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The VICE Morning Bulletin

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An homage to Evo Morales by Circus Amok (Photo by David Shinbone via)

Everything you need to know about the world this morning, curated by VICE.

US News

  • Apple Opposed By San Bernardino Victims
    Some of those wounded in the San Bernardino attack are planning to file a legal brief to force Apple to unlock the encrypted iPhone of one of the shooters. "They need to know why, how this could happen," said victims' lawyer Stephen Larson.—Reuters
  • Uber Driver to Be Charged with Six Murder
    Authorities in the Michigan city of Kalamazoo plan to charge Jason Brian Dalton with six counts of murder. Police allege that 45-year-old Dalton fired randomly at his victims, the six people killed at three separate locations, while he continued to pick up fares for Uber.—NBC News
  • Hollywood Is Whitewashed, Finds Study
    A damning new study has concluded the movie and TV industry is "whitewashed" and that an "epidemic of invisibility" exists for women, minorities and LGBT people. The University of Southern California study gives every movie studio and most TV makers a failing grade.—Chicago Tribune
  • HPV Infection Rates Dropping
    A new study has found fewer young women have been infected with human papillomavirus (HPV) thanks to a vaccine introduced a decade ago. For women in their early twenties, the most dangerous strains of the cervical cancer-causing virus have fallen by a third.—The New York Times

International News

  • IS Bombs Kill 129 in Syria
    Islamic State militants have claimed responsibility for bomb attacks across Syrian cities which left at least 129 people dead. The double car bombing in Homs and four separate bombs in Damascus all targeted areas dominated by Shia and Alawite Muslims.—Al Jazeera
  • Morales Set to Lose Power in Bolivia
    Bolivian President Evo Morales has narrowly lost a referendum to allow him to stand for a fourth term in office, exit polls indicate. One poll suggests 52.3 percent voted against the proposal to amend the constitution to allow the socialist president to remain in power until 2025.—AP
  • Army Takes Control of Delhi Water
    India's army has been forced to take control of a key canal that supplies most of Delhi's water, according to the state's chief minister. Protesters from the Jat community—a rural cast—had blocked access to the canal to demand more government jobs.—The Times of India
  • London Mayor Wants UK to Leave EU
    The Mayor of London, Boris Johnson, has declared his support for the "Vote Leave" campaign ahead of a referendum on the UK's membership in the EU. Johnson will be campaigning against Prime Minister David Cameron, who wants the UK to stay in.—BBC News

(Photo by Eva Rinaldi via)

Everything Else

  • Taylor Swift Gives Kesha $250,000
    Swift has donated $250,000 to Kesha to help her with "any financial needs". A New York judge ruled against releasing Kesha from her record contract with Dr Luke, after she sued him in 2014, alleging that he drugged and raped her.—Billboard
  • Meth and Ecstasy Sold On India's eBay
    Dealers are using IndiaMart, India's version of eBay, to sell drugs such as meth, ecstasy, and LSD. IndiaMark claims it is too difficult to keep track of code words like "bath salts".—Global Post
  • NASA Gets New Telescope
    The space agency has announced its next major project: the Wide Field Infrared Survey Telescope (WFIRST). NASA hopes it will yield new insights into dark matter and bolster the search for habitable planets.—Motherboard
  • Rob Thomas Apologizes for Racist Joke
    Matchbox Twenty singer Rob Thomas was booed for making a racist joke about Aboriginal Australians during a concert. Thomas, who has now apologized, said: "I keep drinking until I think I'm a black Australian."—Noisey

Done with reading for today? That's alright—instead, watch director Robert Eggers discuss his puritan horror film, The Witch.


The VICE Guide to the 2016 Election: Scenes from Ted Cruz's Waning Political Revival

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It's Saturday night, and I'm at the South Carolina State Fairgrounds in Columbia, where Texas Senator Ted Cruz, dork-savior of the Christian Right is hosting a party to watch the results of the state's Republican primary. I'm surrounded by people who have Cruz's name written and painted all over their clothing, tough-looking men and fragile old ladies, crispy-tan women and little kids in red sweaters and bowties, all of them covered in CRUZ, buying more CRUZ stuff from stands in the corners of the room and in the hallways.

If I'm being honest, it's an uncomfortable amount of Ted Cruz. It's a Republican bonanza, a celebration of God, the Constitution, and the Senator from Texas, his every virtue and policy. Several times, when someone in this building or on the giant television says something weighty about Cruz or America, a person from the crowd shouts AMEN, like they can't help it, it's happening involuntarily. The whole evening feels imbued with religiosity, a campfire sing-along for the righteous in relaxed-fit khakis.

As expected, Donald Trump dominated the South Carolina primary Saturday, crushing doubts about his long-term viability like a hurricane. Cruz's third-place finish is not a success, and pundits raise questions about whether his win in Iowa was another fluke, driven by the small-town pastors and Christian homeschool moms who inflated Mike Huckabee and Rick Santorum with the same false hope. But no one at the South Carolina State Fairgrounds seems discouraged Saturday night; as Cruz is proud to remind them, he's the only Republican candidate who's beaten Trump so far.

All photos by Andy McMillan

There is popcorn everywhere in this room—on tables, spilled on the floor, kernels clinging to beards. A guy in a pink shirt wipes the grease off his palm with a tablecloth so he can shake another guy's hand. Way in the back, behind a table, a woman is shoveling it from a big machine into red and white striped cardboard boxes, lining them up one by one next to pitchers of unsweetened iced tea.

There is a feeling here of a moment perpetually on the verge. Wa iting for Cruz, watching the drip -drip of poll numbers on screens of all sizes, politics is an economy of activity, of commotion, of keep-you-posteds and let-me-knows and the compulsive refreshing of voting-by-county maps. There are an infinite number of ways to feel like you're getting to the bottom of something—forwarded e-mails, credential confirmations, guys texting while they zip up their pants at the urinal, people staring bug-eyed at laptops, making spastic hand gestures to the guy sitting next to them, trying to cram in a USB cord. In the back of the room, a woman paces holding three different iPhones in her right hand, talking on one of them, covering her other ear.

Over the speakers, a Justin Moore song plays, something about a preacher's daughter. I ask the guy in charge of audio if I can take a picture of playlist. "Absolutely not," he tells me.

The music stops, and the Fox News feed comes back. Someone announces that the network is going to cut to the Cruz party soon, to the room we're all standing in. Everyone explodes like they've had a tiny corner in their brains reserved for monitoring this specific announcement all night. They are shouting in person and shouting on television now, all the televisions, dozens of them, people holding phones up to the person they're standing next to, holding them up to themselves, shouting in these screens too, people shouting at the thought of getting to watch themselves shout.

It's clear, at least in here, that the process of campaigning for president is one of acknowledged powerlessness. Reporters buzzing in swarms, waiting for a press bus or a quote; candidates waiting for votes, for campaign donations, for endorsements; voters waiting for someone to show up . Everyone waiting for little tremors of hope in bleak, grueling nights in a room in Columbia that looks like a lot like the room in Des Moines, and will look a lot like the ones in Tampa, and Reno, and Denver.

Before 8 PM, the networks call South Carolina for Trump. I make it to the front of the crowd, near the stage. Jeb Bush appears on all the televisions. Somehow, without his glasses, Jeb looks more feeble than before, like they were stolen from him. He looks like he's just been crying or chasing a train. Everyone in the room knows where this is headed.

When he announces he's suspending his campaign, the crowd here roars like it's just regained radio contact with a lost spacecraft. There seems to be a near-biological hunger for Bush's abandoned votes, these Cruz fanatics want them all, and they don't want Trump or Rubio to get a single one—you can see it in their eyes; they're on the ground, picking the votes out of the carpet, stuffing them in their pockets, bringing them to Ted to god-bless them.

The televisions switch to Trump, and the crowd at Cruz's party boos loudly. "There's nothing easy about running for president, I can tell you," he tells his jeering supporters. "It's tough, it's nasty, it's mean, it's vicious, it's beautiful." The crowd at the Trump party laughs, and Trump has to interrupt them to finish his thought. "When you win, it's beautiful."

When Trump says this, the man standing in front of me drops his head like he's been knocked unconscious. Cruz's supporters seem to have a fully realized, multi-layered disgust with Trump, his demagoguery, his loudness, the suspected insincerity of his wife's heavily-accented praise of South Carolina.

