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What We Know About the Charges Against the Pro-Life Hidden Camera Activists

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Courthouse of Harris County, Texas, where the activists were indicted. Photo via Wikimedia Commons

David Daleiden and Sandra Merritt, anti-abortion activists with the California-based Center for Medical Progress, were indicted in Harris County, Texas, Monday, when a grand jury investigating accusations of wrongdoing against Planned Parenthood instead found sufficient evidence to charge the two pro-life advocates who made secret videos of the women's health organization. The grand jury cleared Planned Parenthood of any wrongdoing.

The indictment alleges that in the course of infiltrating a network of Planned Parenthood clinics and research organizations, Daleiden and Merritt tampered with government records. At some point, according to the indictment, the pair created fake California IDs for fraudulent aims, a felony with a possible 20-year sentence attached.

In July of last year, Daleiden, who casts himself as a "citizen journalist," released the first part in a series of hidden camera web videos called "Human Capital," in which a high-ranking doctor working for Planned Parenthood spoke casually over dinner about the transfer of fetal tissue. Text overlaid on the footage implies that Planned Parenthood is accepting money in exchange for baby parts—which would be unquestionably illegal—rather than donating the tissue, and allowing donors to cover the costs involved which is legal.

The videos provoked a media firestorm last year, dominating American political discourse for several months. Republicans in the House of Representatives launched an investigation into Planned Parenthood, and used the controversy as an excuse to once again try to take away the organization's federal funding. Many of the 2016 presidential candidates also weighed in publicly on the controversy. Robert Dear, the alleged shooter in the November rampage at a Colorado Springs Planned Parenthood rampage reportedly told officers "no more baby parts," a slogan many have speculated was inspired by the undercover videos.

Until this point, Daleiden has been notable among anti-abortion activists for his lack of a criminal record. As VICE previously pointed out, his style of activism is somewhat unusual among his pro-life peers, relying less on religious outrage and displays of emotion, and more on the cold details of legal and ethical arguments. In addition to the felony government records tampering charge, he now faces a misdemeanor charge related to the sale of human tissue.

In a Facebook response to the indictment, the Center for Medical Progress took issue with that charge in particular, noting that "buying fetal tissue requires a seller as well."

The indictment is perhaps surprising, given Texas' hardline stance against Planned Parenthood in the wake of the videos' release. Late last year, Texas cut off Medicaid funding for the women's giant, prompting Planned Parenthood to sue the state. State investigators have since raided the organization's clinics in Texas, demanding patient records to ensure that Medicaid was not being accepted.

Harris County District Attorney Devon Anderson wrote in a statement that he was "called upon to investigate allegations of criminal conduct by Planned Parenthood Gulf Coast," but added that he and the jurors "must go where the evidence leads us."

The investigation was carried out by theTexas Department of Criminal Justice, which answers to Texas Republican Governor Greg Abbott who in October accused Planned Parenthood of the "gruesome harvesting of baby body parts." In a statement Monday, Abbott del he's not done looking for evidence of Planned Parenthood's misconduct.

"Nothing about today's announcement in Harris County impacts the state's ongoing investigation," Abbott said. "The State of Texas will continue to protect life, and I will continue to support legislation prohibiting the sale or transfer of fetal tissue."

In a separate legal proceeding, Planned Parenthood is suing Daleiden and Merritt for racketeering, and he's receiving legal council from Thomas More Society, a pro-life legal group. The Thomas More Society, a conservative public interest law firm, is representing Daleiden in the racketeering case, but representatives from the firm would not say Tuesday whether they will be handling his criminal defense.

Follow Mike Pearl on Twitter.


Read Donald Trump's Insane Explanation for Dropping Out of the GOP Debate

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Photo via Flickr user Gage Skidmore

Donald Trump, a businessman and television celebrity who plans to be made president of the United States soon, won't be at the next Republican presidential debate, which is being hosted by Fox News in Des Moines, Iowa on Thursday night.

Trump teased this possible absence at a press conference Tuesday, saying he probably wouldn't show. Afterward, a representative clarified that he definitely wouldn't show. But since that apparently left some ambiguity, Trump clarified the matter with a formal statement, via Twitter.

The statement is, of course, bananas. Here's the whole thing:

As someone who wrote one of the best-selling business books of all time, The Art of the Deal, who has built an incredible company, including some of the most valuable and iconic assets in the world, and as someone who has a personal net worth of many billions of dollars, Mr. Trump knows a bad deal when he sees one. FOX News is making tens of millions of dollars on debates, and setting ratings records (the highest in history), where as in previous years they were low-rated afterthoughts.

Unlike the very stupid, highly incompetent people running our country into the ground, Mr. Trump knows when to walk away. Roger Ailes and FOX News think they can toy with him, but Mr. Trump doesn't play games. There have already been six debates, and according to all online debate polls including Drudge, Slate, Time Magazine, and many others, Mr. Trump has won all of them, in particular the last one. Whereas he has always been a job creator and not a debater, he nevertheless truly enjoys the debating process—and it has been very good for him, both in polls and popularity.

He will not be participating in the FOX News debate and will instead host an event in Iowa to raise money for the Veterans and Wounded Warriors, who have been treated so horribly by our all talk, no action politicians. Like running for office as an extremely successful person, this takes guts and it is the kind mentality our country needs in order to Make America Great Again.

Follow VICE Politics on Twitter.

Punk's Not Fed: I Ate at the CBGB Newark Airport Restaurant and It Sucked

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The exterior of CGBG LAB, located in the most punk terminal of the Newark Airport (Terminal 3). All photos by the author

CBGB was established in New York City in 1973. Its legacy as the birthplace of punk, the epicenter of the New York hardcore scene, and the locus of the nation's most notoriously filthy bathrooms has been meticulously detailed in documentaries, books, and one lamentable feature film.

The venue shuttered its doors ten years ago, its passing commemorated with a final performance from Patti Smith, one of the stars who helped cement CBGB's place in the firmament of American music. At the close of her set, Smith passed out lapel pins bearing a hopeful phrase: "What remains is future."

A rendering of the soon-to-be-opened interior of CBGB LAB

Here in the future, CBGB has been reborn as CBGB LAB, a restaurant, bar, and record shop in Newark's Terminal C. The open-air beer garden, with prime views of an Auntie Anne's pretzel stand, opened late last month. The main dining area, set to open in February, will be adorned—if the renderings are to be trusted—with life-sized, black and white photos of Joey Ramone, Debbie Harry, and Sid Vicious performing onstage. As of this past weekend, travelers can browse LPs in a kiosk adjacent to the beer garden and across from restaurants called Nonna's Meatball Kitchen and the Lobster Pod. In addition to vinyl, the store boasts a tiny, immaculate replica of CBGB's iconic awning; the real one is safely tucked away in Cleveland at the Rock and Roll Hall of Fame.

The vibe of CBGB LAB appears to be that of an upscale, vaguely edgy hair salon. Those who come seeking grit won't find it, though they will be able to console themselves with a Dirty Ashtray, a $9 specialty cocktail the menu describes as a can of Tecate "dressed up" with salt, pepper, and a lime wedge.

Related: You Can Eat Lunch in Black Flag's Old Practice Space (If You're Terrible)

The place was populated by your typical array of travelers—families, 20-somethings, the elderly, and a tipsy, middle-aged couple sitting next to me (one of whom I swear I heard say "Nancy Spungen"). A support beam that appeared to be covered in graffiti and stickers was, upon closer inspection, covered in graffiti-print wallpaper.As is customary of many airport restaurants, customers ordered their meals off of iPads.

Small, white, round speakers played a steady stream of punk and New Wave music, but unlike the deafening volumes you would have heard them at the original CBGB, they were set at such an innocuous volume that the playlist blended in with ambient terminal noise. I will say that "Blitzkrieg Bop" sounded particularly mournful, but that had nothing to do with the sound system, and everything to do with everything else.

A battered grand piano covered in actual graffiti sat on a stage in the beer garden. When I asked a waitress if she knew anything about its provenance, she told me she had no idea, nor did she seem to care.

Did the piano come from CBGB? How did it get there? More pressingly, why is there a CBGB in the Newark Airport in the first place? At present, the answers to these questions remain mysterious, as mysterious as what the tired-looking septuagenarians I saw lunching beneath a picture of Sid Vicious might have thought of him if someone told them who he was and what he did.

This much is clear: the restaurant is part of a $120 million renovation of Terminal C, a measure overseen by a food service company called OTG, whose website vows to "transform the airport experience." CBGB is one of 55 new restaurants in the terminal and not the only culturally appropriative one; there is also a BBQ spot in the food court called Notorious P.I.G. OTG representatives did not return several requests for further information, forcing me to wonder if their decision to open a restaurant named CBGB was the unlicensed result of a marketing executive gone rogue.

The extremely punk CBGB LAB menu

The restaurant's appearance is the latest twist in CBGB's curious afterlife—a fate complicated by court battles between founder Hilly Krystal's surviving family members. In 2008, upmarket menswear designer John Varvatos opened a boutique in the Bowery space the club once occupied and preserved one original, graffiti'd-up wall. The store also carries a collection of original punk photographs, many retailing in the low five figures.

With the Bowery clean and the club gone, the CBGB name had a good chance of becoming a random collection of letters emblazoned on Hot Topic t-shirts, an empty symbol of shopping mall rebellion. But in 2012, a group of investors purchased the club's assets. They soon launched the CBGB Festival of Music and Film. They hoped, they told the Times, of relaunching the club in a new downtown locale.

The author's Disco Fries

As it turns out, CBGB President Tim Hayes had bigger plans. In the fall of 2014, he hired the branding, marketing, and licensing firm Epic Rights in the hopes of initiating CBGB's "global brand expansion." In an interview with Billboard, Hayes explained he was drawn in by Epic's successful launch of Kiss' Rock & Brews, a family-friendly chain of Kiss-themed restaurants specializing in craft beer, with more than a dozen locations across the U.S. Hayes hoped Epic would help CBGB open clubs worldwide.

It certainly seemed possible. In a 2014 press release, Epic Rights lauded CBGB as a brand "synonymous with groundbreaking music, youth, adventure, rebellion and extreme expressions of individuality...the most valued symbol for rebels, misfits and music fans around the world." Their first order of business was to announce the CBGB Music and Film Festival's 2015 move from Times Square to the beaches of Fort Lauderdale—the result, Florida tourism officials said, of "great synergy." But, to the chagrin of spring-breakers everywhere, CBGB FTL never materialized; the last CBGB Festival took place in 2014 in Times Square.

This brings us to the present day, a time when the the sole incarnation of rebels' and misfits' most-valued symbol manifests, as if by magic, in Terminal C of the Newark airport.

Is CBGB LAB a good idea? Is their Build Your Own Bloody Mary synonymous with music, youth, or adventure? Does Grandma want to contemplate extreme expressions of individuality as she noshes her $12.50 turkey club?

As I chewed a Meatball Parm Sandwich ($11, excellent bread), sipped a She's So Modern cocktail ($12, made with Jim Beam, Amaretto, and Orgeat, and probably named after a song by the Boomtown Rats), and avoided a disconcertingly salty order of Disco Fries ($9, served with a sprinkling of desperate-looking parsley), I tried to parse the level of ironic distance and / or total obliviousness required to fully enjoy the meal. Which, for the record, I didn't.

Follow Eugenia Williamson on Twitter.

Five of the Best Video Game Soundtracks You Don't Have to Be a Gamer to Enjoy

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The sleeve art for C418's 'Minecraft Volume Alpha' album

Video games are great, aren't they? With all the puzzle-solving and the head-popping and the sword-swinging and the boss-slaying. The time travel and the world building and the shelter finding and the survival horror, um, ing. Yeah. Games are awesome.

As someone who plays quite a lot of video games for work these days, and who has a decade-and-more background in music journalism—I know, I'm like twice the scumbag you thought I was, now you know I used to review records and interview bands for a living—I've naturally found myself drawn to certain game soundtracks as an accompaniment to my working day. And, because these collections work fantastically well as albums entirely removed from the context of interactive play, I wanted to share some with you.

