the bridge, to Rikers, alone.

"Atrocities would happen all the time, and nobody would say a thing." —former mental health employee Mary Buser

In the late 1980s, as the crack epidemic commanded everyone's attention, Eady was one of the thousands of women thrown behind bars for nonviolent drug offenses due to New York's harsh Rockefeller drug laws. She claimed she spent nearly a year on the island for stealing $5 from a kid to buy crack. And many of the women in her cell, at the newly built Ross M. Singer Center, were there for the same reason.

"We didn't understand how our lives had fallen apart so quickly," she recalled. "Almost all of us were there for nonviolent drug offenses... They were scooping us all up."

As Rikers's population began to soar, conditions worsened for its residents—so much so that inmates say the re-opened borough houses, like the Tombs, were seen as safer alternatives. Like Miller, Eady said she witnessed a woman getting beaten by a CO in her unit. "Seeing someone getting hit with a club?" she recalled. "That's not something I'll ever forget."

And for inmates with drug problems, rehabilitative services on Rikers, Eady said, were minimal if they existed at all. "There was no talk of rehab," she told me, almost laughing. "It was like a joke. It was like, 'Crackheads are gonna go to jail, and that's that.'"

Eady had started using crack in 1985, when she was still a teenager. She dedicated the next 12 years of her life to battling her addiction, a dependency that landed her back on Rikers in 1998. She left after two months, enrolled in a program that would put her on a pathway to recovery. Now she's an adjunct professor at CUNY's John Jay College of Criminal Justice, and has since helped form an organization known as Women on the Rise Telling Her Story (WORTH), which advocates for public health approaches for those behind bars dealing with drug issues.

Former Rikers inmate Carole Eady with her son in 1999. Photo courtesy Carole Eady

When Eady thinks back on her time on Rikers Island, she said she wishes someone had been there to help her, either with therapy—Eady said she had a prior history of domestic and sexual abuse—or getting clean. "I remember visiting a doctor before getting arrested," she told me. "And telling him, 'Doc, I'm addicted to crack. I need to stop.' You know what he told me? 'So, just stop.' That was his advice!"

"If that was what a doctor was telling me," she asked, "what was the Department of Correction gonna do for me?"

BROKEN WINDOWS, CROWDED CELLS

In 1993, former US Attorney and Republican candidate for mayor Rudy Giuliani pushed his way into City Hall on a platform of law and order. The city's violent crime was out of control—infamously, in 1991 the Brooklyn neighborhood of Crown Heights erupted in a racially-tinged riots—and its denizens were eager for calm. So Giuliani beefed up the NYPD with more cops (thanks in part to an infusion of federal cash), and adopted what was then still a lesser-known theory for how to police cities called "broken windows." The idea was to target low-level infractions, which in reality meant focusing on low-income communities of color. Giuliani vowed to sweep the streets clean, and, as a result, hundreds of thousands of New Yorkers were thrown behind bars for petty crimes and misdemeanors.

Crime did indeed drop, as New York gradually rebounded from one of its darkest periods. (The phenomenon repeated itself across the country; whether broken windows contributed to this decline is still being debated). While New Yorkers cheered Giuliani into a second term in 1997, they were slow to realize what was happening on Rikers.

When Robin Miller returned to work after her pregnancy in 1995, after having been away for a few years, she was assigned to the Brooklyn court pens, where inmates would be shipped back and forth from their trials and cells. There, she could see the writing on the wall.

"You had 200 inmates in a room for 50," she said. "I remember it being crowded before I left, but this was something else. This was massive."

In the numerous interviews, most subjects agreed: The 90s was, by far, the worst time to be on Rikers Island.

Mary Buser first arrived on Rikers in 1991, under the administration of Giuliani's predecessor, David Dinkins, as a social work intern in the women's jail. By the time she left, in 2000, she was the acting mental health chief of the solitary confinement unit, or what's known as The Bing, inside of the Otis Bantum Correctional Center (OBCC), which VICE visited last year. And what she saw in between was a lesson learned in how Rikers descended into absolute chaos.

"It was a very turbulent time, the 1990s," she said. "There was such a high demand for beds—every bed had to be filled. We were packed beyond capacity, with nearly 24,000 people on Rikers at one time. These were record numbers; we'd never seen anything like that."

For comparison, she added, a state prison like Attica Correctional Facility can usually fit upwards of 2,200 inmates.