Texas Lieutenant Governor Dan Patrick gets on stage first, warming up the crowd for Cruz. "Ted Cruz has taken on the entire establishment," he declares, and a little old woman with glittery, golden blonde hair shouts, "Yes! Yes! Yes!" People turn and she stops, embarrassed. "I'm sorry," she whispers to everyone around her. Patrick says something else mildly triumphant, and she shouts again, people turn and she puts her hand up to her mouth; she can't control herself.

A little after that, US Congressman Jeff Duncan is up. A South Carolina Republican, Duncan has been opening for Cruz at rallies around the state all week. He speaks in simple analogies, making allusions to the most universally recognized parts of the Constitution and the Bible, cuing the audience to cheer by speaking faster and faster and louder . The most effective politicians seem to turn a campaign rally into karaoke.

Finally, Cruz is introduced to the stage, a drumbeat coming in low over the speakers, the crowd chanting Ted! Ted! Ted! Ted! Ted! Ted! I realize the irresistible chant-ability of the name Ted. He carries his youngest daughter across the stage; she's wearing a pink dress like her sister. He takes a speech out of his left pocket. "The screaming you hear from across the Potomac is the Washington cartel in full terror," he tells the crowd, before moving on to some other stuff about God and gratitude and the decency of Jeb Bush.

Nothing he says seems particularly new or revelatory—it's mostly his standard stump speech, a political sermon filled with rightwing rallying cries, and other allusions to God and the Constitution. The people here have likely heard it before, but they're yelling and cheering anyway—it's what they came for.

Later, as Cruz walks off stage, he sees a young girl in a purple dress in the crowd; she's leaning against the stage railing with a copy of Dr. Seuss's Green Eggs and Ham, the book Cruz read "to his daughters" during his 21-hour protest of Obamacare in the Senate in 2013. The girl opens the cover and Cruz autographs the inside. Then he looks to her, to everyone, to America, and says, "God bless you," enunciating the double "S" so hard I wonder if the eyelashes on the woman next to me might blow off. As Cruz walks off, two people ask the girl if they can take a picture of his signature in the book. She holds it up like a marlin.

Follow John Saward on Twitter.

The Many Crimes of the 'Sick Ripper,' the Worst Alleged Serial Killer in Connecticut History

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William Devin Howell, who's accused of six Connecticut murders and has already been convicted in a seventh killing. Photo via New Britain Police

Something kept calling Chief James Wardwell back to the woods.

In August 2007, a hunter found what appeared to be a human skull discarded in the dense, swampy foliage behind a nondescript shopping plaza in New Britain, Connecticut. The discovery, in a post-industrial city with a large immigrant population, led local police to partial remains belonging to three missing people. "I kept on going back, bringing back our investigators to search again and again," recalls Wardwell, who at the time was running the New Britain Police Department's detective bureau. "We were never satisfied that all the remains were found."

The New Britain cops did not relent, bringing in a special cadaver dog from the feds last spring. Police systematically excavated the land, going down several feet below the surface across some three fourths of an acre, and eventually discovered remains belonging to four more people. Cops, already believing this was the work of a serial killer, put up a $150,000 reward to help find the perp, the largest sum in Connecticut state history for a criminal investigation.

But the state already had its man in custody.

That same week in August 2007, a drifter from Hampton, Virginia, named William Devin Howell was sentenced to 15 years in prison after pleading guilty to manslaughter charges over the death of a 33-year-old woman named Nilsa Arizmendi. Despite the plea, Howell denied responsibility for the death, suggesting he was forced into a deal. At the last minute, in fact, Howell tried, unsuccessfully, to withdraw his guilty plea.

"I offer my sincerest condolences. I know they feel I murdered their daughter. I didn't murder Nilsa," Howell told the judge during the sentencing, according to the New Britain Herald.

Arizmendi's blood was found inside his van, according to police, but the body wasn't discovered until it turned up last spring behind the shopping plaza.

She was last seen getting into a van in July 2003, during a six-month period in which six other people vanished in and around New Britain. It took another decade for cops to put the pieces together, with the other missing dead eventually identified as Melanie Ruth Camilini, Diane Cusack, Marilyn Mendez Gonzalez, Joyvaline Martinez, Mary Jane Menard, and Danny Lee Whistnant. The victims varied in age, but police say all led troubled lives that in some cases were defined by drugs and prostitution. Cops suggested they were most likely lulled in under a ruse by a man promising a quick fix.

For years, police eyed Howell, now 45, for the murders, formally charging him in September. If he is convicted of the six additional killings, Howell will become the state's most prolific serial killer ever, surpassing Michael Ross, who was executed in 2005 for killing eight women: six in Connecticut and two in New York.

It's unclear why Howell would have picked an unremarkable swath of land behind a dance studio and a Subway franchise for his "garden," as he allegedly referred to it in prison. (Wardwell declined to theorize what motivated the killings, citing a pending case.) In 1995, a young woman was found shot in the head in the same wooded spot, but police suggested that case is unrelated to this one. Meanwhile, according to court records, while serving out his initial manslaughter sentence, Howell told an inmate that he dreamed about his seven victims and the plot where they were buried. He also allegedly described himself as a "sick ripper" who had a "monster inside of him that just came out."

A burly man who did odd jobs like cutting grass for a living in New Britain, Howell lived out of a van he allegedly dubbed the "murder mobile."

After killing one of the victims, which he apparently referred to as his "baby," Howell slept next to the body, wrapped in plastic, because, he allegedly said, it was too cold for a burial at that precise moment. According to court records, an inmate claimed Howell admitted to raping his victims, and that during one sex act involving a victim, he discovered the person was a man, and killed him. Howell allegedly took a hammer to another victim, cutting off her fingers.

The investigation was made easier when blood and DNA matching the missing were found in Howell's van, a 1985 Ford Econoline, according to Wardwell. Howell faces nine total counts of murder, including capital felony murder charges, though Connecticut has abolished the death penalty; if convicted during trial, the maximum punishment would be life in prison without the possibility of parole.

As Wardwell puts it, "Certainly this has been the biggest investigation in the department's history."

And it might not end at the city limits.

Authorities in Florida recently looked into Howell as a suspect for the unsolved 1991 murder of 21-year-old April Marie Stone, whose body was found off the side of a dirt road outside of Orlando. At the time, Howell, who was living nearby, had recently pleaded guilty to soliciting prostitution after he offered an undercover $15 for oral sex.

Check out our documentary about a serial killer who targeted poor black women in Cleveland.

Through tears and broken English, Maria Matos sat outside New Britain Superior Court in December as she recalled her daughter, Joyvaline Martinez.

"Very nice...athletic," Matos said. "She liked wrestling and running."

Joy, a standout runner in high school, had apparently fallen into drug problems around the time she disappeared. Her sister Sandra knew something was up when Joy didn't show up to celebrate her own 24th birthday on October 26, 2003, according to the New Britain Herald. (Joy always celebrated with her mother, whose birthday is around the same time.) Sandra last saw her sister about two weeks before that, when she was heading to their mother's to pick up some clothing.

A few years later, when Martinez saw that remains had been found behind that shopping plaza, she reached out to police and told them one of the unidentified corpses might be her sister, the Herald reported. But due to a backed-up state lab, it wasn't until years later, in 2013, that Joy was identified. The night before Howell's arrest, Martinez said she dreamed about her sister, who told her, "it was okay."

Shackled to a chair and appearing via video conference, Howell was courteous and employed a thick southern drawl during a December court appearance. "The state has to prove its case beyond a reasonable doubt, and in this country you're innocent until proven guilty," William Paetzold, Howell's defense attorney, told VICE in a brief statement.

This week, Howell will decide whether to pursue a probable cause hearing for the murder charges, a sort of mini-trial where the state must meet a low burden of proof in order to proceed. (Howell's attorney said he doesn't know if his client will waive the hearing.) The case probably won't actually go to trial until sometime in 2018, thanks to what local prosecutor Brian Preleski called "the largest quantity of discovery I've ever had" at Howell's last hearing.

For now, there's a 'No Trespassing' sign on the wooded property where Howell is said to have buried his secrets. Only the families of the victims are allowed in.

"They searched for their loved ones for so many years," Wardwell says. "We were happy we brought them some closure. It's sad it had to be this final word."

Follow Justin Kloczko on Twitter.

Harmony Korine Looks Back at His Strange Last Two Decades

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Harmony Korine has spent just over two decades drawing equal parts praise and revulsion. At 19, he wrote the Larry Clark–directed Kids about a group of New York City skateboarders, one of whom has both HIV and a passion for having unprotected sex with virgins.