This isn't a top five gaming soundtracks ever sort of list or anything like that. Rather, it's just a friendly recommending of a few immersive audio worlds within which to lose yourself, be that while fighting through a brimming inbox, finally sorting out all that spread sheet admin, or simply taking a break from it all with a cup of tea and a couple of ginger snaps. It's just stuff that I like, basically—you, you might think differently. And that's OK, there's no need for an argument. These can all be streamed on Spotify, I checked and everything.

Minecraft Volume Alpha, by C418

You pronounce it "see four eighteen," and it's the musical moniker of German producer Daniel Rosenfeld. Prior to Minecraft, available via Ghostly International, he'd put out a clutch of productions that didn't come close to engaging with a mass audience. What a difference a game makes, not that it's necessarily been to the artist's benefit—Rosenfeld dislikes public attention, and while he's evidently a splendidly talented musician, compared to Brian Eno, it seems like he's going to remain more enigma than a mainstream-engaging ambassador for the progression of gaming soundtracks. Seriously, though, Minecraft is one of my most-played records of the past 12 months (although it came out a few years back), with delicate tracks like "Living Mice" and "Moog City" effortlessly transcending the medium they were born for.

(Listen on Spotify)

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Oxenfree, by scntfc

A new addition to my selection of reliable soundtracks to see an afternoon through with, Seattle-based artist scntfc's latest release transports the eeriness of its parent game, the debut title from the new Night School studio, and successfully stands as a consuming hour of disquieting ambience shorn of interactive visuals. Oxenfree follows remix work for Rogue Legacy and the complete Galak-Z score, so it's not like scntfc hasn't previous experience in the gaming medium; but there's something so uniquely strange about these arrangements that sucks me in whole, something so damn devilishly appealing about them. I know they're all an invitation to a dark side of found-sound recordings which, I'm sure, open a portal to some place you really don't want to be when played backwards, and yet I keep coming back for more. I don't know if any readers recall a British band called Reigns—check them out here—but the Oxenfree soundtrack really reminds me of their spooked field recordings processed through a down-tempo avant-dance filter. I liked Reigns, so I like this. Makes sense to me.

(Listen on Spotify)

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Related: Watch VICE's new 'Autobiographies' film with Pusha T

Hohokum, by various artists

Another Ghostly release, the soundtrack to this PlayStation-exclusive art-puzzler from (the now defunct) British studio Honeyslug is made up of bubbling electronic cuts that never fail to complement the game's retinas-tickling palette of colors. Unlike my other selections on this page, Hohokumis a licensed collection rather than one commissioned bespokely; but just as you don't notice any sonic dissonance in the gameplay, as one befuddling level shifts into another equally what-am-I-supposed-to-do layout of weird creatures and alien flora, playing this album from beginning to end gives the impression of it being the work of either the same act, or certainly very likeminded individuals. Among the artists featured are Matthew Dear (squelchy sweeps with robotic vocals), Geoff White (springy buzzes and glitchy snares) and Tycho (dawn-horizon, mid-tempo electronica for the still-up crowd)—each is singularly styled, yet everything fits together with a greater sense of cohesion than the game itself ever exhibited.

(Listen on Spotify)

The Last of Us, by Gustavo Santaolalla

Argentine composer Santaolalla has credits on a wealth of film and television productions, including The Motorcycle Diaries, Brokeback Mountain, Babel, and Netflix's recent documentary hit, Making a Murderer. His largely acoustic guitar-based soundtrack to Naughty Dog's post-apocalyptic road trip, his first for the medium, is about as blessed by sunshine and smiles as the game itself—which is to say, it's a melancholic collection that falls back upon repeated motifs across its course, everything building into a sometimes suffocating mix of tension and fear. When pieces like "The Hunters" and "By Any Means" break down into wild percussion, it's perfectly normal to feel the hairs on your arms stiffen, and the blurs in your peripheral vision begin to find threatening form—arms reaching out from shadows you know are entirely harmless, but, just like in the game, you're going to poke around in each and every corner, just to be sure there's nothing there. The two takes on "Vanishing Grace," though, are achingly beautiful, with the second, bracketed "Childhood," accompanying that giraffes scene. You know the one. This? No, no, just something in my eye.

(Listen on Spotify)

Related, on Thump: How Video Games Are Breaking the Drum & Bass Artists of Tomorrow

Transfiguration, by Austin Wintory

Transfiguration is a selection of Grammy-nominated composer Wintory's music for thatgamecompany's celebrated ambient adventure Journey, albeit stripped of its orchestral flourishes and rebuilt entirely in piano tones. What the music loses in scale, in the instantly gratifying swells of violin that punctuate the game's path from desert sands to snow-capped peak, it makes up for by revealing the very cores of these melodies, white and black notes running straight to the heart. It's natural to experience flashbacks to scenes from the game while this plays, but such is the set's sideways shift from the original arrangements that a piece like "Apotheosis" finds itself in a space somewhat closer to a jazz bracket than its ascent-accompanying in-game placement ever suggested. The tonal shifts between light and dark that are so obvious in the strings-attached versions are less telegraphed in Transfiguration, the end result a more measured listen, one that finds the sweet spot between atmosphere and attention-forefront intrigue. And the climactic, bare-bones "I Was Born for This" is a stunner.

(Listen on Spotify)

Follow Mike on Twitter.

We Asked a Philosopher Whether or Not It’s OK to Do Drugs

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Photo via Flickr user Frank

Peg O' Connor has made thinking about drugs her life's work. Her blog, "Philosophy Stirred, Not Shaken," puts some of the greatest questions of Western philosophy to our hedonistic lifestyles: Why do students love MDMA so much? Can shame ruin your life? And is it OK to have friends that you only party with?

Philosophy has historically taken a more idiosyncratic approach to drugs than other disciplines. Aldous Huxley's 1954 book The Doors of Perception documents the breakdown of his ego and resultant "obscure knowledge" he gained from an eight-hour trip on Mescaline—a psychedelic also favored by Sartre. Nietzsche was reportedly addicted to opium while writing The Genealogy of Morality. And according to a 2013 survey, 90 percent of philosophy students in the UK have taken drugs.

Philosophy can tell us more about our drug use than the black and white mediums of science and the law, which is perhaps why research shows it's also helpful for people trying to recover from drug addiction. A former alcoholic, Peg has been sober for ten years. It was philosophy, she maintains, that enabled her to understand the causes and consequences of her addiction, and what motivates her to stay sober, live well, and "flourish," in the words of Aristotle.

Peg recently published her latest book, Life on the Rocks: Finding Meaning in Addiction and Recovery, so we thought we'd ask her—from a philosophical point of view—whether or not it's OK to take drugs.

VICE: Firstly, how do philosophy and drug-taking fit together?
Peg O'Connor: Philosophy, since the time of the ancients, has always been about how to live well. It can give people skills to ask themselves, "Why am I doing this? Is it fun? Where do drugs fit in the total package of my life? Is this substance affecting my character in some kind of way? Am I being the person I want to be?" I think these are questions that everyone asks generally, but I think philosophers intentionally ask them of themselves.

Is that why philosophy students apparently take more drugs?
I think a lot of people are drawn to philosophy because it gives them the opportunity to ask certain kinds of questions that they're struggling with themselves, but in an academic context. My students are most interested in the existential philosophers: Sartre, Camus, Kierkegaard, etc. My theory is because the existential philosophers in part are always asking about oneself—questions like, "How I am in the world? What's my kind of responsibility? Why am I suffering in this way? What does this situation mean?"—I think that resonates with a younger age group who are more angst-ridden.

Then there's the traditional romanticization of taking drugs. You know the great alcoholic writer who has these incredibly deep thoughts, we see the same thing with musicians and poets, the idea that drugs and alcohol are going to somehow help fuel their inner genius or rile up their muses or something like that. The idea that philosophy students take more drugs is part of a cultural production—it is part of the university experience.

Is it immoral to take drugs, from a philosophical point of view?
I'm not sure that framing it in terms of moral or immoral is the best way to go because that's automatically polarizing, but we can apply John Stewart Mill here—if someone is just getting stoned in his or her own apartment and he or she is not driving or operating machinery affecting anyone else, shouldn't that be OK? However, there's always good reason to pay attention to why people are using, what they're using, and how much they're using. Just because something is legal, doesn't mean that it isn't harmful and addictive.

Does the government saying that drugs are bad make them bad?
It depends in what sense you mean "bad"—if the government says these drugs are bad and we make them illegal—well, there you've got the "bad." I'm cognizant of the fact that governments have a lot of control over which drugs are depicted as so bad that they will never be legal. For a long time, marijuana was really regarded as the ultimate boogie man in the US and now it's legal in many places.

What about psychedelics? Because obviously there is the argument that psychedelics can help open the mind and help you see things from a different perspective...
Psychedelic drugs have been used in certain religious traditions, so you have to acknowledge the fact that there have been uses for just the reasons that you said—that they will open up new ways of seeing, in part because they affect the regular cognitive processes that have been so habituated. You've got some really well drawn mental grooves there from always seeing things in the same kind of way. But then again, the effects are really unpredictable, and you don't know how long they are going to continue. They have a greater potential for suddenly feeling so out of control because your perceptions of reality have flipped.

How can philosophy help with drug addiction?
Philosophy has always dealt with meaning-of-life questions and with suffering—making sense and meaning out of suffering. Drug addiction is often both the cause and consequence of suffering—it's about human nature and the human condition, subjects that philosophy has been grappling with very productively and innovatively for a very long time. We just haven't really intersected philosophical thought that much with drug and alcohol concerns.

So if addiction is about both the cause and consequence of suffering, is it a catch-22?
It's definitely a cycle. I think a lot of people start to drink or use drugs because they're suffering in a variety of ways. All kinds of social science data, for example, shows that people who have been victims of childhood sexual abuse are more likely to develop an addiction. You can see why some people start using drugs to self-medicate, to numb, or to escape. Of course, you also see people who don't have any of that in their background and they start using drugs or various kinds of alcohol and their use begins to change—they move from use, to misuse, to addiction, to dependence.

Do you think drug use is always a form of escapism?
I don't think it always is. That's the thing, we can't ignore the fact that taking drugs can be fun and really pleasurable. But we do live in a culture that really glamorizes alcohol and drug use, it signifies, "I'm mature now." Any kind of popular culture movies that you see with university students, part of the fun is getting really drunk or really high and going on these adventures. But they never depict any real horrible consequences, so it's glamorized.

How did philosophy help you out of your addiction?
In many ways. But most importantly, it helped me exercise my own free will. William James makes this wonderful distinction between wishing and willing. For a long time I was wishing my life could be different, but without the will, the wish is just some pretty little button that spins around and doesn't do anything—until you press it.

Peg's book, Life on the Rocks: Finding Meaning in Addiction and Recovery is out now. Buy it here.

Follow Amber Roberts on Twitter.

This New Card Game Pits Cthulhu Against Donald Trump

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Plenty of video games have embraced politics in the past, and plenty of those games have been incredibly boring. Elections of US America Election: The Card Game looks to change that, presenting a fun way to piss off friends and family alike by smearing their campaigns for the presidency while also teaching players a little about the machine that is US politics.

The game is the work of UK-based studio Auroch Digital, whose gamethenews initiative has set real-world issues into the video game space to great acclaim. These games include Cow Crusher, focusing on the horse meat scandal that hit the UK and Europe, and Endgame: Syria, putting the player in charge of Syrian rebels who can choose to either pursue peace or intensify the conflict to reach a conclusion.

Elections of US America Election, which is a mouthful however many times you say it (which might just be the point, given the nonsensical nature of so many campaign-trail sound bites), is a collaborative venture with the US political satire blog Wonkette.com, and Auroch's first physical game following so many digital projects. Players can choose to oversee the actions of Donald Trump, Hilary Clinton, and Bernie Sanders, genuine human beings contesting the 2016 US presidential election. But there are also some fantastical runners in the pack, including HP Lovecraft's notorious cosmic creature Cthulhu, the really-rather dead Abraham Lincoln, and (I think) more to be revealed. Who'd be better in the White House, really: a Great Old One from across the universe who wants to wipe out the human race as we know it, or Cthulhu? Yeah, you saw that coming.

I spoke to Auroch Digital's design and production director, Tomas Rawlings, to learn more about this new gaming take on the madness of American politics.