Faced with unprecedented overcrowding, the jail administration had to find ways to accommodate them. A barge, called the Vernon C. Bain Correctional Center, was docked nearby in the East River, where it still remains functional today. What were known as "sprungs," or makeshift jail tents prone to flooding should a storm come, began to pop up around the island. And dorms inside facilities were stacked with beds.

Inmates drill in the courtyard of the 'Sprungs' area where 16- to 18-year-old detainees lived and attended school in 1991. (Photo by Nicole Bengiveno/NY Daily News Archive via Getty Images)

But it went beyond that—into much more dangerous territory.

In an interview, Buser—the author of the memoir Lockdown on Rikers and subject of a Broadly profile last year—said COs and the administration would send inmates to solitary confinement just to open up a bed in general population. Punitive measures like this, she argued, didn't take into account the mental impact that sitting alone for 23 hours, for days on end, could have on an adolescent.

"They'd tell me, 'I swear I did nothing,'" she told me. "And after a while, there's so many of them that you have to start believing it."

The soaring numbers also had an unintended, if perfectly natural, consequence: an outbreak of uncontrollable violence. By the end of the 1990s, Rikers was on the verge of riots—the smuggling in of weapons, even guns, was rampant; inmate-on-inmate and inmate-on-CO fights had skyrocketed; and jail searches began daily occurrences. Correction commissioners like Michael Jacobson and Bernard Kerik, following Mayor Giuliani's lead, employed strict measures to get things under control. They were successful, but it came with a price.

"The searches were brutal," Buser recalled. "Some just caused real terror in inmates. I'd talk to people who were crying, and shaking." The former social worker said inmates would come to her with slashes from razors smuggled in, or wounds from beatings incurred by COs. But the administrative explanations for what had happened, she said, were always blurry. "I'd see glimpses of beatdowns at OBCC," she noted. "But the DOC was very good at preventing us from seeing anything."

For years, Rikers mental health services were managed by Montefiore Medical Center, a hospital network in the Bronx. But to cut costs, Mayor Giuliani put the Rikers contract—which, at that time, was the largest correctional healthcare contract in the country—up for bid in 1998, selling it to St. Barnabas Hospital, which saved the city $7.4 million a year. While lauded by city officials for streamlining services, the deal was immediately criticized by human rights groups, particularly because of a contractual clause wherein critics said St. Barnabas would save money by not sending an inmate to medical care.

Buser recalled the switch to St. Barnabas as being an absolute disaster. The hospital had "zero experience" handling jail health care management, she claimed, and within the first year on the job, inmate complaints rose a whopping 400 percent. Furthermore, the rate of deaths was already on the way down under Montefiore's management, even though St. Barnabas took the credit. And in the first few months of its administration, an investigation was launched into whether or not medical negligence on the part of St. Barnabas led to the death of four inmates.

Until 2000, the year Buser left Rikers—coincidentally, the same year St. Barnabas lost its contract, due to mounting investigations and charges of malpractice—things only got worse. "It led to a big deterioration in mental health services," she told me. "The city gutted the social services department, and whittled it down to one person per jail." The clinic she worked in had already been standing room only, but now, there was barely anyone even working there, Buser recalled.

"It was harder for me to function without support," she continued. "Everything was just gone."

Toward the end of her time there, Buser said, suicides and the abuse of mentally ill patients at Rikers began to rise, and she felt like there was nothing she could do about it. She had a guilty conscience. "It didn't take much for someone to die here," she told me. Buser had entered Rikers as a self-described "idealistic intern," and in the face of wanton brutality, she departed a hardened veteran of American mass incarceration's greatest woes.

Rikers had officially broken her down.

"It's not enough to be a good person," she admitted to me. "You can celebrate mental health, and work with good people, but I couldn't help but see the larger picture, whether it was issues with pre-trial detention, or bail. I became really disillusioned with it all."

So when she heard about more recent scandals involving mentally-ill patients, she wasn't surprised at all. "What surprises me is that it wasn't leaking out to front pages everywhere," she said. "Atrocities would happen all the time, and nobody would say a thing."

'JAILS ARE SECURE'

In the twilight of his tenure in late 2012, Mayor Michael Bloomberg was asked about the Rikers inmates' safety as Superstorm Sandy approached. The island jail, after all, was floating in the middle of the East River, without proper protection against a storm that would ultimately wreak havoc on the city's shores. It was vulnerable.

"Jails are secure," the mayor told the reporter. "Don't worry about anyone getting out."