The film caused plenty of controversy at the time—it was 1995, the AIDS crisis was at its high point, and the movie featured kids smoking weed and beating the shit out of people for no reason—but Korine was also praised for his writing. Like Gummo, his 1997 directorial debut, the movie has since become a cult classic.

I recently met with Korine at the Gagosian Gallery in London, where he's exhibiting Fazors, his new series of paintings. We talked about his films, his lost years, and his love of the TV show Cops.

VICE: Let's start with your directorial debut, Gummo. I'd imagine, after writing Kids, the studios were anticipating something vaguely similar, not a nonlinear art film.
Harmony Korine: Yeah, I don't think there was any understanding before, or even after, on the part of the studios or people who financed the movie. I remember giving the script to Miramax, because the studio had produced Kids, and I don't think any of them even made it past page eight. I knew the only reason I'd ever get a chance to make Gummo was because of the success of Kids, so when New Line Cinema financed it, it was more like, "Here, take this money, and hopefully you'll have, like, the residue of the success of the last film." But I was really focused on trying to create something specific that had to do with something that was a vision inside me.

I read that the TV show Cops was a big inspiration.
Yeah. I had a segment from the show that was about glue sniffers, which I re-edited so it was just a kid sitting on a stump with gold paint in his mouth. It was a repetition of him just saying the same thing over and over again and hearing the cops talk to him—a beautiful image of gold flecks of paint and dust flying out of his mouth. I thought I could contextualize that and put it into , but we found his family, and he'd died, and the family didn't want to give us the rights.

Cops was weirdly groundbreaking for its time—pre-internet, you didn't see a lot of that kind of stuff in the media.
Yeah. Also, it was the first representation of what I'd seen growing up in the South in any type of media. There was no proper representation of, like, Southern culture or trash culture. The most exciting thing on the show was that they would kick a door down, and you would see heavy metal posters on the wall or some kid with a Bone Thugs-n-Harmony T-shirt listening to country music. It was the first time you'd see that kind of weirdness at the cross sections of pop culture. It was a really influential show because it was the first time people were seeing this.

A scene from 'Gummo'

You wrote Kids at 19 and were directing at 24. Was is it daunting making movies at such a young age?
It was fun. It was a surprise, maybe, to my parents or to the people who grew up around me because I was mostly a delinquent, but for me, it wasn't a surprise because I knew I needed to make things at that point. It was exciting because I was finally getting to do what I wanted, but at the same time, it was crazy—I started getting into narcotics, and there was a wildness to it all.

In the late 1990s, you set about making the movie Fight Harm, where you'd provoke strangers to the point that they would beat you up. What made you want to make it and why was it never completed?
I just wanted to make what I thought would be the greatest comedy of all time. I thought there was always some essence of violence in the purest form of comedy, like WC Fields slipping on a banana peel, and I thought the repetition of getting into fights would be funny. I saw Fight Harm becoming one of the most popular things I could ever create, but really quickly—after eight or nine fights—it started to take its toll, and I ended it.

You stopped making art and movies from 1999 to 2007, after Julien Donkey-Boy. Where were you in those missing years?
I mostly disappeared. I didn't really want to have anything to do with anything, really. I just wanted to live a separate life. I was obviously super enthusiastic about narcotics, and so I was probably coming out of that. I lived in London for a while... France and South America. I guess, in some ways, those are lost years.

Were you burnt out?
I don't even know if I was burnt out. I always want to entertain myself, so when things become too serious I check out and go do something else. I don't really care what it is—as long as I'm making something, I'm OK.

How were you entertaining yourself during that time?
Mowing lawns or shooting guns.

Were you making movies?
No, not really. At that point in my life, I was more drawn to a more criminal mentality.

Were friends concerned about you or urging you to get back into making things?
I don't think so. Toward the end of that period, I was so lost and debased. I pretty much disconnected from everyone I knew.

Photo by the author

You returned with Mr Lonely in 2007, which is such a sad movie. Did those years play into that sadness?
Yeah, probably. I was coming out of something, and there was a sadness to it.

That Iris Dement song you used in the final sequence is heartbreaking.
I remember watching the first cut of that movie; I thought, Holy fuck. I couldn't believe I had spent so many years making something so sad.

You've said that you hardly watch any movies these days.
I maybe see ten movies a year. Before, I'd see ten movies a week. It's weird because I still believe in them, but my perception of movies or the power of images has changed. I don't even know why movies are two hours long anymore. Films are about emotions and poetry and transcendence—something enigmatic. Why does it have to be feature length? It could almost be a flash. My experiences with new movies don't go as deep as they used to, but if I re-watch movies that meant a lot to me as a kid I still get really excited about them. I thought Mad Max was amazing. On the surface, it was so simple—it was almost like a video game. I thought it was best movie of last year.

We're in an age where so much content is streamed. Do you still care about having your movies open in the cinema?
Always! For me, when making movies I'm always thinking about the cinema experience. That's why I haven't made television yet: Television is a writer's medium. Not to say there aren't good things in it, but television—no matter how good it is—is underwhelming. The size of it, and sitting in your living room. It's pedestrian, whereas cinema is magic, it's huge, it envelops you, and there's something completely sensory when it works. Whereas television now is more relaxed; you can pause it and eat a hamburger.

With 2009's Trash Humpers, you shot on VHS using a bunch of video cameras you found in thrift stores.
Near my house in Nashville , there was an old person's home; they lived in this basement and would only play that band Herman's Hermits. I'd walk by at night and see some of the people were super horny; they'd be rubbing up against each other all the time. It was a highly sexualized thing, and as a kid, it would really freak me out. It's one of those things that stuck in my head, so Trash Humpers was a continuation of that idea—of trying to make something that was visually really corroded and horrible, but at the same time had a real American vernacular to the imagery. I was trying to tap into the way things looked and felt growing up.

You edited everything on VHS tape decks, too, right?
It was in the middle of summer, and my editor was 90 percent blind. He was always shirtless, and he would just sit there and take pencils and start wedging them into the VCRs, getting these kind of beautiful glitches. We were trying to imagine, How do you make a movie that you can imagine was found in the guts of a horse or buried in the dirt? Now you can buy VHS apps for your phone and mimic what took us a really long time to do.

Ashley Benson, James Franco, and Vanessa Hudgens in 'Spring Breakers'

You often see indie directors like Gus Van Sant go from making small, left-field indie movies to big studio pictures, but Trash Humpers to Spring Breakers in 2013 was such a radical jump. Was that difficult to get off the ground?
The easiest part was the actors—that part was very easy. But every movie I've ever made has been hard to make. I've never had an easy experience.

Because of studios getting involved?
There are always those people—no matter what you're making. It's never commercial enough. No one is ever happy enough. There are always people who want to push you in that one direction. I know in my heart if it's right, so I don't doubt myself. People can have their opinions, and I will listen, but in the end, I will know I'm on the righteous path, so it doesn't bother me. Everything is perfect, no matter what happens, even if I'm creating disasters—it's all meant to be the way it is.

Your upcoming movie, The Trap, is about a boat-robbing crew in Miami, and you've spoken before about this idea for it to be ultra-violent and akin to a drug experience.
I'm always trying to get to a point where the movie-making is more inexplicable—an energy, rather than anything steeped in narrative. I was always trying to do something that was closer to a drug experience, or a hallucinatory experience, or something more like a feeling. There's a language that I've been trying to develop for a while, so that was what The Trap was going to be a continuation of. But I don't know if I'm going to make that movie. I was supposed to shoot in May, but I lose interest. It's not that I'm not making it. I'm just almost done with another script. I'm going to make one of the two this year, I'm just not sure which one.

Let's talk about your art. How long have you been painting?
I've always painted. I've made artwork for as long as I've been making movies, but over the last few years, it's taken over.

ON MOTHERBOARD: Watch 'Connected,' an Exclusive New Sci-Fi Short Starring Pamela Anderson

Tell me about the Fazors series.
This series was just me trying to make artwork without a specific fixed point. There was a pattern that I started with, and I was taken by this—I call it "phasing." They're kind of sensory or energy-based paintings. I wanted to work with colors that were, like, cut from the sky or something. Again, they relate to the other stuff—the looping, phasing, trancing—and there's a physical component. Like, if you look at them for a while, they wash over you.

And you chose to work on this huge canvas size?
I often do small stuff, but for shows, the size is almost like a movie screen—it feels like there's something powerful about the size.