VICE: Auroch has history in taking real-world issues into the interactive entertainment space. Politics can be pretty dry in games, though, so is it the Trump factor that set the wheels of this project in motion?
Tomas Rawlings: We did a game, when we first started doing news games about four years ago, when Romney and Obama were fighting it out. We did a little game back then, one of the first we ever did. That was a bit of fun, and I was pleased with it, but I always felt that there was a lot more to it than we fit into that game, which we made in under a week. There's a lot more to politics, and it's bugged me since then.

Often when you're playing a game, you're figuring out ways to exploits its systems—if I do this, the AI is going to do this other thing. Politics is full of those exploit mechanisms, where candidates, consciously or otherwise, are deliberately trying to play down their opponents or bump themselves up, and often at an arm's length. And I really wanted to do something that got that across to the audience, to the player. Like, this is how crazy this world is.

Read on VICE News: What Do You Think About the US President?

I read an article a while ago that described modern democracy as a 19th-century version of it, but living in a 21st century world of technology. And I think that's where we're at—the technology that these big campaigns are using, under the hood, if you like, is way more advanced than we think it is. We still think that we're the voters, we assess the issues and we make a choice. But there's a lot more complicated stuff going on behind the scenes, and I want to explore that, and a game is the best way to do that.

Why do a physical card game, given the company's experience in making digital games?
The design of this game absolutely makes sense for it to be something you play with your mates when sitting around a table. The backstabbing elements of it are all the more fun when you're right there with your best friends, or your partner—it's funnier to drop a sex scandal on them, in person. But that aside, I learned my trade as a games designer on pen-and-paper stuff, games like Dungeons & Dragons and Call of Cthulhu. I was asked to do some lecturing on a game technology course, where the students were learning how to make digital video games, and I asked: "Can I get them to learn about making board games?" That might seem completely apathetical to a group of people learning 3D art and coding, but that's a great way to get a pure player experience, to strip away the technology and focus on what the player actually gets to do, and how they interact with other players. I'm a huge fan of physical games, and they've contributed a great deal to the digital world. It's hard to imagine a games industry without Dungeons & Dragons, as its concepts and ideas are in the very DNA of what we do in video games. But I don't really see one as better than the other—I spend way too much of my time playing both. So this was a great opportunity to do a physical game, and we've gone for it.

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Related: Watch VICE's film about British fraudster "Lord" Edward Davenport, the "Wolf of the West End"

So, run me through how the game plays, as basically as you can. Each player is a campaign manager, right?
So you pick your candidate, and it's your job to get them to office, using fair means or foul. Your candidate will have strengths or weaknesses, which you need to play to. The basic way the game works is that you turn over a State card, let's say Iowa, and that will allow you to draw a certain number of voter cards. So you place those cards in the middle of the table, and take turns to grab the number of voter cards that your appeal allows you to take on each turn. That's the game: You grab the number of votes that correspond to your appeal, and the more votes you have, the better. You win the state, you win more states, and whoever wins the most states, wins. That's the idea of democracy we understand, and that's the core of the game.

However, then the fun bits come in. Politicians and their managers don't just go out there campaigning for votes. They do all these other things. And this is where the two forms of "Wonk" cards come in. One is deploying team members to bolster your campaign, and the other is tricks. So, attack ads are a great example of that. You might set up robo-callers to ring people up with a disparaging message about another candidate. There are all these ways to undermine the other candidates, while you're remaining virtuous and nice, or at least pretending to.

Scandals are another element of the game. They go with politics like bread and butter, so there will be the option to drop scandals on the other players. But just because someone does that to you doesn't mean you can't fight it. There are other cards that will allow you to defeat that scandal, before it really happens—it might be that you offer the media a better scandal in return for them dropping the one about you, so you avoid the damaging story. And what's great about this is that it's all real-world stuff, and there's so much of it to draw on. For example, just as we were finishing the Kickstarter game, that militia occupation thing happened in Oregon, and that's the sort of event that presidential candidates would be expected to respond to, so let's stick a card in on that. And depending on where your candidate stands on certain issues, that event might be good or bad for them. All the crazy stuff in this game happens in politics, anyway.

Some of the things you read about these real-life candidates, what they've said, you just can't make it up. Trump's the obvious example, with the wall on the Mexican border and his idea to ban Muslims from entering the country. Does that kind of nonsense make your job all the easier, as you don't have to be amazingly imaginative with the craziness? It's playing out on the world stage already.
American politics is simultaneously some of the most fascinating politics in the world and also some of the scariest. And you're right—Obama is called left-wing in the States by the Republicans, but he strikes me as being roughly in the position of our Conservative Party. So if he's America's idea of a left-wing candidate, it makes their right-wing candidates frighteningly right. For us, looking at some of what's said over there, it's like shooting fish in a barrel; and that's why we don't have every card finished for the game just yet. I know the sort of things I want in there, but there's so much going on over there, now, that we want to have space for new ideas. There's too much good stuff to ignore. We were joking about adding a card about your candidate going out and shooting people in the street. If your candidate is Trump, your popularity goes up, but for everyone else it goes down.

It'd all be hilarious if it wasn't also so terrifying. So there's a dual purpose to Kickstarter, then—one, to cover the production costs for the game, and secondly, so that backers can feed back ideas to you on what they might want to see in the game, giving you the flexibility to be as up to the minute as possible with each candidate's actions prior to the game's launch?
If people are backing what we're doing, we have to listen to their opinions. And if that's how you want to engage with this project, that's great. And the brilliant thing about having Wonkette involved is that they really know stuff about US politics that us in the UK just don't get to see. Sometimes it's amazing, but that's how they do it. It's been key to have a range of opinions going into this, otherwise we could end up with this distant view of what we think is happening, without any real on-the-ground feeling of it. Also, Wonkette are a lot funnier than I am. I'm confident as a games designer, but I'm terrible as a comedian.

As this is a Kickstarter campaign, you've got different levels of rewards. You pay more, so you get "more" of the game. So if you buy into it at a lower tier, can you later upgrade your game, to enjoy the extra elements that higher backers receive?
Yes, absolutely, people will have the ability to upgrade their tier. I know what it's like when you get a new game, and there's this massive pile of instructions, and it's really off-putting. Some people are happy with that, but we didn't want a game that overwhelmed people. So the lower-tier game is the basic version, which is easier to play, and those who pay more get a version with more advanced modes. Another feature we're trying out, and this is for every level of backer, is that you'll get a video on how to play the game. I think, from playing a bunch of board games recently, that'll take out some of the hard work that goes into playing one for the first time. Sometimes game designers aren't the best people at actually explaining how to play their game, so we'll have this simple video, lasting a couple of minutes, and you can just launch in and start enjoying it.

Clearly this is meant to be a fun game—you wouldn't have Lovecraftian beings in the mix if it wasn't. But you obviously want players to learn a little about the political machine too, right?
I'd like for someone who plays this to come away with a greater understanding about politics than they had when they started. For me, that'd be a double win: they've had fun and they understand some important things about the world. Because even though this is all happening over there, and we don't get a vote, it does impact us. Whoever gets this job for real has some massive global issues to address, like the state of wars going on and climate change. At the moment, it seems to me that most candidates are just seeing who can shout the loudest, and that really doesn't make me feel confident in their leadership.

But then, who would have thought that Jeremy Corbyn would have won the Labour leadership? That flummoxed everyone here in the UK, and now there's a media narrative struggling to frame Corbyn within it. He was the outsider, and he won, and that shows us that there are people who do not feel represented by the comfortable political class, and exactly the same thing is happening in the States, be it Bernie Sanders or Donald Trump. Both of them are tapping into dissatisfaction, and as much as it's easy for people in the political mainstream to poke fun at the edges of it, the real message is that you do need to listen to these people. And there's a message to the people too, which is that they need to understand these political systems. And that's partly what this game is about.

You can find out more about Elections of US America Election: The Card Game at its Kickstarter page, or visit Auorch Digital at its company website.

Follow Mike Diver on Twitter.

Straight Celebrities Pretending to be Gay Promotes the Wrong Image of LGBTQ People

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Olivier Ciappa photographs Eva Longoria and Lara Fabian posing as gay

You know what LGBTQ people need? More letters. We can unveil a new one each year, so we can have an ever-expanding panoply of sexual desires and love and feelings to be listed, celebrated, and acknowledged. Letters aren't just badges of pride, though. We can use them as warning beacons, and right now we need to be wary of a new sexual identity: straights posing as gays. SPAGs.

The last time we heard of SPAGs, we met the Pink Panthers: straight guys going to gay clubs to pick up/harass women—who were deliberately there to avoid them—before getting thrown out.

But gay clubs are dying, thanks to high rents, Grindr, and aforementioned SPAGs ruining the vibe. So instead we live online and click on memes and Tumblr to feel a sense of community. Now, the SPAGs have infiltrated the gay havens on our Facebook feeds, too. But don't worry! This time they're here to save us from homophobia.

Great, right? French artist and photographer Olivier Ciappa's new photo series, IMAGINARY COUPLES, is a sepia-tinged collection of images featuring loads of different families and couples in love. But while Ciappa says his images include "real gay families, straight ones, single parents, the disabled, people of different skin colors and origins, different religion, young couples, and old ones," he also smarms that "the celebrities who I shot are heterosexual."

So there's Desperate Housewives' Eva Longoria, the director of SPAG-gy AIDS drama Dallas Buyers' Club, Jean-Marc Vallee, singer Lara Fabian, and Sicario director Denis Villeneuve. What is really being proven here? That they're legit allies and advocates calling out bullshit when they see it and helping queer people tell and represent their own stories? Or that they're kind-hearted straight people sacrificing their precious reputations to try out gayness for the length of a photoshoot?

Ciappa's work may be well intentioned. He wants "to show that love is love." And, yeah, some of his photos of non-famous people—the old women cuddling, the guys showering together—are, at least, convincing.

But Eva Longoria? She looks half asleep in one image and is playing "sniff my fingers" in the other. As for the two directors—one is kissing the other on the head. At a time when men could do with all the affection they need, decreeing a little kiss and a cuddle between two straight guys as a "homo" act widens the gamut of behaviors that men can feel awkward about.

Some may be tempted to compare SPAG-ing to blackface. After all, here are people not in a marginalized minority pretending to be that minority for entertainment's sake. But blackface has historically been done by white performers employed to save the audience from the supposed horrors of interacting with black people. SPAG-ing, on the other hand, is being done transparently by straight celebrities trying to validate us queers by suggesting queer people are OK, because they're just like normal people! They look like us AND they feel love!

Being able to marry is a great endgame for the queers who battle their way through all the bullshit to find love and a home and a family willing to attend the wedding. Yet in projects such as IMAGINARY COUPLES, the ongoing movement for gay equality has been mistaken for the "love wins" euphoria of marriage equality. Queer people are most tolerated when neatly packaged into nuclear families or besotted couples.

Related: Watch our documentary about the struggles of LGBT people in one of Europe's most homophobic countries, Albania

It's cute to sell straight people cookie-cutter notions of the queer community as a group full of happy couples in love—but we're not always in love. Some of us are SLAGs. Some of us are too ugly to be loved. Some of us are so mentally unwell that we're not able to hold down a relationship. Some of my exes might say I'm all three. Some of us are lonely old queers having to closet ourselves in care homes, some of us are suicidal teenagers, and some of us have nowhere to live after our families chucked us out and the Conservatives in the UK, where I live, cut housing benefits for 18-to 21-year-olds.

If picture-perfect love is the only thing you love about us, then our longest battles are ahead. Olivier Ciappa and his SPAGs might think they're helping promote positive images of gay couples, but I'm not sure these are the kinds of images that need promoting.

Follow Sophie Wilkinson on Twitter.

Shooting, Stabbings, and Bomb Attacks: A Night with London's Major Trauma Team

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London's Air Ambulance helicopter over Trafalgar Square. Photo by Matthew Bell

It's cold out tonight. The first real jab of winter. The crowds are back on the streets, though, filling bars and restaurants after the first few sluggish weeks of 2016. A group of girls clatter down Old Compton Street, pulling their collars tight. Watching from the window of the car, it's business as usual in the city.

I'm out on an observer shift in one of London's Air Ambulance rapid response cars. Formed in 1989 as a charity that relies heavily on voluntary donations, its Helicopter Emergency Medical Staff (HEMS) work closely with the London Ambulance Service and are dispatched daily—by an on-duty paramedic in its Emergency Operating Centre—in response to incidents of major trauma. When an emergency is too grave for paramedics to stabilize on scene, HEMS are who they call.