The response, which garnered its fair share of criticism from civil rights groups citywide, was telling—not only of how the Wall Street billionaire might have perceived the city's lowliest citizens, but how its administration handled (or neglected to handle) Rikers throughout his time in office. "There was very little interest in expending political capital and financial capital on the jails," Martin Horn, the correction commissioner during Bloomberg's first two terms, told the New York Times in 2014.

I guess the more you try to escape, the more you see. —former inmate William Evans

In many respects, Bloomberg had upheld the law-enforcement legacy of Giuliani, particularly when it came to stop-and-frisk tactics in minority communities. Crime rates continued to drop precipitously, and so did the population at Rikers, where inmate numbers fell to 10,000—about where it stands today. For that reason, officials cut 3,000 COs from the city's payroll early on in Bloomberg's tenure. But the gap—alongside the earlier cuts in mental health services Buser witnessed under Giuliani—permitted horrid conditions to percolate in the city jails.

And as Rikers imploded, Bloomberg was remarkably silent. The island had apparently fallen to the bottom of his priorities list, when, many would argue, it needed to be at the very top. But it wasn't until the end of Hizzoner's reign that the shell around Rikers began to break open into public view.

William Evans did everything he could to stay busy on Rikers. He worked at the intake, in the kitchen, and in the Grievances Department. When he was off work, he would seek refuge in the library, staying away from the violent halls and dormitories as long as he possibly could. "You could look at someone wrong, and there'd be a problem," he said in an interview. "That's a reason to be attacked. So this is how I survived."

Evans was still in college when he said he was arrested for a gun possession charge—for which he claimed to later be acquitted—and sent to Rikers from September of 2009 to August 2010. Just months before he arrived, an investigation by the Village Voice had exposed a secret society known as "The Program," where COs forced the inmates to participate in a "fight club," resulting in one prisoner's death.

It was the first pronounced media spotlight on the island in years; newspapers would always report on violence, which was a common thread by this point, but something of this caliber—in terms of coordinated brutality—hadn't been detailed in recent memory. Rose Gill Hearn, the city's Department of Investigations commissioner at the time, called it "the worst" scandal she had ever seen in local jails. Little did she—or anyone in city government, for that matter—know, it was just the first of many exposés to come.

But Evans didn't need to read the reports to know Rikers was rotten. His jail jobs landed him front row seats to the deep issues at the place. "I guess the more you try to escape," he said, humorously, "the more you see."

His first gig was at intake in the North Infirmary Center (NIC)—one of the oldest facilities still in use—where broken showers and flooded bathrooms meant there was one shower for numerous men. His role was in the kitchen, where he said he saw COs throw inmates' food on the floor if they talked back.

Around this time, Evans was transferred from the "sprung" (where, if it rained, he said the water would seep in through the door), to the Anna M. Kross Center, which was dedicated to substance abuse. Even though he didn't have a drug problem. "I was forced into treatment, and I'd go to The Box if I said no," he said. "So I stayed for a while."

He soon landed a job in Grievances, where inmates were allowed to drop complaints off in a box. A civilian employee would then read the complaints, and hand them off to someone in DOC who could possibly help. Or at least, that's the idea. "The woman who I worked with had no issue in tearing up complaints," Evans told me. "If someone kept complaining about something, or if there were too many. I had seen it happen multiple times."

And that was what pissed Evans off the most: the suffocation. If you complained to the administration, the cogs in the bureaucratic machine would grind real slow to fix it, if they ever actually did. If you snitched on someone, especially a CO, you could expect much worse: either a trip to the Box, or a beatdown. Besides, you'd be labeled weak by other inmates—as opposed to Rikers Tough.

So inmates rarely complained, and almost never snitched.

"People decided, 'If that's the case, I'm here X number of days, so I'll just deal with it,'" Evans said. "You don't want to piss anyone off, because of what's gonna be taken out on you. And most people just wanted to make it out."

That mentality, he argued, was instilled in the very essence of Rikers, and incarceration in America, for that matter—the perception that this was the norm: violence, negligence, crackdowns. And that's why the culture was able to persist for so long. Nobody said a thing, because nobody could say a thing. In other words, systematic issues exist for so long because the system allows them to.

"The psychological piece is not only not feeling safe, but the fear to speak out," Evans explained. "Once you're there, they have you there."

At the end of our interview, Evans, who now works for the Fortune Society, an organization dedicated to inmate re-entry, thanked me. I asked him why he felt he needed to, and he said he was so happy to know that, after all of these years of silence, people had started to pay close attention to his former home. Because even if the problems at Rikers are still there—which, he said, is very likely the case—it's different now.