Do you go into the studio with an empty head and just start?
Sometimes. For this series, I worked on them for a long time—it took a year or so to make these. I'd just go into the studio every day and start riffing. The figurative stuff is more intuitive; there are specific characters I've been drawing since I was kid that keep coming up in these ones.

Finally, I have to ask about David Letterman saying you were banned from his show in 1999 for rifling through Meryl Streep's purse in the green room while you were high?
The way Letterman tells that story, I don't really believe it's true. Truth is, I probably did eat a couple of pounds of shrooms right before, so my hallucinations were probably pretty on point, but at the same time, if you see a revolver in a purse, what are you gonna do? Do you know what I mean? You're gonna pick it up and play Russian roulette.

Harmony Korine's exhibition Fazors is on display at the Gagosian Gallery, 17–19 Davies Street, London, until March 24.

Follow Steven on Twitter.

In Serbia, Being an Anti-NATO Nationalist Means Being Pro-Putin

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This article originally appeared on VICE Serbia.

On Saturday, after days of mostly verbal fuss over the Serbian parliament's approval of a law affirming cooperation with NATO (which is really just a legislative confirmation of an almost decade-long agreement), hundreds of ultranationalists and supporters of right-wing movements gathered for an anti-NATO protest in the capital city of Belgrade. We were there, watching them wave Russian flags and proudly carry iconographic photos of Russian President Vladimir Putin.

The protest was held on the same day that national authorities confirmed the deaths of two Serbian embassy employees who had been allegedly held hostage by Islamic State fighters in Libya before being killed in a US air strike. But this wasn't the protestors' focus. They were more disturbed by what they said was a "betrayal" of the Serbian statehood and a slippery slope in which they see their country falling into the hands of "Western masters." To remedy the problem, they wanted to call on Putin for help.

Serbia is not a NATO member, but protests against the organization aren't unheard of, even in member countries like the UK. People have marched against the requirements for demilitarization or their opposition to their home country taking NATO-led military action without the general population's support before. In Serbia, with its turbulent history of relations with both Western countries and NATO—its war planes bombed the country for three months in 1999 for its then-regime's treatment of ethnic Albanians in Kosovo—these sorts of protests are far from unexpected.

But the protest against NATO "stealing Serbia's sovereignty," complete with flamboyant Russian flags, pompous photos of Putin, and a march toward the Russian embassy in Belgrade, separates Serbia from other opponents of the military machine. We don't want NATO boots on our soil, but apparently Putin's are fine?

- Aleksandra Nikšić

Here's How One Music Festival Could Decide Whether Britain Leaves the EU

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Photo by Will Coutts

This has been a weekend of staged political drama in the UK. On Friday, the EU "renegotiation" was announced last minute, and its contents seemed somehow less exciting news than David Cameron's ruffled shirt and up-all-night bloodshot eyes. On Sunday, Boris Johnson dumped the Conservative leader by text before engineering a media scrum outside his home to announce he was campaigning for Brexit. But among the hoopla and posturing, something that might actually affect the way you vote happened, in the sense that you might not vote at all.

Cameron announced the referendum would take place on June 23, a.k.a. the Thursday of Glastonbury—technically, it's the day before the festival starts in earnest, but in recent years, over 90 percent of attendees have been on site by Thursday morning.

Even though this is a national referendum, you still have to vote at the polling booth closest to your address on the electoral roll, which means that the hundreds of thousands of people attending the festival will either have to vote by mail or not at all.

In a narrow vote, could a large number of young left-leaning people at Glastonbury make a difference? One Conservative minister has already had to play down concerns of an Out campaign conspiracy to schedule the referendum at the same time as the festival.

I spoke to Adam Drummond, research manager and head of polling at Opinium, to find out if Glastonbury could have any impact on whether Britain stays in the EU.

VICE: Are people who go to Glastonbury likely to feel one way or the other about Europe?
Adam: Back in the 1980s, Labour was advocating pulling out, and it was seen as a capitalist conspiracy, and there's an element of that that has come back to life under the Corbyn leadership. But in the 1990s, it has generally been people on the right who want to pull out . So, even if you were to assume Glastonbury is full of left-wing people, it's hard to tell. Younger people are much more likely to want to stay in than pull out, and the over-65s especially are really keen to come out. As Glastonbury is a younger crowd, the "In" side is missing out on some voters.

The festival organizers are urging everyone going to sort a postal vote in advance. Could there actually be more voters, in that they might be more organized than they would have been otherwise?
It's very possible. The changes to the way people are registered to vote has changed recently—it's moved from household to individual vote registration—and so there are lots of people who have actually fallen off the electoral roll without knowing it. So if this is actually a prompt to go and re-register, that might actually benefit whichever side they tend to support.

Is there any way in which organizing a vote the same week as a big event like Glastonbury could have been done tactically?
That wouldn't make a lot of sense. There's a real attempt by Cameron and Osborne to appear fair so people on the right of the party wouldn't be able to say it was rigged. There are three different groups that aren't allowed to vote that would be disproportionately likely to vote to stay in—there are 15- to 17-year-olds, EU citizens living in the UK who are allowed to vote in local elections, and there are also British expats living elsewhere in the EU. So there are all sorts of other ways that could have been used to change the electorate and to rig it. It's overkill to say that they are doing it on purpose when it's a proportionately tiny number of people who are going to be at Glastonbury.

Almost 200,000 people will be at Glastonbury on the day of the vote, though.
That's 200,000 people of what we'd expect to be about 30 million votes, so it's not likely to make a massive difference one way or another. The lowest turnout age group is 18–24 year olds, and the older you are, the more likely you are to go out and vote. We're expecting this to be around the same as the general election turnout—60 to 65 percent—so if Glastonbury is predominantly full of younger people, it won't have much impact. It also depends on how close it is. One poll is saying there's a 15-point lead in favor of staying in, in which case it wouldn't have any sort of effect whatsoever because 200,000 people all voting one way isn't going to affect that, but if you look at the online poll, it's a dead heat. Obviously, if it's a much closer race, it will have much more of an impact.

People are also commenting that it's the weekend of the Euro group stages, so England could be in/out of Europe in two ways.
I don't think it would have anything more than a really marginal effect. Although it is possible to imagine an only slightly far-fetched scenario in which the race is on an absolute knife-edge and England is knocked out after some sort of controversial 'hand of God' moment by another major European team, causing that news to dominate in the media during the days before the vote, and Out wins something like 50.1 percent.

Can we trust the polls after the 2015 general election fiasco?
Nobody can quite explain why that was, but one thing we've had to correct is that there were too many overenthusiastic young people saying they are going to vote Labour when actually their demographic group didn't turn out at as high a level as the polls said they would. In terms of relying on polls, use it as a data point and use a range of sources.

What do you think it's going to be? In or Out?
At the moment, I think it's 50/50. It could go either way. Before this week, if Boris had come out in favor of staying in, I would have said it's 45/55 to stay in, but at the moment, it's quite up in the air. The way that the Tories are splitting is interesting. Rather than having most MPs coming out in favor, you've actually got quite a large chunk of MPs saying they want to come out, and you've got a well-known figurehead in Boris Johnson. But if there were a gun to my head, I would say stay in.

Follow Tess Reidy on Twitter.


How Primal Scream Therapy Has Survived Five Decades of Strangeness and Controversy

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Arthur and France Janov

A woman shouts, "Go away, leave me alone!" as she takes a swing at a punching bag. A couple yell at each other. A man rocks back and forth, holding a teddy bear, sobbing. Another man screams and weeps in a therapist's arms.

This is primal therapy, and it's quite something to behold. Founder Dr. Arthur Janov once described his psychotherapy method as "the most important discovery of the 20th century," but the vast majority of people in the mental health community see it as pseudoscience or even a kind of scam. That hasn't stopped Janov and his supporters from touting it as a mental health treatment that's simpler and more effective than everything else out there.

Primal therapy largely rejects the uncertainty of conventional psychotherapy. Say goodbye to years on a shrink's sofa, endless self-examination, or CBT's charts and homework. With Arthur Janov's tried and tested method, so its adherents say, you'll be free of your neuroses in no time.

At the Primal Center in Santa Monica, California, Art—as he's known by friends and family—runs a foundation with his second wife and one-time patient, France, who does most of the talking when I call the center (Janov is now 92 and suffers from a throat condition that makes it hard for him to speak). She explains that clients come from all kinds of backgrounds.