As we search for a place to pick up some food, I ask Dr. Gareth Davies—medical director for the charity—how attending to major trauma every single day might affect one's perception of the world.

"It's one of the real burdens of this job," he replies in a low half-laugh. "You see danger where others don't. Particularly if you have children; you wouldn't allow them to do anything if you based things on what you saw. In a weekend, you may have two instances where a bookcase fell over and killed a child. Naturally you'll run home and make sure your bookshelves are secured to the wall."

"Or just buy them a Kindle," chips in the driver, London's Air Ambulance paramedic Richard Webb-Stevens.

"It can give you a fairly surreal view on life," continues Gareth. "But the things you see that appear common are actually fairly rare. And in a population of 10 million people, perhaps only five or six patients will actually meet the criteria for a London Air Ambulance dispatch."

Richard Webbs-Stevens drives London Air Ambulance's rapid response car around central London. This and all photos below by the author

Based at Whitechapel's Royal London Hospital, London's Air Ambulance is widely recognized for its daily aerial missions. Their red helicopter and advanced trauma teams played a critical role during the 7/7 bombings, when Davies and colleagues were deployed at all bomb sites, the helicopter ferrying teams and supplies, and helped to treat over 700 patients.

They were also instrumental in treating trauma after the Soho nail-bombing attack in 1999. But at night, they retire the helicopter and medics switch to ground-response cars, on call for immediate dispatch anywhere inside the M25—the highway that encircles London.

We stop at a small, buzzy Indian restaurant. As we wait in line, I ask more about the nature of their dispatches.

"Most are road traffic collisions," explains Gareth. "The most common being pedestrians hit by other road users—usually cars—but in many cases lorries or motorcycles. The second is patients who've fallen from heights. And the third is penetrating injuries—shootings, stabbings, and the like. Occasionally, drownings, hangings... In the end, major trauma tends to be random with very few predictable patterns."

A paramedic seconded to the team sits in the London Ambulance Service's emergency operations center and filters 16 of the 36 brackets of calls that come through their computers. It's their job to dispatch the team, sometimes further interrogating each call prior to a potential dispatch.

"So what are you listening for to qualify as major trauma? Like, with a stabbing?" I ask from the backseat of the car.

"We're looking for key words: neck stabbings, chest, junctional stabbings to the groin," replies Richard. "There's a slang they use with the gangs down here called 'bagging.' The idea is they'll stab you in the buttocks near the anal hole or the junction, resulting in you having to wear a colostomy bag for the rest of your life. Calling it that can be quite emotive. You think, 'It's a stabbing—dispatch, immediately!' But a lot of them can be dealt with by standard paramedics on scene."

"Or you can listen to an RTC ," he continues. "With the public you may get around 15 emergency calls for the same event, ranging from, 'It's the worst thing I've ever seen, the guy's leg is hanging off,' to finally ascertaining the person is conscious, with no significant injuries and a dislocated patella. It's quite a sticky area, so the questions are extremely rigid.

Dr. Gareth Davies and HEMS medic Richard Webb-Stevens perform gear checks at the start of the evening

"One question the ambulance service will ask is, 'Is there serious bleeding?' Now, for me and Gareth, serious bleeding would be literally hosing out blood. A simple head injury can bleed profusely... you don't die—it's rare you'll even go unconscious—but it looks really dramatic to the average person."

As we chat, Gareth's radio splinters into life. It's a call.

After a few seconds planning the route on an iPad, we're pushing 65 mph through central London. The car punches through traffic, Zone 1 opening out into motorways and flyovers, a slow swooshing sound as the cars around us shrink into the rear view mirror. A short time later, the car pulls over into silence.


The scene is windblown, sparse, and desolate. Out here in the suburbs of Essex there's been a serious traffic collision. Police tape ripples on closed-off roads. There's a scatter of debris, police cars parked at hurried angles and two ambulances sitting in a nearby forecourt.

I'm told to leave my camera and dictaphone in the car as I step into the cold. A young police officer shows me around, highlighting the point of impact and the arc of the collision with broad movements of his arms. Patient details remain highly confidential, but the scene is extremely serious and Gareth and Richard disappear into the back of a nearby ambulance.

Less than an hour and a half later, after treating and stabilizing the patient on scene, we drive back under convoy to the Royal London, Gareth riding in the ambulance.

"I like the humanity we bring with HEMS," says Richard. "You can offer adequate sedation like morphine to relieve pain, something standard paramedics aren't qualified to do. Ultimately, there's the next step with really serious patients that require surgical interventions. As a paramedic on the road, you can't do those things. But with us, even when we're in the helicopter, it's all about bringing the hospital to the patient, as opposed to the other way around."

Related: Watch 'Young Reoffenders,' our film about a group of young men in Oxford trapped in a cycle of reoffending and going to jail

As well as their increased roadside capabilities, one thing that makes them different is the technology they pack. They are the first service to carry blood on board in the UK and have developed field-leading technology such as the Resuscitative Endovascular Balloon Occlusion of the Aorta (REBOA). This small, balloon-like device is inflated inside the body to stop patients bleeding to death from a pelvic hemorrhage, an injury common among cyclists.

London's Air Ambulance carried out the world's first roadside REBOA in June of 2014 and has treated over 34,000 patients since 1989.

"In terms of serious trauma, the average paramedic will see one major trauma per year, whereas London's Air Ambulance will see around five a day. So by the time you've finished your nine-month secondment, you've technically seen about 100 years worth of trauma compared to the average paramedic," says Richard as we pull away from the hospital and back out onto the road.


HEMS medics wait for coffee after a call

As we sit for a coffee in a late-night spot opposite Liverpool Street Station a small group of city workers stumble past, balancing a tray of tequilas. The contrast is slightly disorientating, given the last few hours.

I ask what it feels like: hammering through the city under blue lights towards a road or a tube station, aware someone may be moments from death. Or in instances of gang violence, may still be dangerous.

"It's surreal, because I won't get told what the job is," says Richard, the paramedic who drives as the on-board doctor navigates. "You can kinda guess if it's a tube station and I have to put on a stab vest, for example, but the idea behind it is that you don't become emotive in different scenarios and drive differently—that every job is identical."

"And what about the potential for violence on-scene?" I ask Gareth as he sips his coffee.

"There's undoubtedly degrees of tensions. This can be in simple road traffic collisions or certainly in assaults and the use of knives, guns, baseball bats," he says. "For some people the only currency they have to barter for a friend who's dying is to threaten those that are tending to them—'If he dies, you die'—that sort of thing. You have to have a bit of a sixth sense for when things are likely to flare up, even after they've appeared to calm down."

Driving under blue lights towards a call

Halfway through our chat, the radio cuts in. It's a shooting south of the river. We exit the cafe, slip on some Kevlar, and Gareth pushes the siren. But a few minutes later, midway over London Bridge, the job is canceled: the patient may be stable.

This scenario is an extremely common one. Over the previous 12 hours, 3,000-plus calls came through the operating center. London's Air Ambulance was dispatched to four, with ultimately canceled as patients were likely stabilized, not as critically injured as initially thought, evacuated onwards to a hospital, or died prior to their arrival.

As we head back to the Royal London for the shift change, I recall Gareth's story at the beginning of the evening. Growing up on the Isle of Man and seeing crashed motorcycle riders during its famous TT race lying in the road in need of help is what set the scene and brought him here. And I'm curious of his take on perception versus reality with London's emergency services.

"The public probably feel every vehicle with blue lights flying around is saving lives," he says. "In reality, there are only a small number of jobs where you can try and change someone's life.

"What's sadder, though, is when you get home you may have done many different jobs—from shootings to road traffic collisions—and not one bit of it makes the news. You suddenly realize that much of what happens is normalized in society; that those things are considered fair game. We see the trauma like a disease—like meningitis or leukemia—we're here to prevent it. And when big events don't get acknowledged, you realize something like that's just not important to everyone."

Support London's Air Ambulance with a donation here.

Follow James on Twitter.


Australian Dudebros Are Using Canadian Ski Towns As a Never-Ending Bachelor Party

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Undeniable photographic proof that no one knows how to party quite like Aussies. Photo courtesy of Dean

Today in Whistler, BC and Banff, Alberta, two of Canada's most picturesque, prominent ski towns, thousands of Australians have collectively taken to the mountains to snowboard, smoke weed, rail coke, and drink excessively for Australia Day, their home country's national holiday. Some are waving big dark blue flags, others are wearing kangaroo or koala onesies while shotgunning beers, and still others are half-naked despite the fact that they're surrounded by snow. But Australia Day is not the only time of the year when Aussies are partying in towns like Whistler and Banff; in fact, it's just as common, if not more at times, to find them amongst Canadians and other tourists. But why the fuck are there are so many of them here in the first place?

"It's a big, big part of the culture out here; if you come to Whistler on Australia Day, it's pretty much bigger than Christmas," Amy, a 26-year-old Australian living in Whistler, told VICE.

The explanation for why this is, at least in part, can be chalked up to the Working Holiday Program that Commonwealth countries take part in. Though the specific regulations depend on your country of origin, if you currently want to go to Canada on this kind of visa, you must be between 18 and 35 years old to be eligible. If you get a visa, you're allowed to come work temporarily in Canada for two years—and what you do in your free time while you're not working, well, that's up to you. Though the minimum wage is pretty damn high in Australia—over $17—many young Australians choose to temporarily leave their home country behind to go travelling or on working holiday as a rite of passage. When it comes to Canada specifically, the country provides them with something their home does not have much of—snow.

"I left a ridiculously high-paying job I loved, my friends—hell, I missed the birth of my best friend's first-born child by coming here—left family to move to the other side of the planet to play in Neverneverland and act immature and just work, party, and snowboard," Dean, a 23-year-old Aussie living in Whistler told VICE.

You'll meet the odd Aussie travelling elsewhere in Canada, though no destinations in the Great White North are quite as popular as places like Whistler or Banff. In fact, the proliferation of Australian people in Whistler is so intense that it has even earned the town the nickname of "Whistralia."

There are no official statistics recorded about what percentage of Whistler's population is Australian at any given time, but most inhabitants of the town who spoke to VICE estimate that currently it's roughly 40 to 50 percent.

Rafaella Avalon, a 24-year-old Canadian who works a retail job in Whistler, said she often has tourists come up to her, surprised they've found someone who isn't Australian.

"I've never gone out on Australia Day because it is absolutely fucking insane," she said. "You can just hear Australians going apeshit all over the place. Everyone gets naked; it's completely out of control." Avalon also said when it comes to some Aussie bros, she has experienced a lot of misogyny and lame attempts at picking her up when she's out partying, including one pickup line a la How I Met Your Mother that ended with an Aussie offering to "paint a pretty picture all over my cunt."

READ MORE: Australia Day in Whistler is Kind of Insane


Is this the back cover of a Ween album or Whistralia? You decide. Photo courtesy of Dean

"When boys get out here, they get Peter Pan syndrome, where they feel like they don't have to grow up, and they feel like they're getting that experience because our colleges aren't as crazy as America or Canada," Amy, who works at a nightclub in Whistler, told VICE. "I've also heard it said that the girls feel like they've fallen down the rabbit hole like Alice because all of the sudden they're in this world that doesn't make any sense and is absolutely crazy... you survive off $10 a day, and you're living from paycheque to paycheque... and then the drugs."

While the Venn diagram intersection of snowboarding and drug culture has long been established (thanks, Ross Rebagliati), the situation is exacerbated in these towns by the fact that there is such a great number of young inhabitants. In both Whistler and Banff, according to Stats Canada, an overwhelming majority of each town's population is between 20 and 30 years old.

On top of all of that, when it comes to Australia, their drug scene is a lot different. According to the Aussies who spoke to VICE for this article, you'd pay about $250-$350 for a gram of cocaine in Australia. In Canada, that price drops significantly to $80, or $100 if you're getting really good shit (or just getting ripped off). An MDMA capsule will run you $20-$30 in Australia, whereas in Canada it's common to get better quality ones for $10 each, sometimes even less if you're buying a good amount. Then there's the fact that weed is completely illegal in Australia, but in BC, you can easily get access to premium-grade kush typical of the medical marijuana industry.