"Most of the time, while you're on the island, it's really about the information," he told me. "If that information can't leave, it'll never be heard."

"If men were heard," he continued, "this wouldn't have happened."

CAN RIKERS BE FIXED?

When Bill de Blasio took office on January 1, 2014, the new mayor of New York City couldn't hide from Rikers Island. Barely six months into his term, an extensive New York Times investigation uncovered 129 cases of serious abuse resulting in severe injury there, including ones that involved the mentally ill. Shortly thereafter, the Department of Justice released a 79-page report into the "deep-seated culture of violence" towards teenagers. It was the result of a two-and-a-half year investigation into a problem literally decades in the making.

"For adolescent inmates, Rikers Island is broken," US Attorney Preet Bharara said at the time. "It is a place where brute force is the first impulse rather than the last resort, a place where verbal insults are repaid with physical injuries, where beatings are routine while accountability is rare."

Then, in October of 2014, the world learned the full story of Kalief Browder—a young black man who was stuck on Rikers for three years without trial. All because he allegedly stole someone's backpack.

The Browder story exemplified everything wrong with Rikers and American criminal justice writ large—the brutality, the Kafka-esque pre-trial process, and the psychological impact of it all—and rendered it all tangible and real. Here was a kid who was recorded being beaten by both COs and inmates, sent to solitary confinement for no good reason, and released with barely a shred of himself still left. His suicide in June 2015 capped off what had been Rikers's most infamous, and tragic, case study.

NYC Mayor Bill de Blasio visiting Rikers in December 2014. (Photo by Susan Watts - Pool/Getty Images)

All of these factors have forced the de Blasio administration to pay attention to Rikers. Reforms have finally come, however slowly: Solitary confinement has been banned for 16- and 17-year-olds. Mental health programs, and a new wing for high-risk individuals, have been created. A class-action settlement has resulted in a federal monitor, more cameras on the grounds, and a flagging system for violent COs.

Outside Rikers, there have been attempts to reduce or even eliminate the bail burden on poor people and to speed up the trial system, which should help stem the flow of inmates going and staying there in the first place. And this most recent graduating class of COs was the largest in decades—even as the officers' longtime union head, Norman Seabrook, has tried his best to thwart reform measures. (A plan to ban solitary confinement for inmates between 18 and 21 years old has reportedly been stalled by the Department of Correction.)

"We've got to rewrite the story of Rikers Island," Mayor Bill de Blasio said at the latest graduation ceremony in December. "We simply have to, and you will be the authors of that new history."

When Mark Peters was appointed Investigations Commissioner by de Blasio in February 2014, he quickly discovered that, somehow, the Fire Department, the Department of Sanitation, the Department of Correction, and a handful of other city agencies had only one inspector general. In other words, all of Rikers Island—which is, arguably, the city's blackest eye—was under the watch of one extremely busy bureaucrat. So he reshuffled the ranks: 24 investigators are now solely dedicated to Rikers oversight, several of whom are stationed on the island itself, he told me.

Peters' agency, the Department of Investigation (DOI), is essentially the police of Rikers Island now. They are strictly in charge of law enforcement there as it pertains to COs, administrative officials, and even inmates. It is their job to sniff out corruption on Rikers, and they have the power to arrest individuals who are accused of graft.

And they do that—fairly often. But how good is a police force if the city is crumbling?

"If were all we do, you're not gonna make any real change," Peters told me. "Yes, we need to arrest people, and we will keep arresting people. But what we haven't done is try to look at the system and see what issues led to this, so we can deal with them in a more effective way."

One of the main issues the DOI has tried to tackle recently is smuggling. So in order to see how it's still possible for COs to bring in drugs, weapons, and other contraband, Peters' investigators outfitted an undercover inspector and sent him packing through six security checkpoints on Rikers in 2014. The guy was carrying 250 packets of heroin, a half a pound of weed, a shit-ton of Suboxone, and a razor blade. In his hand was a water bottle filled with vodka.

When the metal detector went off, one CO, according to the report, asked if he could empty his pockets. He said he had already, and the CO let him through. And that's it: he breezed right in, with enough narcotics to book someone for years.

After their findings, Peters demanded that the Department of Correction ramp up its screening process to airport security levels, with drug-sniffing dogs and pat-downs—something that the Department had said would happen (but didn't) for years. Commissioner Joseph Ponte, de Blasio's appointee, complied.