"It's people, quite often, who've done other therapies, and they didn't get anywhere, or they could feel there was more that they had to access," she says. "A lot of people who've done a lot of drugs, or drink too much, or have a sexual life that is overly active or not active enough. All the shit that neurosis makes, basically, it all comes from the pain that had to be repressed, and it all comes from the unfulfilled need to be loved, because being loved means having your needs fulfilled. It's pretty simple."

"We are all creatures of need," writes Janov, and when those needs are not met as children, we create neuroses, obsessions, anxieties, and depression.

Freudians traditionally prescribe intensive sessions of therapy—sessions that can go on for years, even decades. Janov has a different answer: The only way to rid yourself of depression and anxiety, he argues, is to return to the state we were in when we first felt rejection: screaming, shouting, rolling around on the floor. Whatever it takes, get it all out.

Janov's peers have never been entirely convinced that his method works. A 1996 poll of practicing psychologists asked therapists what they felt were the most effective treatments available and found that primal was the approach "most in question as to soundness."

"Primal therapy has been pretty much debunked by all of the legitimate psychological organizations," says Janja Lalich, author of Crazy Therapies. "Very few legitimate therapists still use the treatment at this point."

Lalich argues that primal therapy exhibits many of the characteristics of a cult, comparing its emphasis on controlled catharsis to what she describes as the "high arousal" techniques used by sects to brainwash and subdue believers.

"These kinds of techniques essentially make the person more vulnerable," she says. "So whatever the situation is, trying to convince people that they're getting better, or they're crazy—no matter what your problem is, they've got the same answer."

In response, Janov says, "We have 50 years of published material to the contrary. We have several scientific articles in the journal Activitas Nervosa Superior, plus other journals. We do serious science and leave the nonsense to others."

Art Janov at the original Primal Institute in West Hollywood in the 1970s

Primal may well be included in a number of a legitimate journals, and there's no doubt it has worked for patients in the past. However, it's also hard to deny that the treatment has a tendency to sell itself as the cure for every neurosis, and that its therapists often overstate its effects.

"In psychoanalysis, you have to be there for 30, 40 years, or until you die or whatever," says France Janov over the phone. "But in primal, once we have restored the capacity of feeling for the patients—once they have what we call 'access'—our patients don't need us."

Janov's message has always had something of a messianic tone to it, straying off the path of what's socially acceptable in psychiatric circles. Janov declared in a 1971 interview, for instance, that he could fix everything from alcoholism and menstrual cramps to "homosexuality."

It's a position he does not refute when I ask him about it in an email, claiming that "we have done it" in "restricted circumstances," before writing, oddly, that "I assume you are gay but do not pay attention to the hyperbole."

Primal therapy originated out of a conversation Janov had with a patient in 1967 in a group therapy session about a strange performance the man had seen. The performer spent much of the show shouting "Mama!" at the audience and encouraging others to join in. Before long, the crowd was screaming and crying.

"I encouraged this young man to do the same," Janov writes. "He refused, but I insisted. Finally, he began to scream 'Mama!,' fell off the chair, and was writhing in pain on the floor. It went on for a half hour, something I had never seen before. When he came out of it, he touched the carpet and said, 'I can feel!' He felt different."

The front covers of two of Janov's books on primal therapy

Janov's 1970 book The Primal Scream was a cultural phenomenon, and the treatment was soon all the rage: John Lennon tried it, channeling the suffering of his childhood into Plastic Ono Band; the future voice of Darth Vader, James Earl Jones, said it helped cure him of smoking and hemorrhoids; pianist Roger Williams described Janov as one of history's greatest men.

Einar Jenssen, a London-based psychotherapist, worked and trained with Janov at his Paris institute in the 1980s, before becoming disenchanted with what he portrays as a cult-like organization driven by financial, not medical, objectives. By the time Einar Jenssen joined the primal movement, the optimism of the late 60s and 70s had been replaced by realism, and Janov was one of many psychiatrists pushing the limits of the scientific method.

Jenssen says that money was "always" a prime motivation for Janov, often leading to patients being taken on, he says, who were in no condition to go through such an intense process. He was shocked, for instance, to be given a 19-year-old with paranoid schizophrenia to treat.

"There was no way she could function in Paris on her own," he says. "If it had been an inpatient clinic, she might have been able to function in some way, but she couldn't, and she just fell apart. I went to Janov and said, 'This is just a mistake from the intake interview, and you have to give her the money back,' and he refused."

(In response to the accusation that money is a prime motivation, Art Janov says in an email, "We take no salaries and no profits and have not in years. We have paid several hundred thousand dollars for research to maintain our scientific integrity. We fund therapy for those who cannot afford it." Janov also says they have no record of the paranoid schizophrenic patient Jenssen talks about.)

Jenssen now believes that instead of helping patients recover from traumatizing experiences, primal can in many ways exacerbate mental health problems. The treatment, he argues, has no way of treating "dissociation"—the out-of-body experiences suffered by those with severe trauma. If anything, he argues, primal "puts people back into these terrible feelings."

Read on Broadly: How Shock Therapy Can Save Depressed Women's Lives

It's hard to find anyone these days who'll treat you with primal therapy, and the treatment has largely fallen out of vogue due to its reputation as a pseudoscience.

But there are some practitioners out there. Franklin Wenham, based on the outskirts of Brighton, England, still offers the treatment to those who qualify. He received treatment at the Primal Institute in LA in 1977, and it changed his life dramatically.

"I started talking about painful events in my childhood, and I started crying about them, essentially," he says. "That was the process... about getting in touch with your feelings. It's a very down to earth, practical therapy when it's done right, within safe boundaries."

Wenham now offers primal as part of a range of treatments. But it's a strict process: Patients who want to undertake it have to undergo significant assessment to guarantee they are mentally fit to deal with the intensity of the treatment. Wenham insists that primal is only appropriate for those who have "enough feet in reality"—those who would instead be spending years on a psychoanalyst's couch, not those who need urgent psychological help.

"It works very well with 'functioning neurotics'—that's another Janov phrase, I think," he says. "People who are able to cope with what life throws at them, but are pretty unhappy and keep making the same old mistakes... and basically have a life script that is self-defeating. Those kinds of people often do very well in primal therapy."

This is the thing to understand about primal therapy. If you're plagued by depression and anxiety, a general displeasure with life, the treatment could possibly help you: Talking about your feelings and expressing emotions openly and honestly in a safe space is always a liberating experience. However, there is a single-mindedness to how the Janovs speak about their theory, brushing off any criticism.

Despite his insistence that he would not treat a patient with, say, paranoid schizophrenia (as Jenssen alleges Janov has attempted), Wenham is reluctant to criticize primal's great guru, the man whose theories he credits with pulling him from the brink of a nervous breakdown.

"It's not the done thing to criticize another practitioner, you know," he says. "Because nobody's practice is perfect, and we all make mistakes to some degree."

Janov at Primal Scream: The Musical

As for Janov, he's still more convinced than ever in the truth of his theory, constantly making references to scientific theories that he believes vindicate his method. On the verge of releasing a new paper, Janov now argues that epigenetics—the study of the impact that external and environmental factors can have on our genes—could prove primal therapy right.

"We're developing all sorts of neurological proofs, or confirmations of what we're doing," he says. "I think there are sure signs of something."

Regardless of the wider scientific community's rejection of Janov's hypothesis, it's hard to imagine rejection putting him off: After almost 50 years and countless patients, there's no turning back now. We live in times where old taboos about mental health and pursuing therapy are being lifted. So you can't help but think: Could there be a place, albeit a narrow one, for primal in this brave new world of socially-acceptable self-care?

Janov seems to think so, but I find it hard to share his optimism.

Follow Oliver on Twitter.

Grand Theft Article: How Hoaxers Are Scamming Budding Gaming Journalists

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A screengrab of Explosion.com's "gaming section," with no new article posted since September 2015

Video games are pretty great, and being able to write or talk about them in exchange for money is even better. What isn't great is having your time wasted by people setting up a fake job listing while impersonating a website and subsequently stealing multiple articles. Just to put the cherry on top, these people also attempted to fool several dozen journalists, including myself, into paying for something that doesn't actually exist. These are not baseless accusations, so it's probably best that I explain.

Making it as a games journalist is no picnic, and many a writer's career starts in a catch-22 scenario: You need previous experience to get a gig at one outlet, but getting that experience elsewhere requires a level of existing experience, before you even get that far. This state of affairs has given birth to a wide market of websites offering unpaid writing positions in exchange for that all-important experience. Now, I'm not saying that this set up is wrong—writing for free can be fine if the author in question can make it work, while doing other things, in order to get a taste for the full-time job. But it does set many budding journalists up with skewed visions of how their job, and its pay structure, should work.