"When I came out here, it was really kind of a culture shock because I had never had anything to do with drugs before," Amy told VICE. "One of my first house parties I went to out here... someone asked me if I wanted coke, and I went, 'Yeah, I'd love a can!' and everyone laughed at me." Though she herself stays away from doing drugs, she said the majority of people she knows in town smoke weed, do coke, MDMA, mushrooms, and "everything under the sun."

Just another day on the mountain. Photo by Daniel O'Keefe

For Dean, he has taken advantage of how easy and cheap it is to get good drugs while in Canada. "There was a wedge-rafting rodeo afterparty, beyond ridiculous amounts of alcohol, and people dressed in stupidest outfits, which ended in a three-day bender at my house," he told VICE. "There was also once a random Monday night out where myself, my now ex-girlfriend, and two buddies consumed way too many MDMA caps and couldn't work out how to open any doors." He also mentioned a night in Whistler when he consumed an entire sheet of Ritalin he had gotten from Central America, forgot how to walk, and had to be carried home by a bouncer.

A Canadian woman who goes by the name Kassa Nova and used to be a gogo dancer at a club in Whistler remembers having a lot of her own interactions with Aussies while at work. She says she's seen Aussies fall down stairs and out of taxis, and has also dealt with some of them trying to get on her dancing podium and pushing them off into the crowd.

"Aussies are fun, they know how to party—I'll give them that," she said. "We're all here to party. Aussies come here to party and bang a bunch of bitches, and then they leave."

She says she once went home with one after her shift and had a "confetti party," wherein they ran around her house shooting confetti guns at each other and blowing bubbles. After they were done, she says she kicked him out. "I don't think I could ever date one, personally I think they're kind of arrogant. I've come to almost not like the accent—it's annoying to me now when I hear it."

Since drugs and drinking, as well as skiing and snowboarding, are a big part of the culture, injuries can be a common occurrence.

Sam, a 27-year-old Aussie who came to Whistler on a working holiday with a group of his friends, says he's seen injuries happen every now and then. "Sometimes people go too hard or snowboard when they're drunk—that's happened to a couple friends of mine," he said. "Another friend of mine was just rolling around on a skateboard in a skate park, fell over, broke his arm, and had to go home. It's pretty common especially during the summer... you get lots of people riding around drunk on their bikes coming home from the pub."

Emergency physicians and nurses who work in Canadian ski towns say Australians make up a big part of their clientele.

"You can say they pay down a significant part of our mortgages," said one ski town doctor, who spoke to VICE on agreement of anonymity. "But we love them. They are awesome, hilarious, and usually super sweet. Mostly." The doctor added that nurses look far ahead in their schedule in hopes of avoiding working the night of Australia Day.

But for all the Aussies who come to Canada to party like Lemmy, there are also those who seem to be here for more wholesome reasons. For Olivia, a 25-year-old Aussie originally from a small town who has lived in both Banff and Whistler, she said her and her Aussie boyfriend "fell in love with mountains, which were just so different from home... we knew this was a great place for snowboarding and adventures."

Sam also mentioned how he loves waking up every morning and being able to hit the slopes, and was able to sum up why exactly the experience overall of going on working holiday in a Canadian ski town is worth it for him: "I get to snowboard, party all the time, meet great people. I'm going to be 60 years old one day, and I am going to look back and remember this as the best couple of years of my life."

Follow Allison Elkin on Twitter.

The 'Danger' of Patrolling NYC Projects Was Used by the Defense at a Cop Shooting Trial

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Photo via Flickr user Dave Hosford

On Tuesday afternoon in Brooklyn Supreme Court, defense attorney Robert Brown asked New York City Police Officer Andrae Fernandez when public housing cops are supposed to unholster their guns.

Fernandez paused, looking confused. "Can you rephrase, please?" he asked. The attorney retraced his steps, asking instead how many times Fernandez has pulled out his own gun in eight years on the force. Again Fernandez hesitated, visibly pondering the query. "Hundreds of times?" Brown suggested, breaking the silence.

"That's fair to say, yes," the officer responded.

The answer was exactly what the lawyer was looking for. It suggests armed caution is only natural for a public housing officer, like Fernandez, who polices in New York City's most dangerous neighborhoods. The grim contention comprised the meat of the defense on day two of the Akai Gurley trial, in which Officer Peter Liang is being tried for the accidental—but fatal—shooting of Gurley, a 28-year-old unarmed black man, in the decrepit stairwell of a project in East New York, Brooklyn.

The charges against Liang include criminally negligent homicide, second-degree manslaughter, second-degree assault, reckless endangerment, and two counts of official misconduct. Like Fernandez, Liang was a housing officer, assigned to patrol the neighborhood's Pink Houses, where the emphasis on quality of life crimes—and violence—was high.

On Tuesday, the details of what exactly went down at 11 PM on November 20, 2014, when Gurley and his friend Melissa Butler were headed downstairs from her apartment, were deeply dissected. The prosecution called Miguel Rivera, a resident of the building who had been friendly with Butler. Rivera was in his apartment with his wife, Melissa Lopez, when Butler frantically knocked in search of help as Gurley lay dying on the floor.

"She was panicking," he told the court. "Like, 'Oh my God, there's blood on my hands.'"

While Lopez—who testified Monday—jumped to call 9-1-1, Rivera stayed in the doorframe, assessing the situation from afar. He did not, he conceded, head down to see Gurley's body himself in the landing below. But he told the court that Liang looked just fine throughout it all—an account the defense contested, saying Rivera had previously told prosecutors Liang "was panicking and said, 'I shot him' and then said, 'Oh shit, let's get out of here.'"

After Rivera's testimony, the prosecution asked the two officers who responded to the radio call to offer context on the incident.

First up was Officer Salvatore Tramontana, who was on patrol with Fernandez at the Cypress Houses, another housing project down the block, at the time of the shooting. When the two arrived at the scene, Tramontana said he took over CPR for Melissa Butler, while his partner checked the stairwells for any other activity.

Like Fernandez, Tramontana's cross-examination mostly focused on how a housing officer should act in potentially perilous situations, and specifically "vertical patrols." The controversial procedure consists of officers scanning a building, floor by floor, as Liang and his partner were doing at the time of Gurley's death.

Tramontana told the court he arrived at the crime scene with his gun still in his holster, but reaffirmed, "Sometimes, you don't know when to pull it out." He added that being in a stairwell doesn't necessarily mean an officer would have his or her gun out; that it really depended on the situation. The protocol is the central issue here: Was Liang acting recklessly, and out of line from standard practice, when he fired the shot that ultimately killed Gurley?

The day before, prosecutors painted a scene where Liang failed at every junction: he fired his 9mm Glock sidearm without first scanning the scene; he failed to administer CPR, a tactic in which he was trained, after Gurley was hit by his ricocheting bullet; and he failed to call for help immediately—instead reportedly texting his union rep—as Butler performed CPR on her dying friend, prosecutors said.

"Peter Liang broke rule after rule after rule," Assistant District Attorney Gary Fieldner told the courtroom in his opening statement Monday.

When Fernandez took the stand on Tuesday, he told the court he was "informally trained" to have his gun out during vertical patrols. The defense honed in on that as an indication of Liang's innocence, the idea being that the shooting was a tragic accident that could happen to anyone on the job. Fernandez also told the court that the lights were out on the eighth floor, where Liang fired his gun, flashlight in hand.

A video played for the court during the testimony of Detective Matthew Steinar, a veteran crime scene investigator who surveyed the stairwell the next morning, corroborated Fernandez's claim. It was a first-person perspective of the walk down, which was dark and silent—almost Blair Witch Project esque. Gurley's clothes and blood smears are still visible on the concrete by the doorway on the fifth floor, where he eventually collapsed and died.

Follow John Surico on Twitter.

A Painfully In-Depth Analysis of the Worst Bit of Graffiti I've Ever Seen

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Photo by Richard Smith

The walls surrounding the VICE UK offices are like nectar to a hummingbird for graffiti artists. I guess it's our fault for having an office on the route of seemingly every street art walking tour in London, but it's impossible to get into work without seeming some hamfisted political statement thrown up on a wall between an ad-agency and the development site of a forthcoming Byron burger.

On Noisey: We Interviewed A Bunch of Black Metal Cats

Over time you become immune to the Mickey Mouses with Enron-logo eyes and "Capitalism" written in the shape of the Coca-Cola logo. But today I saw one of the worst bits of graffiti I have ever seen, on the wall on the sandwich shop around the corner. This is graffiti so bad that it needs to be deeply, deeply analyzed, graffiti so bad we maybe need to question whether graffiti as a concept is now over, that it is resolutely dead, that from now on we should ban graffiti, not because it is anti-social or effects housing prices or any other ridiculous reason for being dismayed by graffiti, but because graffiti is Extremely Bad And Must Be Stopped.

I mean, just look at the state of this:

Yeah: That's a starved-looking kid in a tin bathtub holding an Oscar. Yeah: That's a social commentary on the whitewashing on the Oscars. You hear that, The Academy? Do you fucking hear this piece of stenciled graffiti on the side of a sandwich shop in east London? A sandwich shop called B.L.T., or Big, Loaded, Tasty, which sadly closed late last year because gentrification is the greatest threat to our bacon sandwiches since foot and mouth? Do you even consult what is spray-painted on the side of a closed down and sorely missed sandwich shop in London when you announce your nominations?Did you even stop to consider that a graffiti artist called Pegasus would take two hours and several carefully taped up bits of printed-at-home stenciling to blow your white little insular world apart? No you didn't. But I did.

So let us dive into the tin bathtub of this so-blunt-it's-like-opening-a-can-of-beans-with-a-baseball-bat artistic message, here, and consider: what is it saying? Who is it for? And how close is the graffiti artist Pegasus to a coffee table book and a popular range of mugs and posters?

THE DECISION TO TURN THE "S" IN "OSCAR" INTO A DOLLAR SIGN

If you thought this was just a searing indictment of the racial inequality in this year's key Oscars nominations for this key awards then you'd be wrong, idiot. Lean in and look closely, get near it and squint: the "S" in "Oscars" has been—ever so subtly—transformed into a dollar sign with the addition of a single stroke, blowing your tiny fool mind to pieces. You can see Pegasus, at home, with his copy of Photoshop and his laser printer, can't you? "Hmm," he's thinking, "how can I make this piece of wall art even more woke?" And then it hits him: The Oscars are about money. Films are about money. Money is bad. Dollars are the American money. Maybe there is a way to dilute this extremely basic entry-level opinion about the Oscars. Maybe there is a way to distract from the core message that is dominating Oscar-related headlines and throw in a little jab about the fine American dollar in there, too. Maybe there is a way to make the Academy aware that we are onto them and their money-liking ways. And he selects the "S," and goes to the font drop down, and—ever so slowly—changes it to a $. "Heh," Pegasus says. "Boom."

THE NEED FOR A CAPTION IN THE FIRST PLACE

There is a reason nobody on earth likes political cartoons, and that is because they are essentially all diagrams of a hand holding a hammer with the label "THE BAD THING" and then something that is being squashed by the hammer—migrant family, favored political leader of the newspaper in question, a puppy—labeled "THE GOOD THING," all against an inexplicable desert background, and then you look at that and go: Ah, I see now how the bad thing is in opposition to the good thing, and now I understand thoroughly this complex political issue. And there is a big cartoonist signature on the bottom, all faux ink splodges and a self-given nickname like "Jarv." Wait, look, I can do one myself:

What I Learned from Living with the Controversial Catholic Sect Opus Dei as a Queer Person

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Michaelengelo's 'The Creation of Adam.' Photo by Jörg Bittner Unna via Wikimedia

There are always a few anecdotes you can tell at a party that will be guaranteed to break up the usual repetition of young drunken chat. My mic-drop anecdote, as a 27-year-old queer person who often wears a women's sequin tops with hoop earrings and lipstick, is to say: "I spent a year living in an all-male religious commune run by the obscure Roman Catholic sect Opus Dei, actually."

Once you pop that cork all prior conversation is derailed for at least a good five minutes as people ask you why and how you survived the best part of 2010 living in effective celibacy with a midnight curfew in a religious house of residence where women were not permitted to enter. My standard answer is "it kind of happened by accident." Which is simplistic but, in essence, accurate.