Another problem was hiring. Many COs involved in wrongdoing—whether it was beatdowns, or smuggling—had criminal histories and gang affiliations that went under the radar. Yet somehow, they were working on Rikers. So, to see how deep this issue went, DOI scanned the applications of the Class of 2013. The results, Peters said, were startling.

According to a report released last January, over a third of the soon-to-be COs failed the test. The reasons varied, but all were red flags: felonies, gang ties, prior encounters that clearly deemed them violent, or not psychologically fit for the job. But they were all hired; some for nepotistic reasons (one applicant's folder was stamped for being family friends with a union boss). "These people should not be COs," Peters told me.

Contraband snuck into Rikers by city investigators in 2014. Photo courtesy NYC Department of Investigation

Since then, new measures and stricter hiring procedures have been put into place. In addition to criminal histories, every applicant is now supposed to be checked for gang tattoos—and their social media accounts scoured. In addition, the DOI's cutting critique of Corizon, the Rikers health care provider—which, some say, is the worst the jail has ever had—led to the end of the company's contract.

"It's fair to say that there's a new direction," Peters later declared to me. "In the past, the changes were less systematic. Now, we're using these new arrests not just to get individuals, but to make broader, systemic changes."

In other words: Cut the tree down so the bad apples stop growing.

Unfortunately, even with these reforms, Rikers is still as violent as ever. With 21 slashings and one stabbing, all allegedly among gang members, July 2015 was considered to be one of the bloodiest months there in years. Jail-wide lockdowns have become regularities, and prosecutors are having a hard time keeping up with the sheer influx of violent cases there.

Lately, there have been calls from critics to shut down Rikers entirely and have the inmates transferred to borough jails, where they'd be closer to their families and the courts. The penal colony has become such a blemish on the citywide collective consciousness, they argue, that it's not worth the cost, or upkeep. In other words, some say, the place is doing more harm than good.

Given what we've seen over the years, Rikers abolitionists have a point. Because all of this bloodshed and brutality begs the ultimate question: Is this simply how New York City's biggest jail will always be? Can it ever really change? If those are the questions we're asking about a place where residents have yet to be found guilty, Rikers might have been doomed from the very beginning.

Follow John Surico on Twitter.

VICE Vs Video Games: 'Battlefront' Shows Just How Cheap Life Is in the Star Wars Universe

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I'm sprinting toward Rebel lines, blaster fire sizzling past me. I wind up a throw and arc a thermal detonator over the next hill just before I charge over the top.

It won't kill anyone—that's not the point. The detonator makes the Rebels scatter and break formation for a moment, buying me another second as I open up with my E-11. True to Stormtrooper reputation, my shots fly wild.

My glorious charge lasts three seconds. Four rebels spin around and atomize my buckethead ass. But in doing so, they split fire away from the main Imperial attack battering their lines.

As I lie dead in the snow, the Imperial line grinds forward a few yards. I respawn and prepare to do it again.

'Star Wars: Battlefront', gameplay launch trailer

This is how you win battles in 2015's mega-selling Star Wars: Battlefront—a light-hearted game with dark mechanics. Battlefront emphasizes collective effort, rather than individual heroism, as the path to victory. It's human wave tactics. As an individual trooper, the best the player can do is use their mayfly lifespan to create a momentary advantage. It's a brutal and nasty way to see war – and a perfect encapsulation of how grunts live and die in the Star Wars universe.

Though we see it through the glow of nostalgia, Star Wars is a pretty brutal setting. It takes a toll on heroes, for sure—Luke loses a hand, Leia a homeworld—but it's the blood of grunts that oils the galactic war machine. A New Hope begins with Stormtroopers wiping out a corvette crew. Countless soldiers die during the Battle of Hoth. Even rebel pilots, the pride of the Alliance, have a sickening attrition rate. Excluding the Millennium Falcon, only three pilots survived the first Death Star attack—and those are characters with names and faces.

The Death Star attack in 'Star Wars Episode IV: A New Hope'

Most anonymous frontliners just do their bit and catch blaster fire, moving the great events of the Galactic Civil War forward one body at a time. Whether you're a Bothan or an Ewok, a Fleet Trooper or a Stormtrooper, the Star Wars universe is a bad place to be a grunt.

And Battlefront portrays that perfectly.

Battlefront doesn't just look like a Star Wars movie—it plays like one. While many online shooters emphasize squad combat and accurate weaponry, Battlefront is almost gleeful in making players act like Stormtroopers. While the maps are large, weapons tend to be medium-ranged at best, with scopes offering magnification without increasing accuracy. There are comparatively few sniper rifles—a rarity for an online FPS. It's a smart design decision, and mirrors the films.