Now, I'm not an accomplished writer by any stretch. Sure, you're reading my words here—but I still work in retail for 40 hours a week to feed myself. As such, I too am constantly on the lookout for opportunities to broaden my horizons and hopefully blow away a few of the cobwebs in my wallet as I do so. However, finding paid writing opportunities is tough, as the majority of websites with open positions will punch out a tweet or post a brief Facebook status about their vacant situations rather than formally list anything on the usual job search engines.

This is where GameJournalismJobs.com comes into the fold. It's essentially the Monster.com of the game writing world, hosting listings from websites at all kinds of levels, both paid and voluntary. And it's here where the problem—the scam—began. During an early January 2016 sweep of the usual watering holes, I noticed Explosion.com was advertising for a paid position, offering $20 per article. I decided to apply, forwarding on the requested documents. I received an email back a week later. I assumed my new contact was called Darah, though I had to infer that from her email address, as she never signed her emails.

Darah said she liked the look of my stuff (see the email above) and requested a previous commissioning editor's email to vet me—apparently, they had a history of applicants impersonating journalists. (Oh, the irony.) A few days later, Darah had decided I was the real deal and requested an article to see how I rolled. This didn't seem unusual to me—I've been told that IGN operates on a similar policy. (Indeed, in a Reddit AMA from January 2015, IGN's executive editor Dan Stapleton mentions writing reviews for free for the website "just to get some practice"; and later the same year, VG247 turned a call for free submissions into an award.) Darah asked me to focus on Destiny, looking at something a little outside the box rather than the typical weapon reviews, giving me until 6 AM the next day to complete the assignment. I was told this at 10 PM the night before, but the competitive nature of the industry has led me to believe this cutthroat approach is acceptable. I completed the task by the ungodly hour of 4 AM, a time I normally only get to see near the end of a bender.

Irritatingly, even after having completed the stupidly last-minute assignment, Darah didn't get in touch for a few weeks. She finally responded when prompted, saying that my article was fantastic, and I had made the cut. The website was currently down, but she mentioned it would be up and running by the beginning of the month, so in the interim I could bash heads with around 30 other new writers and share ideas with them in what she called a "Pitch Pool." Our conversation moved to Skype, where the cracks in Darah's offer really started to show. I added her and was greeted with an account showing a profile picture of Marvel's Venom character (which she also used for her email account). But it swiftly changed to an image of a woman, while her name changed from Laura to Laurence before finally settling on Darrius (see below).

Article continues after the video below

Related: Watch VICE's film, 'Wolf of the West End'

This identity fluidity put me on edge, and I started to take every subsequent detail with a rather large pinch of salt. The Skype exchanges were chaotic, but I soon deciphered who the other current "Explosion staffers" were: Niki and Ashley. They too had Venom profile pictures and were both incidentally born on the first or second of a month. The contents of the Pitch Pool rapidly turned into a torrent of inconsequential updates, forcing me to close Skype and return to it later. When I did, it mostly comprised of messages babbling about "how great the site will be when it finally launches," until Niki mentioned a scheme she'd been making money from.

This scheme was the heart of their scam, as loose as it was. Rather than get paid for their contributions, journalists would actually pay $20 to gain access to a network of constantly updated URLs of up-and-coming gaming sites that they could then (try to) sell their work to. This list of URLs almost certainly didn't actually exist—nobody on the Explosion side, not that they were actually representing the site at all, could verify anything. Only one thing was clear: There were no paid positions going at the website, and Niki and her colleagues—assuming it wasn't all just the same person behind every name—were trying to take money from the Pitch Pool members and who knows how many more people keen to break into writing for a living.

Not only that, but they were taking freely submitted articles on popular games that they could then sell onto other websites. This was a hoax, plain and simple. Once the issues became readily apparent, the Skype chat evacuated, and the impersonators subsequently blocked many of the Pitch Pool participants, new gaming writers like me, probably in a bid to avoid further questioning after being exposed. Twenty dollars a pop might not seem a lot to make such a scam worthwhile—but multiply that amount by 30, and you're already seeing a healthy return on cheating writers out of their money. And that's before any fees for selling the work elsewhere are considered.

Although I didn't part with any of my own money—and hope other writers weren't suckered—far more valuable commodities were stolen: time and effort. I, for one, flushed almost an entire night down the shitter in a bid to meet a fictitious deadline, producing an article that's now probably floating around the ass-end of the internet. This is depressingly indicative of the competitive state the rising contributors of the games press are facing. Long periods of voluntary work and little clarity on progression options often pave the way for horrendous situations such as the one I experienced by not contributing to Explosion.com.

On Motherboard: The Rise and Fall of a $2 Million Spam Shop

An extract of JohnB's email to the author

A GameJournalismJobs.com admin, "JohnB," has since emailed me, saying that their vetting process remains stringent, and that the paywall for job listings usually deters this kind of activity. This situation likely came about because a previous Explosion staffer had access to the job listing account—something the site's admins can't police preemptively—which might suggest it was this same former Explosion staffer running the actual scam. It's a sorry state of affairs—budding gaming journalists not only have to be vigilant about what they're producing for what reward but also to whom they're applying to work for in the first place. All I can say is be wary of requests, never agree to paid work without proof of payment, and deliver trial articles at your own discretion. And if the website isn't active, as Explosion.com's games section remains, don't bother at all.

However, this is the internet, and taking every headline, picture, and promise with some skepticism should be part of the deal. It's a just shame that many of us, myself included, so easily forget that.

Follow Ben on Twitter.


Interviews with Adorable Cosplaying Couples

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Finding true love is no easy task. I've lost count of how many times I've been on Tinder dates so bad that afterwards I go home and have a little cry over some Katie Melua. Then, even if I meet a person I like, it's easy to hang around with them for a month before they're just like, "Wait, this guy is actually really irritating to hang around with," and I'm forced to head home. To listen to yet more Katie Mulea—possibly "Nine Million Bicycles," that's a good one.

So maybe I just didn't have anything in common with these women. But what if you did share the same passions as the person you're with? What if you found love and built a relationship in the very conference center in which you were at your happiest? I went down to London Super Comic Convention on Saturday to find out, and I talked to couples dressed up together in their cosplay finest about why they'd bothered. I asked what it's like to find love when where you can't be totally sure what anyone really looks like.

Heather and Taz as Victorian Rogue and Gambit

VICE: Did you meet at Comic Con?
Taz: No, we actually met at the theater. I saw a picture of her doing Rogue, and she saw me doing Gambit, and it went from there.

Who is the biggest con fan out of you two?
Heather: The costume side is all from me because when I was working in the theater I loved doing costume design. My boss told me that there were these places that people went and dressed up. I was like, "You're fucking shitting me, I need to go to these right now." So for the last two years, I've been doing these.

Is that why you've come together, to bring him along?
Yeah. I make all of his costumes. If you're by yourself, and one of you has a costume, the other person just has to stand by the side, awkwardly, while the other always gets his or her photo taken. So it's about finding costumes he really likes to wear as well.
Taz: For me, I just get to feel hugely proud of what she does.

So it's like a bonding exercise?
Exactly.

Brice and Vicky as Ivy and the Joker

So you met at Comic Con?
Brice: Yes, we did!
Vicky: It's kind of complicated ... We both met doing this, and even though we are together, we're both still technically married and are helping each other through our divorces.

Oh wow, OK. How did you meet, then?
I put up a picture of my Catwoman cosplay, and he put up his Batwoman costume. Then we started talking on Facebook and met up in real life and got on.

Why do you like dressing up as a pair?
It's nice to do something as a couple because we don't get to spend much time together because of work.

Why do you put so much effort in to it?
Brice: I get a lot out of it. Earlier today, I was being broadcast to two children in Hong Kong, waving and saying hello and threatening them. Last year, I was dressing up as Spiderman and a little child ran up and threw his arms around me. I was crying inside. It was a perfect moment.

Alice and Andy as Tank Girl and Steampunk Joker

You guys met at a con—how did you approach each other?
Alice: Well, he was dressed as Joker, and I was Harley Quinn. He was standing behind me, and I just sort of groped him.
Andy: It's the genuine story. She turned around and said, "Oh, a Joker who's taller than me."