I had been fervently religious in my teens—I spent my final year of sixth form deciding whether to apply for a degree, drama school, or to enter a monastery. As I began to question my faith around 18, I decided to pursue an English degree. In my three years at college I stopped attending church every week, began smoking, drinking, and taking drugs. I came out—first as gay, then started wearing women's clothes. I promptly started seeing a female friend and updated everyone that I was bisexual as I started my finals.

The year after my degree I decided to do a postgrad law conversion course in London. The recession had happened and I was getting by with a loan. I'd found Netherhall House in North London in an internet search for affordable accommodation that was term-time only. On arrival, I was greeted by the director of the house, a man named Peter. Peter asked me what I was there to study and I explained I'd be at the College of Law. "Ah, I used to be a lawyer at Allen & Overy before I was asked to come and work here," he said.

The author at university

This—his use of the passive voice—was my first inkling that the presence of Opus Dei ("the Work of God"—often called "the Work" by its members) was behind the scenes at my new home. Netherhall House was opened in north London in 1966 to be an intercollegiate hall of residence for male students studying anywhere in London. It was founded under the financial and spiritual direction of Opus Dei.

It can be difficult to explain what Opus Dei is to regular Catholics, let alone to those outside the Church. The organization was founded in 1928 by a Spanish priest, Josemaria Escriva—now a saint—whose spiritual framework for Opus Dei lay in the idea that holiness could be found not in a monastery or in church but through the performance of your ordinary work. It has been described as the most controversial force within the Church, and critics describe it as secretive and elitist.

Opus Dei encourages a strong work ethic. This is, arguably, why many of my housemates—some of who were members, or whose parents were—were postgraduates on some of the most prestigious courses in London. Many of my housemates were Spanish, Latin American, or Polish and had excelled in secondary or tertiary education in their own countries before moving to London to study—sciences, medicine, and economics were common.

Escriva himself is the source of much of the controversy about Opus Dei. Members refer to him as "the Father," and it is clear from historical accounts and his own letters that his repulsion for Spanish communism drove him into the arms of the fascist dictator Franco. Though a religious, not a political, organization, it became clear to me that most of my fellow housemates were from wealthy backgrounds, with extremely conservative politics that accompanied their religion.

The organization is made up of mostly lay members with three different membership types. Peter was a numerary—the strictest type of member. Forming 20 percent of the Opus Dei membership, these are members who live in Opus Dei centers segregated by sex and are celibate for life. They usually work in normal jobs. Indeed they are often high-flyers: doctors, bankers, lawyers—but they hand over the bulk of their salary to the Work. When Peter discreetly said he was "asked to come and work here" he meant that after years of being a high-earning lawyer in the City and paying his salary over to Opus Dei, he was asked one day to simply resign for good and start a new career running Netherhall. Would Peter's lawyer colleagues in his past life have known about his life outside of work—the celibacy, the lifelong commitment to Opus Dei? It's hard to say but discretion (or, as some angry ex-members see it, "secrecy") is part of the way Opus Dei functions.

Supernumeraries are the the largest group. They are ordinary people, often married with children, who take their spiritual direction from Opus Dei rather than their local parish. Ruth Kelly, a minister under both Tony Blair and Gordon Brown, was an Opus Dei supernumerary.

Women were not permitted in the house—as residents or guests. After seven years as an effeminate teenager in an all-boys' school, university had been a time of much greater freedom in large part due to the presence of women. Now, in an all-male space again, I found little there for me.

I had renounced much of masculinity already and here I found not a laddy space like school but somewhere filled with men artfully impersonating a new type of manhood—religious and nostalgic for a time that never existed. For instance, one resident named Frank smoked a 25-year-old pipe. Another, Luca, spoke earnestly about courting a girl from the women's counterpart house like it was the 1940s. There were a couple of others who were almost certainly queer but not saying it. My suspicions seemed to be confirmed years later when I spotted them at East Bloc, a gay club in East London. These were men so desperate to speak of women with dignity and respect that they made them very much an "other"; nothing more than a receptacle for their own anxieties.

The author at confirmation

When I say no women were permitted to come in the house that's not strictly accurate. Opus Dei has a third type of member—the numerary assistants. All women, they too are celibate and devote themselves specifically to the physical care (i.e. the cleaning) of Opus Dei centers and houses like Netherhall. At 9 AM every morning the small, cell-like room I had would be opened by Peter—a signal that it was time to leave my room for no less than two hours. The ground floor door to the stairs was locked until 11 AM to prevent us having any contact with the invisible women who would clean and tidy our rooms every day. One morning, I was accidentally locked upstairs with them. The numerary assistant who saw me dropped her eyes and seemed very anxious. Saying nothing, I bolted down the corridor towards a fire exit balcony.

Misogyny is one of the most common accusations against Opus Dei. In 2002, a former member Isabel de Armas, published a book, Being a Woman in the Opus Dei, which accused Escriva of misogyny and megalomania, and the organization of marginalizing women members and imposing "complete submission" upon them.

This traditionalist environment had an impact on my own gender presentation. I stopped wearing makeup and wore more boyish clothes—just as within a few weeks I stopped attending the communal meals I paid for as part of my fees because I had nothing to say to anyone at the table. The "family" with which I was living was not an unkind one and I was questioned gently at times about "participating" more. But it was not my family; invitations to get more involved only made me retreat more into my room over the Advent and winter period. I considered leaving after Christmas but costs were prohibitive and I still had my course.

Related: Watch our documentary about the struggles of LGBT people in one of Europe's most homophobic countries, Albania

When spring came, I was joined once or twice in my room by a fellow resident—a Polish guy who seemed as discontent there as I did. He had started chatting to me around the house and in the end I invited him to my room for some wine—frankly because I had no internet. He started explaining to me how he was doing a masters but wanted to be a hairdresser. He was the first person to introduce me to the drug mephedrone—which was legal at the time and which he had delivered to the house in regular post in large packages ordered online at his college. Mephedrone is a drug associated with gay sex, which is funny given I was taking it merely to be sociable in the most sexually austere of environments.

In our disinhibited conversations, he gradually explained how he was bi and had very religious parents who would have only let him come to London if he stayed at a religious house. I could tell by his ear piercings and facial hair he had no investment in the community we were living in at all. The drunkenness made him seem almost like an unreal figure—an imaginary friend children craft in solitude. We both knew this was a transient time and there was no true friendship to be built upon it.

Angry ex-members accuse Opus Dei of being a cult and say it recruits aggressively. Recruitment is called "whistling." I have no doubt some in my year group went on to "whistle" but I cannot say Peter, the staff, or my fellow housemates tried to recruit me. I was a lost cause, perhaps—though they were too polite to say it. Netherhall was a spiritual journey for me but not in the way a middle class gap year in Thailand is. Being surrounded by men living the best kind of masculinity I could envision for myself, I found it so alien. I realized for good my religion could not redeem that gender in my eyes.

Escriva, the Father, reportedly beat himself so hard with rope to mortify his flesh that he would leave his cell covered in blood. Less severe body mortification is still practiced. That I could spend a lifetime beating myself up mentally, if not physically, was the biggest realization about my contact with the Work. I left Netherhall knowing my Catholicism would always be important to me, but that I had transcended its daily realities and no longer subscribed to its tenets.

Inside the Culture of Sexual Violence at America's Colleges

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In anticipation of the upcoming fourth season of our HBO show, which will premiere February 5 at 11 PM, we are releasing all of season three for free online along with updates to the stories. Today's installment follows up on a dispatch called "Campus Coverup," which explored the culture of sexual violence at US colleges. Watch the episode below:

It's easy to feel pessimistic about what many argue is a broken system that allows rapists to walk free without punishment on American college campuses. And it's even easier to suspect the situation cannot be changed. According to the latest research, roughly 20 percent of young women will endure sexual assault while at college; most will not report it, and those who do sometimes find themselves caught in a bureaucratic maze of campus tribunals and independent investigations. Often, the long, painful process of reporting a sexual assault leads to nothing more than an invasion of the alleged victim's privacy, a possible triggering of traumatic memories, and a slap on the wrist for the accused.

Last spring, host Gianna Toboni explored the epidemic of campus sexual assault with a new lens on VICE on HBO. Rather than focusing on the victims or the perpetrators, she chose to hone in on the dysfunctional institutions: probes led by poorly-trained professors, administrators who effectively evade responsibility, and the disciplinary committees that mete out meek punishments for students deemed guilty. We spoke with her about grassroots movements to protect students, the possibilities for concrete nationwide reform, the importance of calling out colleges, and why it's a good thing that sexual assault is always in the news these days in America.

VICE: Obviously, campus rape cases have been a huge topic of interest across the US in recent years, but was there a tipping point that inspired you to film this documentary?
Gianna Toboni: Before The Hunting Ground or the documentary that we did, it didn't feel that there was a comprehensive film that covered . I've seen a lot of media organizations investigating other journalists instead of looking at the institutions and their mishandling of cases. I felt like there were a lot of journalists who were looking into picking apart stories and picking apart reporting instead of looking at the abuse of power that's still happening across the country. I thought it'd be good to do a story where we didn't really focus on the survivors or the perpetrators, but more on why these cases were not being adjudicated properly and why people weren't getting justice.

Did you face a lot of resistance from the universities you investigated? Sexual assault seems to be handled by many colleges as a touchy PR issue.
We reached out to, I couldn't tell you, up to a hundred schools, but we didn't receive a direct yes from any president. We wanted to interview presidents and deans but we found that to be very difficult. In the end, we didn't talk to any of them.

There was a lot of pushback, even from campus police investigators and other university personnel. They were standoffish. That's no surprise to anyone who was working on this story. The first scene in the film, when we go to the protest at Columbia, you see me trying to talk to the dean there, and he just wanted nothing to do with it.

Was it also difficult to get students to tell you their stories?
When you talk to students who have been through something so traumatic, it's a tough thing to talk about, especially because they're young. In many cases, they haven't gotten any help--they haven't talked to therapists or anything—so retelling your story can act as a trigger.

The women we spoke to were great; they were very open to telling their stories. The reason they were telling these stories was not to get attention. It was clear that they understood the greater good. It was clear that they understood that something was wrong in the country, and they wanted to help in whatever way they could, even though it was a painful process for them to go through.

Many of the people you spoke to were women. Did you encounter many men who were working towards reform, too?
I didn't come across any all-men groups, but I did come across men who were speaking up on behalf of the issue. There was one school in Missouri where a lot of young guys—big, buff jocks, exactly who you don't expect to be standing up in defense of these women, and they were. It was really touching. When we were on this campus tour with Senator McCaskill, a few of them stood up and said, "We always have sober people at our parties who can make sure that nobody is being taken advantage of. This is as much a concern for us as it is for the sorority girls here."

It was cute—you know, they really cared about it. And truthfully, this isn't an issue that women alone can solve. We need men to be standing up and doing something about it, which I think is happening.

Did you come across any unconventional approaches to preventing rape on college campuses?
On campuses where young women felt their schools weren't doing enough to prevent these situations or adequately respond to them, they would come up with their own system. They would make lists of guys who had in some way violated students, and write all their names down, and post these lists in sororities and in girls' bathrooms, so that girls would see their pictures and names, and they would know to stay away from those guys. They would know which fraternities to stay away from. That was a grassroots thing that I thought was pretty cool.

How much do you feel reform will need to come through federal and state law, and how much reform can happen at the campus and grassroots levels? Could the system be fixed through Title IX a case-by-case basis. I really believe that there are administrators out there who want to protect their students, who have their hearts in the right place. And then there are schools where they do not care about protecting their students, especially if it's going to taint their reputation or be a hit to their business. So for those schools—and I don't think it's one or two schools, I think there are a lot of schools like that—I think they need the pressure of the federal government and the threat of losing a percentage of their funding, and I think it's working.

When you're at these schools and you hear Senator McCaskill talk to dean and other administrators, it's clear that they don't want this press. They don't want the federal government investigating them. If it's some sort of public shaming like that that's going to cause these universities to change, which it seems it is, I think that's a good thing.