Gunfights in Star Wars are not long-range affairs, nor are they tactical. Most combat happens face-to-face, with wild shots bursting panels and scarring trees. But while Stormtroopers have notoriously dubious marksmanship skills (despite Obi-Wan's opinion), the heroes aren't much better. When Luke, Han and Chewie raid the Death Star Detention Block, they fill the room with lasers until everything's dead. Not much precision fire there. Added to that, it's pretty rare for anyone to make effective use of cover. There's a reason for all this Old West hip-shooting: Wild gunfights are dynamic and fun to watch.

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The problem is, that style of fighting is antithetical to modern FPS games, which are all about headshots, scopes and shooting while prone. To override this instinct, the weapons in Battlefront encourage players to get up close. Sniping options exist, but are kept to the periphery. Players can't lie flat and disappear into the landscape. Added to this, the terrain breaks line-of-sight, funneling players into choke points where charges and run-and-gun gameplay predominate. Most major game modes focus on taking and holding territory, particularly Walker Assault, which uses advancing AT-ATs to sweep the action into a smaller and smaller corner of the map. All Battlefront's elements, from weapons, to terrain, to it game modes, combine to create a heaving battle line with blistering close-range firefights around objectives. And this uniquely Star Wars battlefield leads to uniquely Star Wars tactics.

You may be rolling your eyes at the mention of tactics in Battlefront—and for good reason. After all, this article began with a description of running helter-skelter into enemy fire. But the game does have identifiable tactics, though admittedly clumsy and improvisational ones.

What drives the tactics in Battlefront is the short respawn time. This, combined with most modes being won by control rather than body count, means that life is cheap in most matches. Sure, you might get cut down a few seconds into a fight, but before long you're right back in it. That quick turnaround encourages players to push, to try to mob control points and overwhelm the enemy with blaster fire. Combined with the lack of in-game voice chat, coordination with teammates takes on a follow-the-leader mentality. When you move, you move as an armed rabble rather than a coordinated assault force. The result is an ad-hoc human wave attack, a rolling riot of bodies and blasters. The objective, to paraphrase Stalin, is to make the enemy choke on your dead.

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But dismissing this mad rush as unstrategic misunderstands its nuance. These wave attacks operate by overwhelming the enemy, both literally and visually. When presented with multiple targets, defenders tend to focus fire on the most obvious few, letting the majority get closer. These loud, obvious frontal attacks also make flanking moves extremely effective. One or two players hooking around the side can force defenders into a devil's bargain—either they turn their backs on the main assault, or trust someone else to do it. Even if all the attackers die (and that happens regularly) quick respawns refill the ranks.

The result is that Battlefront tactics work on collective effort rather than individual heroism. Killing the enemy is an intrinsic part of that, but so is soaking up fire. Every little bit helps. An individual player's goals here are short-term: get to capture points, kill enemies, capture the points if you can. If you can't, at least you caught lasers for someone who could. Apart from the occasional spectacular moment, it's a high-casualty grind—one where small sacrifices add up to victory. There is little heroism to be found in Battlefront. In fact, it's the first film-to-game adaptation where you mostly play as an extra, and your walk-on role is always a brief one.

Which, in the cruel warfare of the Star Wars universe, is exactly as it should be.

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Brooklyn Feels the #Bern

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All photographs by Pete Voelker

"For a lot of young people, the political system looks broken," Joe Dinkins, national communications director of the Working Families Party, said on the first of a two-night concert last week in Brooklyn to raise funds for 2016 Democratic presidential candidate Bernie Sanders. A majority of the 20 performances were by young artists, singing songs about social justice and speaking feelingly about why they support the self-described Democratic Socialist from Vermont.

The candidate himself was in New York last week, giving remarks about Wall Street reform. While whispers that he might make an appearance spread through Baby's All Right (he didn't), the Williamsburg venue hosting the event, attendees seemed totally content with the impassioned speeches made by his campaign's proxies and supporters.

Organized by Winnie Wong, a co-founder of People for Bernie Sanders and creator of the hashtag #feelthebern, the Brooklyn for Bernie fundraiser included acoustic performances by Cass McCombs and The Chapin Sisters, a satirical set by progressive political comic Jamie Kilstein, and a speech from actress Susan Sarandon, who preached what she called Sanders's "revolution of hope." Photographer Pete Voelker was on the scene for the two-night event.

Follow Pete Voelker on Twitter.

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