Who's the biggest cosplay fan?
Alice: He's been doing longer, but I do it better.
Andy: I've been doing it about four years, and she's been doing it for two.

What makes you guys do all this each year?
Alice: It beats sitting at home watching a film.
Andy: I like getting into the character. I like it when little kids run up to you and think you're this character. It's really rewarding.
Alice: Yeah. Also, I hate dressing up normally, like for work. I hate that and find it so boring.

Andy and Liora As Princess Mononoke and Wolf Guy

Whose the biggest cosplay fan?
Andy: She got me into it. I'd never done it before I met her.
Liora: I've been doing it for about two years. I just really like anime and always dressed crazy, so I thought, Why not? It's just an excuse to do something different.

Do you drag him out to these things, though?
No he loves it—he comes along of his own accord.

What makes you want to dress up?
Andy: I just think it's kind of cute, really.
Liora: It's quite romantic in a weird fantasy sort of way. It's nice to be someone different, to escape reality with each other.

How long have you been together?
Andy: About four months.

Steve and Clare As Batman and Catwoman

Who's the biggest cosplay fan between you two?
Steve: Probably me.

Do you like doing it together?
Yeah, we're a part of the UK Garrison, a cosplay group that mainly does Star Wars stuff as part of the 501st Legion. And I really liked Batman, and one day, I just said to Clare, "Well, maybe you should do Catwoman," and she went for it.
Clare: After a lot of dieting.

Why do you like dressing up as a pair?
For charity events, they are quite strict on the characters you can play, so we always dress in things that go together. And also at large events, like this, it's always better to have someone with you because you can get lost and separated.

So who makes the costumes?
Steve: I make the most of them. I'm a sculptor and designer, whereas Clare is in a more normal office job.

How long have you been together?
We met when we were working at the BBC, not at a con. But we've known each other for about 20 years.

We took in the other sights after making people tell us about their coupled-up costuming. Enjoy below.

How a Pair of Chilean Brothers Are Revitalizing Club Music

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Kamixlo and Uli K. Photos by Eloise Parry

As the internet continues to democratize access to art and culture, it's inevitable that all the weird, disparate sounds and visuals you'll find online are going to start affecting the creative output of the people absorbing them.

London's Kamixlo and his brother, Uli K, are one perfect example of how this is playing out in music. Their reggaeton-meets-club-rap is structured around ballads as much as it is bangers, and it's loaded with live vocals, twinkling melodies, and pummeling drums. It's a very modern sort of sound that maybe couldn't have been imagined just a few years ago. Their look—probably best described as a kind of "Latino Coal Chamber on the ISS"—has captured the imagination of the fashion crowd, with photographer David Sims already shooting the pair for Arena HOMME+.

Their background, their influences, their look, their sound, their club night, and their philosophy has been forged in a hinterland between their two homes, Brixton and Chile. They're grounded and aware, while being simultaneously otherworldly and outrageous. Everything about them is diametrically different to the legions of men-in-T-shirts playing "Pulse X" to warehouses full of students every weekend.

Through their night Bala Club—and its sister club Endless, as well as other nights like Evian Christ's Trance Party and the NTS-affiliated Tropical Waste—Kami and Uli are frontrunners in a scene that is continually pushing against an increasingly predictable club land, where promoters second guess the attendees, offering the same formula week after week. It's not hyperbole when I say their latest Bala Club mix is the most exciting thing I've heard come out of Britain in years.

Meeting them in the Brixton branch of Nando's, surrounded by off-duty cops making their way through Fino sides, it's clear they have strong opinions on the matter. "It's both the music and the people," says Kami, who, under his Halloween blue hair, reminds me of a young Marc Bolan. "If it's too, like, macho, gross vibes, I can't fuck with that. Or if the DJs are just really sticking to one genre, I think that's the most boring shit you can do."

Uli, the older brother, continues, "You know you go to, like, a grime night and you kind of hear the same beats per minute the whole night, and that's just kind of boring, because if you have the platform to do something you should take it somewhere it hasn't been before. Otherwise, why keep doing what everyone else is doing? Unless you're just trying to make money, which is good if you can, but, like, be innovative and create your own world."

A few days later, we meet at the brothers' mom's flat in the mid-rise, post-war sprawl of Loughborough Junction, where they're working on a mix, twisting a vocal sample by screamo also-rans the Used into a reggaeton stormer. I'm surprised they remember the Used, being in their early-twenties, but it turns out nu-metal—alongside that other stalwart of Bush-era American culture, wrestling—has had a massive influence on what they do.

"As kids, we just always watched a lot TV, I guess. We were watching a lot of wrestling, and the popular music at the time was nu-metal. As little kids, at seven or eight, it just seemed so different when we turned the channel over to it," says Uli. "It felt like everyone was kind of going crazy toward the end of the 90s, like everything was getting more and more ridiculous. As a kid, it just looks like a whole different world."

The pair definitely have a unique brotherly connection—a shared set of references, inflections, and philosophies. An unusual childhood seems to be at least part of the reason for this intimacy. "We never went to school or anything, so me and Kami were like each other's only company as kids, so we'd be at home just consuming this, and it kind of formed our outlook," says Uli. "In a good way or a bad way, I'm not sure—but it kind of helped it."

I ask Kami about the way they're perceived by others, referencing a tweet of his where he lambasts "ugly English families" staring at him and Uli as they walked through Heathrow. "I hate it," he says bluntly. "Although I don't feel like I want to sink in and be a part of everything, at the same time it alienates you, people staring at you, thinking like, Who is this? It kind of makes me laugh, but sometimes it's kind of like I want to say, 'Fuck you—why are you staring?'"

I wonder if they have always looked different and how much of a part that played in their slightly outsider upbringing. "We kind of made our own minds on what was going to look good or bad," says Uli. "Like in primary school, I couldn't go because I was wearing, like, nail varnish and hoodies and stuff. They would try to make deals, like, 'You can come to school wearing anything you like, but you have to be in school,' and it would last one or two days, and I'd be back out again. In a way, we did it to ourselves, but at the same time, we didn't really relate to what kids liked at the time."

Kami interjects: "Yeah, as a kid, it sucks. But if someone was to shout something now, it's hilarious. When we were kids it was, like, mad depressing. They'd be like, 'You're devil worshippers'—all this weird stuff—and we'd be like, 'I thought it was OK,' because we'd look at the TV and see Slipknot doing it."

Kamixlo

While their part of southern London has a large South American population, it seems that being from Chile—a country that hasn't seen as much emigration to the UK as, say, Brazil or Colombia—meant the brothers' childhoods were close-knit and family-oriented. The traditional Chilean songs that now inform their club creations were played out in their kitchen and lounge.

"It was very alienating for us because we didn't know any other Chileans," says Uli. "It wasn't —you had, like, Colombians, Chileans, and everyone was here for different reasons. My mum was a refugee because of the coup in 1973. So, literally, they were their own family—they didn't know anyone in London. They had never planned to come here... so you don't know if you're Chilean or British. I never really identified with London, but that also has to do with me and Kami not really being brought up interacting with many people, so I don't know... it's kind of weird."

I'd seen Kami play at Elephant and Castle's Corsica Studios before meeting the brothers, and what struck me was that while the music seemed further ahead of what most other London DJs are playing these days, it was still soulful and engaging—not just idiosyncratic for the sake of being idiosyncratic. It stood out, even in a scene of musically-literate producers and selectors, as if there was an understanding and artistry that surpasses just spinning whatever's hot on SoundCloud right now.

It seems the traditional music the brothers grew up on plays into this. "The songs our granddad would teach us would be traditional folk songs, but we were really oblivious at the time—we just wanted to learn, like, Limp Bizkit songs, but we were learning these folk songs," recalls Uli. "Lyrically, they're super philosophical. Every lyric is about aspiring to be somewhere you can't be. That idea's always been at the back of my head."

'Endgame x Kamixlo'—Sniper redux ft. Blaze Kidd & Uli K

Do they think that, in general, clubs have become more accepting of different sounds and cultures than they used to be? If you're less likely to get people berating you for veering from the 4/4? If you'll get fewer dirty looks for having blue hair or nail polish on than you might have been before?

"Yeah," says Kami, thoughtfully. "I feel like clubs are more like accepting now. A few years ago, if you were to go to a club, you'd just get so eyed up if you weren't, like, extremely swaggy or something—I couldn't fuck with that."