Is it possible that some of these universities—the Ivy League, for starters—are so closely linked to the government that there's a risk of officials turning a blind eye to their own alma matters?
I'm not sure. I'm hopeful that change will come anyway. I always expect that there is going to be some sort of corruption or abuse of power in these situations, but overall I really do think that there are senators who are committed to cleaning the system.

Looking more closely at the campus tribunal system, did you find common, basic errors that allowed offenders to walk away without punishment?
I wasn't an expert going into this story, and I was listening to .

Recently, there have been discussions around universities that allow rapists to graduate, and to enter the workforce without any disciplinary marks on their record indicating that they've committed sexual assault.
That's one of the biggest problems. Even in these adjudication hearings, even in this small percentage of cases where somebody is held responsible, that's exactly it: They graduate or they don't graduate, but they leave the school, and they don't have anything on their record. They can go to their workplace or to bars or to clubs or wherever. Some psychiatrists say that the grand majority of these cases on college campuses are done by a small percentage of people who are serial rapists; if an individual is a serial rapist , then that's a real issue. Half of society is at risk of being assaulted by this person. Honestly, it's going to be a long process. If that system changes, it's definitely not going to be tomorrow.

Consent courses are one of the more recent moves universities have made to protect their students. Did the students you spoke with feel these were an effective way of preventing assault?
While we were doing this story, the Yes Means yes legislation passed in California. At the schools I visited, I asked students about that, and they seemed to be discouraged by were the answer.

You've reported all over the world with VICE. How does the US stack up in terms of protecting students from sexual assault?
I think to a lot of people it may seem like we're not doing as well because is in the media all the time, but I actually think that's a positive sign. It means we're talking about it; it means that finally women are comfortable coming forward and reporting their assaults. In other countries, if you're not hearing about it, it's not because the assaults aren't happening.

I don't think we have a higher percentage of sexual perpetrators is being discussed in the media and that it's exploded like this. We are finally able to put pressure on those who need pressure put on them. We're finally addressing the issue in a small way.

Follow Jennifer Schaffer on Twitter.

You Can Make a Fortune Selling Tree Seeds in Nepal

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All photos by the author

Vivek Agarwal sat at the counter of his shop in Kathmandu, behind the glass display cases filled with goods. The merchandise, laid out on red velvet under bright white lights, gave the place the air of a jewelry shop, and his products wore price tags listing hundreds, thousands, and (stashed away in a safe location) even tens of thousands of dollars. Agarwal doesn't stock Rolex watches or diamond rings—he's in the market of selling gnarled, brown tree seeds.

"These aren't just any seeds," said Agarwal. "These are the tears of god."

The seeds, known by their common name rudraksha, are grown from a broadleaf tree (scientifically, Eliocarpus ganitrus) in the foothills of the Himalayas and are believed to bestow healing powers and tranquility onto those who wear them. There are variations of the story, but the common legend says the seeds are tears of the Hindu god Shiva, who was sitting in meditation for thousands of years and burst into tears of ecstasy when he finally opened his eyes and set sight upon the universe.

"This sells for $100," said Agarwal, holding out a bracelet made with seeds the size of gumballs. "This one is worth $500," he said, pointing at a single seed, "and this," he said, carefully extending out what looks like shriveled prehistoric fruit loop, "is worth $1,750."

Rudraksha trees are a common species in Nepal and other parts of Asia, and their fruits can easily be picked up off the ground in public parks. Beneath an outer rind is a segmented seed, the most common being ones with five segments. Five-faceted seeds aren't worth much financially, but mutant seeds with more or fewer than five parts are rare, and it is the mutated seeds with the highest number of facets that bear the biggest price tags.

Agarwal's stock ranges from rudraksha with one to 21 facets. Each type is believed to have unique connections with different gods or goddesses in the Hindu pantheon, and therefore each seed grants the wearer a different type of power.

"The two-facet rudraksha are associated with Shiva at Parvati and are good for marriage, mental peace, and pregnancies," explained Agarwal. "The ones with three facets are associated with Lord Brahma, Vishnu, and Shiva, and are effective for meditation and concentration—very useful for school children who do not possess high learning abilities."

In terms of money and rarity, the seeds are sort of a Nepali equivalent of the grilled cheese sandwiches burned with images of the Virgin Mary (which sold for $28,000) or the cornflake shaped like the state of Illinois (which sold for $1,350). But unlike those one-off rarities, the seeds make up an entire industry.

Quality can vary, and there are more affordable forms of lesser-quality rudraksha available in the street markets, but individual seeds can sometimes fetch thousands of dollars. Strands of seeds can sell up to $40,000. The most expensive seed behind Agarwal's counter was priced at $1,750, but he also had two others stashed away—the Gauri Paat (Trijuti) and the 21-mukhi rudraksha—which sell for $20,000 and $45,000, respectively.

It's worth noting that over 57 percent of Nepal's population lives off of less than $2 a day, and a good salary for white-collar workers in the Kathmandu valley is around $300 per month. For those who are able to cash in on rudraksha, the trade is quite profitable. Last year, the Kathmandu Post reported on a Nepali farmer who was offered 2.5 million Nepali rupees—around $23,000—for a tree. Though the tree had not yet produced any fruit that season, the farmer had earned $10,000 a year selling seeds from the tree in the past.

For a westerner, it's hard to understand how these seeds could be worth their price tags, but Nepali mythology tells a different story. For thousands of years they were (and continue to be) used by wandering holy men, sadhus, and sanyasis, to protect against negative energies, black magic, and poisons in water.

Another rudraksha dealer, Sunil Shrestha, told me about the powers of rudraksha from his trinket shop in Thamel, the commercial district of Kathmandu.

"You'll feel the powers of these seeds as soon as you touch them," said Shrestha. "They lower blood pressure and people who wear them become cool-headed and feel guided by a higher force." (No scientific studies have been conducted in the West that show a correlation between rudraksha seeds and positive effects on physical health and mental wellbeing in humans.)

Despite all of the hype, it didn't seem like many people in Kathmandu were wearing the seeds. Instead, Agarwal says, most of his customers are wealthy tourists from India and China. "Nepalis don't have the money to spend on things like this," he said. "The Indians and the Chinese, they're the ones willing to buy the rarest and most expensive seeds."

Though there are probably cheaper ways to attain tranquility or healing, those who believe deeply in the powers of Rudrakshha maintain that feeling the powers harnessed by the seeds firsthand can convert even the most skeptical.

"It's something you just have to feel to believe," Agarwal told me. "These seeds are a gift from God; whether we use them or not is up to us."

Follow David Caprara on Twitter.

How 'Dance Dance Revolution' Helped Me Recover After a Gigantic Boulder Fell on Me

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A screenshot from 'Dance Dance Revolution'

Back in 2000, Konami's Dance Dance Revolution was the weird thing in the corner of the arcade. Covered in bright colors, it was incredibly loud, and far too excited about Japanese music and video—and so was I, making us a perfect match. Even in clubs, in front of an audience, I danced like a pinball machine trying to release a jam, firing all motors and connections and hoping the people watching didn't start hitting me. I played DDR back when stepping onto the metal stage could always draw a crowd, each and every onlooker gawking at a game using body parts that weren't fingers and/or thumbs. Some would still shout that I was an asshole, of course, but I was having fun, could clear "eight feet" difficulty, and I just didn't care about their jibes.

That was until a cave in western Ireland collapsed on my left leg in November 2000. Immediately, every connection I had with the game was crushed.

If you stub your toe, it tends to puff up and throb a little. Stub your entire leg, however—which I definitely don't recommend, especially not on a boulder heavy enough to crush a car jack—and it swells up so that the inside becomes too big for the skin around it to contain. Surgeons counter this bad biological TARDIS with the sophisticated technique of "cutting great big holes in your leg and leaving them open to see what dies." After my accident I spent plenty of time in the hospital, and every couple of days the experts would poke at these new pockets that had taken the place of my leg, rummaging around as if they were looking for rotting keys and carving out whatever they could. Eventually they stapled the holes closed. By the time they were done I'd lost a bunch of tissue, nerves, and muscles—and the ability to actually stand up.

Obviously it sucked. One of the machines connected to me did nothing but suck the leaking juices out of the holes. I could feel chunks of my brain fusing together from the constant current of pain. My best friend was Cyclimorph, a kind of morphine I shot up that sounds more like a Transformer than a means of pain relief. But they don't give it to you that often, because it's a bit too much better than everything else, ever. Pills did nothing but waste glasses of water. Hospitals are allowed to carve you open and take things out from inside, but they aren't allowed to ignore an entirely medicinal joint apparently. And even suppositories didn't distract me from the pain.

What worked better than any IV was my friend's N64. I left my broken body to battle virtual agents by uploading myself into the matrix of Perfect Dark. I now have more muscle memories of the Carrington Institute than my first home. Games worked where drugs didn't, because games wrap your body in a Somebody Else's Problem field. They don't block the pain, but they let you put it on a shelf with taxes and voicemails and other shit you'll get around to when you're not eliminating an army of alien terrorists.

A newspaper clipping of Luke's caving accident

A couple of months and some massive skin grafts later, I was hobbling back to the hospital for check-ups—which meant passing by the arcade. I hadn't asked my physiotherapist about DDR, because he'd probably think I was stuttering, and "one working foot" was a difficulty modifier which kicked DOUBLE SUDDEN REVERSE 4X's ass in a way I was surely no longer capable of. But the J-Pop siren songs were strong, and it turns out role-playing as a rave-bound pogo stick is ridiculously fun. More importantly, it didn't hurt! At all! It hurt before, and after, but Dance Dance Revolution can temporarily replace the human nervous system. I wouldn't have thought "DAM DARIRAM" was a mantric chant for escaping your own body, but every second was techno-turbo bliss.

From that moment my recovery wasn't an inspiring story of learning to walk again. It was a high score battle against my own able-bodied ghost. Which is way more compelling. "Inspirational" movie montages about overcoming injury are always set to music, and succeed in 60 seconds, because actually stumbling through it fucking sucks. You're standing on broken bits of yourself and expected to tell the difference between "KEEP GOING" pain and "STOP FUCK YOU'RE BREAKING IT" pain, and those are both the same feeling. Deciding to tough through agony sounds awesome, but in reality it's a decision you have to make at a hundred hertz every second you're still standing.

Article continues after the video below

Related: Watch VICE's film, 'LARPing Saved My Life'

Dance Dance Revolution was a movie montage for real: three minutes of rapid movement, pumping adrenaline, thundering music, and absolutely nothing hurt! I'd be laid up later that night, but for those 180 seconds I was stomping around a body that still worked. Missing muscles were mere modifiers instead of trauma. And the music was way better than the sappy strings you get on television. "DYNAMITE RAVE" and "LOVE(HEART)SHINE" sound like someone worked out how to huff sugared neon.

Every hospital visit was an excuse to work my way back up the ranks. I cleared the first three difficulty levels on crutches before the bouncers even noticed what I was doing and made me stop. I had to hide my crutches before going in, becoming the exact opposite of a secret agent: hobbling up to the target, kneeling outside to fold, and then collapsing my specialized tools, wrapping them in my coat, and going in to be as loud and public as possible.

Soon, I could put my foot down. Which felt like shoving it into metal being boiled by lightning until the music started. Then the flashes of pain were just an extra beat in the music. I was up to four feet difficulty when a gang of scumbags in track suits tried to steal the money saving my spot in line. They relented when I revealed my hidden crutches, only to see me play and cry, "There's nathin' rang with his fuckin' leg!" It's not often a bunch of screaming track-suits accuse you of something positive. In fact, a cluster of track-suits crying that you've deceived them is usually the exact opposite of "your physical condition has improved in the recent past." And I danced right past them back to five feet.

I only ever got back up to six. I survived but would never clear "PARANOIA Survivor MAX" expert again, and that's not a bad trade. I still have to wear a brace to remind my left foot where the missing pieces used to hold it, but I'm still dancing, and thanks to the Kinect I can play Dance Central at home, instead of searching for a DDR armored platform that looks like it was built for a tap-dancing RoboCop.

Luke returns to the cave that broke his leg

Games are escapism, even from our own flesh. Palliative care should be standard for every doctor. Hospital beds should be fitted with Tetris. If someone's going to be stuck on his or her ass for a month, Candy Crush can improve the quality of life. Unfortunately most "gamified" apps are made by people who only heard that word at a funding meeting, which is why they're just to-do lists with dumber animations.

Games aren't louder than our own bodies; they're just more fun to listen to. Bodies only nag us. "I'm hungry!" "I'm thirsty!" "I'm being crushed under tons of collapsed rock!" Who wants to hear that? In the future they'll realize the first true cyborg was a kid ignoring his own bladder to finish a level. Games can push you clear through pain and fatigue, because bright colors and external beeps work way better than bullshit like "hopes and dreams." DDR helped me realize that.

Follow Luke McKinney on Twitter.



VICE on HBO: Why the Ebola Outbreak in Africa Was So Devastating

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In anticipation of the upcoming fourth season of our HBO show which will premiere this February, we are releasing all of season three for free online. Watch all the episodes here, and don't miss the premiere of season four on Friday, February 5, at 11PM on HBO.

In 2014, the worst Ebola outbreak in human history swept through West Africa, killing more than 10,000 people in Liberia, Sierra Leone, and Guinea. The disease spread so quickly in part because the international community was slow to respond, and because the countries where Ebola surfaced lacked the infrastructure, funding, and street-level awareness to slow transmission of the virus.

In this episode from season three of our HBO show, which originally aired June 5, 2015, Danny Gold went to West Africa to investigate how people there had stepped up to gain control of the outbreak, and to learn whether the world is prepared for the next major epidemic.

Then Gianna Toboni visited American campuses to see how universities are really dealing with pervasive culture of sexual violence and why so few students feel that their safety is schools' real priority.

Why Airstrikes Won't Destroy the Islamic State

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In anticipation of the upcoming fourth season of our HBO show, which will premiere February 5 at 11 PM, we are releasing all of season three for free online along with updates to the stories. Today's installment follows up on a dispatch called Global Jihad, which explored the Islamic State's appeal in Europe and US airstrikes against the group. Watch the episode below:

Last spring, America's unofficial war against the Islamic State seemed to be in crisis. "The fall of Ramadi exposes Obama's weak Islamic State strategy, " read the headline of a Washington Post editorial after the terror group captured the key city less than 100 miles from Baghdad. And that was before the attacks in Paris and San Bernardino set off waves of panic about jihadi attacks in the West.

More than six months later, the good news is that there has been some obvious progress since Ramadi fell. ISIS has endured significant losses, and despite ongoing clashes, Ramadi itself is mostly back in the hands of Iraqi security forces.

The bad news is that the biggest battles against ISIS still lie ahead, not only in Iraq and Syria, but in places like Afghanistan and Libya, where the group has spread. The chief question is where the armies to fight those battles will come from. Under President Obama, who was elected on a promise to pull American troops out of Iraq, the US has refused to provide the ground forces to fight ISIS in the Middle East.

Colonel Steve Warren, a spokesman for Operation Inherent Resolve—the military's name for its battle against ISIS—recently told reporters that the Islamic State has lost an estimated 40 percent of its territory in Iraq and 20 percent in Syria in the past year. That's higher than some estimates from outside the Pentagon, but even independent analysis shows ISIS losing turf over the past year.

According to a former Army Special Forces officer who served in Iraq during the last war and now works as a civilian in the country's Kurdish region, US airstrikes have been instrumental in rolling back advances from ISIS and changing the nature of the battlefield in Iraq.

"Nobody feels like ISIS is what it was a year and a half ago," the former officer said about the mood among anti-ISIS populations in northern Iraq. "Nobody thinks anymore that they have hundreds of trucks that are going to swarm out of the desert. Those fears are gone. "

Still, airstrikes alone can't defeat ISIS, particularly in areas like Mosul where the group is mixed with civilian populations. It takes ground soldiers to clear ISIS out and hold ground to prevent its return; local forces had some success in the past year, especially when they had direct support from American airpower, like Kurdish and Yazidi forces had in Sinjar. But there is still nothing close to a broad coalition in the region that can translate tactical gains into strategic victory because many of the groups fighting ISIS, like the Shia militias in Iraq and the Kurdish peshmerga, are also deeply suspicious of each other.

And rolling back the Islamic State's territorial gains, however promising, only tells part of the story.

According to Brian Fishman, a fellow at New America and an ISIS analyst who's writing a book about the group, it's important to remember that the Islamic State is a "hybrid group."

"There are three dimensions in which ISIS has to be considered," he said. First, "how is it doing in the core areas of control in Iraq and Syria?" Second, "how is it doing spreading to the wilayats outside the core?" And third, "how is it doing as a global terrorist organization, committing attacks across the international system?"

"In Iraq and Syria, ISIS is on the defensive from a year ago, but when it comes to the wilayats, they're stronger" Fishman told me. He also noted "reports that they have moved a number of people from Iraq and Syria to Libya," adding, "to the extent that it's happening that's striking. That's the kind of thing people always worried about with al Qaeda."

Lastly, as a global terrorist group, the Islamic State has "executed that obviously very well in 2015," Fishman added, pointing to high-profile incidents like the downing of a Russian passenger plane over Sinai, which ISIS claimed credit for in its house magazine Dabiq and security officials blamed on a terror act.

Retired Army Colonel Derek Harvey, who served in Iraq as a senior analyst under General David Petraeus, believes there's been "some shift in operational momentum," but that the significance of that change has been exaggerated.

" coalition and Iraqi forces have made tactical gains in Ramadi, Tikrit and areas around Baghdad," Harvey, who now studies ISIS as a researcher at the University of South Florida, told me. "But the gains are overstated because many of those areas are still contested by ISIS and the advances are disconnected from any political or security efforts from Baghdad or the coalition to address the underlying factors behind ISIS' rise.

Like Fishman, Harvey believes that the Islamic State's global expansion has been successful over the past year despite US and international efforts to keep a lid on the group. "Strategically ISIS is still expanding outside of Iraq and Syria," Harvey said. " still has tremendous resources, personnel, a recruitment flow of foreign fighters and leadership that for the most part is still intact and strong.

According to the Pentagon, as of December 15, the US has spent $5.5 billion fighting the Islamic State since August 2014, the month the unofficial war began. That's an average cost of $11 million per day.In statements last week, Army spokesman Colonel Steve Warren gave some details on where the money's gone.

"So far in the air campaign, we have flown 65,492 sorties, and we have conducted 9,782 airstrikes," the colonel said of the American-led coalition, including 6,516 strikes in Iraq and 3,266 in Syria. A Pentagon press release adds that "coalition strikes have killed about 95 senior and mid-level ISIL leaders since the beginning of May," and says that, aside from the cost of the air war, the coalition has "provided basic combat training for 16,715 personnel and put thousands more through various specialized training programs."

Meanwhile, the Islamic State's finances have deteriorated, with the group reportedly losing a significant amount of oil revenue due to US airstrikes, which compelled it cut pay for members in half.

Despite the gains touted by the Pentagon and Defense Secretary Ash Carter's recent pledge in Politico magazine to "do more" and "accelerate" the fight against ISIS, the essential limit on US involvement remains the same: There's only so much more we can do without sending Americans in to do the fighting.

"It must be local forces who deliver ISIL a lasting defeat, " Carter wrote, "because only they can secure and govern the territory by building long-term trust within the populations they liberate. We can and will enable such local forces, but we cannot substitute for them."

Jacob Siegel is a writer living in New York and one of the authors of Fire and Forget. He was formerly a reporter at the Daily Beast covering war and security issues. Follow him on Twitter.

Watch the First Trailer for Our New Season of 'BALLS DEEP'

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On February 29, VICE will launch our new TV channel, VICELAND—a 24-hour cable channel featuring hundreds of hours of new programming. It's been a lot of work, but we've had help from some insanely talented people and we can't wait to share our first lineup of shows with you.

We've already released a trailer for our new show,GAYCATION, with Ellen Page, but not everything will be brand new—we'll also be resurrecting some classic VICE series you already know and love and whatever.

One of these shows is BALLS DEEP, where intrepid host Thomas Morton hangs out with different groups of people and gives their lives a try. It's sort of like a foreign-exchange program, but for subcultures instead of countries. And there's only one student in it.

Today, we are excited to share the first trailer for the new season of BALLS DEEP, where Thomas meets up with Pentecostal ministers, high school seniors, tugboat captains, and more.

Give the trailer a watch above right now, and be sure to check out the full series on VICELAND when the channel launches next month. The premiere episode airs March 2 at 11 PM.

Everything We Know About the FBI Shootout That Left an Oregon Occupier Dead

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LaVoy Finicum carrying his rifle during the occupation of the Malheur National Wildlife Refuge on January 6. He was killed by FBI agents on January 26. (AP photo/Rick Bowmer)

On Tuesday, Robert "LaVoy" Finicum, a rancher and spokesman for armed band that has illegally occupied the federally-owned Malheur National Wildlife Refuge in Oregon since January 2, was killed in a shootout with FBI agents on Tuesday. As Reuters reported, the shootout began around 4:25 PM local time after authorities stopped a car carrying protest leader Ammon Bundy along Highway 395, just outside the refuge. Bundy and four other senior members of the group were taken into custody following the confrontation. According to the Oregonian, Bundy was traveling to a community meeting in the city of John Day, where he was scheduled to be a guest speaker.

The newspaper said 43-year-old Ryan Bundy, Ammon's brother, also suffered a minor gunshot wound.

Three other people associated with the group were arrested shortly after the Bundy stop. State police nabbed 50-year-old Peter Santilli, a journalist who livestreamed events at the refuge, in Burns, Oregon. Another man associated with the occupation turned himself in to cops in in Peoria, Arizona, the New York Times reports. Everyone arrested faces federal charges of conspiracy to impede federal officers.

On Tuesday night, activists said the FBI was beginning to set up a perimeter around the refuge, which the militia has occupied as a form of protest. The Bundy Ranch Facebook feed urged its followers to "Pray very hard," about an incoming convoy, signaling, perhaps, that this whole thing might be over soon. The not-so-long saga is the result of the Bundy-led militia claiming to have occupied the Malheur Refuge in support of two local ranchers, Dwight and Steve Hammond, who were sent to prison earlier this month for setting fires that reached federal land. (The Hammonds have indicated repeatedly that they have no affiliation with the occupiers, and that they do not speak for the family.) The occupiers are also angry generally about restrictions on how ranchers can make use of federally-owned land throughout the American West—an issue that also led to a standoff between the Bureau of Land Management (BLM) and Ammon's father Cliven Bundy in 2014.

Watch the VICE News documentary about the occupation:

Already, ominous theories about the nature of Tuesday's fatal shooting and arrests have begun to creep up on the rightward reaches of the internet. "BOMBSHELL: Rancher LaVoy Finicum Shot and Killed by Feds While he was laying face down in the street" read one headline on woundedamericanwarrior.com. "Tonight peaceful patriots were attacked on a remote road for supporting the constitution. One was killed. Who are the terrorists?" offers one of several memes spinning the incident on the Bundy Ranch Facebook page. Another says "LaVoy Finicum stood for your children's liberty. So our government murdered him while he was unarmed with his hands in the air. Who stands with liberty."

The occupiers and some of their supporters seem to be suggesting that Finicum had surrendered and was killed in cold blood. One of the remaining occupiers, Jason Patrick, told Reuters by phone that "the government can kill who they want for whatever reason they want with impunity," and compared Finicum to Tamir Rice, the unarmed 12-year-old African-American boy fatally shot outside a Cleveland recreation center in 2014 by a police officer who was never charged.

Earlier this month Finicum told NBC News that he'd rather die than be detained. He also apparently wrote a post-apocalyptic book about a man who stood up to government and got in a shootout with officers, as BuzzFeed reported earlier this month.

At least one man claiming to have been at the scene, Mark McConnell, disputes the speculation that Finicum played no role in his own demise. On Wednesday, McConnell took to Facebook in the form of a video to give a detailed account of the confrontation in which he suggests Finicum first fled authorities and then charged law enforcement on foot after his truck was stuck in a snow bank.

"Levoy was very passionate about the movement, about what we were doing up here," McConnell said in the video. "This game, it's over. This stage of the game is over, it's time to bring on the next stage."

Follow Brian McManus on Twitter.

Michael: Even Michael's Hair Is Bored in This Week's Comic from Stephen Maurice Graham

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