However, being Latin and playing Latin music in clubs still brings presents a couple of issues. "Just because they hear Spanish music, they think that I'm going to play 'Gasolina.' Fucking peak," seethes Kami.

With such a distinctive sound, do they worry about the inevitable threat of plagiarism from other, bigger producers with an ear turned towards the pop market? Do they worry that their sound could be taken from them and marketed away from the inclusive, forward-thinking scene they're so engrained in? Do they fear a Katy Perry version of the Bala Club ideal?

"That's been happening," nods Uli. "It's like, I guess I'd be more frustrated if they were doing really well at it, but they're still just SoundCloud producers doing that shit on there. But no shade to producers doing that!"

Uli K

"I don't fuck with English kid producers who are doing that with no connection to that culture," says Kami, who's certainly the spikier of the two. "The best you can do is have some kind of affiliation with it before you go out and copy it. Like, actually respect what you are taking from. Become a part of it. Work with some producers who actually do that. Understand where it's coming from and then do it. Not just take that sound and say, 'It's UK music now.'"

How far do they think they can take it themselves? Personally, I think if anyone in the current London scene has the minerals to jump onto a world stage, it's probably them.

They seem in two minds. "I'm with it," says Kami. "It's like, 'Why not?' It would be fun to play in an arena. Like, getting that mainstream money and shit is a pro."

Uli seems more philosophical about it: "It would help us a lot," he says. "But the main idea is that if we do go mainstream—or blow-up, or anything—it would be good to have that platform, so we can continue to do what we do, rather than become a product of someone else. If we can create our own thing and get successful, that would be really good."

Follow Clive Martin on Twitter. Check out Eloise Parry's photography at eloiseparry.tumblr.com.

‘The Flame in the Flood’ Is a Cute but Crushing Game About the End of America

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Screenshots via Steam

Appearances can be deceptive. The Flame in the Flood looks cute, but spend an hour with it, and your nerves will be shredded. You're Scout, a lone wanderer with a scrawny old dog, Aesop, for company. The world is a changed place: Waters have risen, breaking the old America up into small chunks of dry land separated by vast floods and surging rapids. When you begin the game's campaign, you are charged with setting out to find the source of a weak radio signal. Perhaps society has clung on, somewhere, while all around you humanity is shattered, carved up into pockets of increasingly feral folk who might not be too pleased to find you rummaging through their supplies.

The look of the game, almost handcrafted and definitely attractive (unless you focus on the misery in the human faces), masks the considerable challenge you face. Keeping Scout alive—warm, topped up with unpolluted water, fed on anything she can pull from the Earth or trap using makeshift snares—is a constant demand. If it rains, and it will, she'll get wet, which could lead to catching a fever. If she scratches a leg on some thorns, the wound might heal up by itself—or it could turn nasty.

The raft she uses to travel downriver, toward the signal's source, isn't indestructible, and every effort she puts into navigating the game's crunching rapids drains her energy. If she's too tired to steer away from an onrushing rock, jutting from the white froth like a dagger, the craft will crash into it, compromising its condition. Along Scout's journey, there are opportunities to fix the raft up and upgrade it—likewise to get a good night's sleep, eat a hot meal, and meet helpful non-player characters. But the hardships far outnumber the strokes of good fortune.

"The contrast between aesthetic and gameplay experience was very deliberate," the game's designer at Boston studio the Molasses Flood, Forrest Dowling, tells me. The Molasses Flood is an indie setup comprising creators whose past credits include titles in the Halo, Guitar Hero, and BioShock series, and The Flame in the Flood, which raised $250,000 on Kickstarter, is its first game. "I think as a team we're fond of surprising contrasts, things that maybe look like one thing but feel like another, as it can add weight to those contrasts. The contrast also should help something that could feel really oppressive still feel like a world a player may want to inhabit for a while. If the aesthetics completely matched the grim difficulty of the game, the result may well have been an experience that sat too heavily on the shoulders of the player, beating them down."

"Another way to look at it may be via our studio name, the Molasses Flood," he continues. "To me, it says a lot about the sort of experiences we are interested in creating. If you're not familiar with it, it was a major accident that occurred in the North End neighborhood of Boston in 1919, in which millions of gallons of molasses flooded the streets of the city after a tank burst. It's a funny and weird story initially, but it reveals itself to be a much more complicated tale of tragic loss and industrial malfeasance as you learn more about it. I viewed that name as a sort of mission statement to create experiences that have multiple facets and defy initial expectation."

Article continues after the video below

Related: Watch 'Heimo's Arctic Refuge,' VICE's film about life at the very edge of America

As Forrest so clearly states, The Flame in the Flood is a hard game, one where an easy opening so quickly becomes a grind against wave after wave of problems. The situation for Scout can become grave in no time at all unless you're keeping a keen eye on her temperature, constantly topping her up with food and clean water—or, better, combining raw materials to cook up something a little more satisfying, from dandelion tea, both refreshing and medicinal, or stitching together animal pelts to make warmer clothing. Whatever your efforts, though, your first Scout will most likely die. Items transferred from her backpack to Aesop's will be carried over to your next Scout, who will pick up the journey from a previous save point. The game is procedurally generated, a roguelike (or, in its makers' words, "rogue-lite"), so there's no easily mapped "right" path to take. Deaths cannot be reversed, and I have to say, the first time my Scout died, set upon by a pack of wolves in the middle of the night while looking for a place to bed down, I was crushed.

"It's definitely the intent that it hurts when you die," Forrest says, "but hopefully you learned a bit along the way and feel like you could have done something differently the next time around. It is a tough line to walk, when a game allows the loss of progress, but I think the fact that it raises the stakes for the player is something that's appealing about games with permadeath and seemed like the right call for a game that's primarily about survival in a procedurally generated world."

There's no hand holding in The Flame and the Flood, few useful tips that flash up on the screen—just warnings, when Scout's in a bad way. It doesn't even tell the player why America is in this awful state. This is a very deliberate move by the Molasses Flood—the "why" isn't as important as the need to just keep going, to get by now that everything's gone to shit.

"Our intent was to let a person's understanding of what he or she needs to do to survive drive him or her," Forrest explains. "We all know that we need food and shelter, and if we're stuck in a wilderness and there's nothing to offer reprieve, we better move. Also, some games are about pointing you in a direction and setting you on a rollercoaster, others are about learning the systems, and we aimed squarely at the latter. We try to give enough hints and tips to allow someone to understand the basics, but we want folks to figure out the specifics on their own."

I make it eight in-game days with (my first) Scout, something that Forrest says means "it sounds like you were figuring it out, at least enough to navigate the river, stop places, and start finding supplies." People who dip into the game's journal will find additional assistance for their journey: "One of our ideas is that Scout does have survival knowhow, and we felt that the journal was a good way to allow the player to pull info that the character should know."

The game's debut trailer, from October 2014

The game's campaign has a start and end point, and while what the players see on the route between them will vary every time, Forrest tells me that, more days into the experience, I'd "best bundle up because it's going to get a bit colder." By day eight, I was seeing the wilderness give way to more signs of a greater settlement having once been here—broken bridges, floating cars. Wherever Scout's headed, it feels, to me, like it's closer to what was once an urban center. Forrest isn't about to give anything away, of course.

"Ahead, you'll find more types of environments to explore and some other threats. But while there is a backstory, and a reason behind why this world is the way that it is, it's never something that we dive into very explicitly. I loved Cormac McCarthy's The Road as an inspiration for this: In that work, you know there was a nuclear disaster of some sort but why and how don't matter. It's not a story of the end of the world, it's a story of a father and son trying to stay alive after everything fell apart. We wanted to take a similar approach.

"Things are bad, everything's fallen apart, and some specifics about what happened do become clear, but there's still a lot open to interpretation. Early on, while discussing the plot, we knew that the most important story of this game was going to be each player's own one, of his or her journey, so that's where we focused most of our efforts. Also, personally, I'm not a huge fan of lore-heavy works, and I tend to like backstory when it is delivered as minimally as possible to make the world make sense."

On Motherboard: The Wilderness Is a Really Weird Place to Play 'Ingress'

High challenge, appealing aesthetics, an open narrative, and a singularly impressive soundtrack by Hot Water Music's Chuck Ragan—"he's a long-time friend of our art director, Scott Sinclair," Forrest says, explaining how that connection came about—all suggest that The Flame and the Flood will be an indie hit of 2016. It has the right ingredients, at least. I'm not sure how much more I can take in it, but I'm going to push on all the same—I want to see more of this ruined America that the Molasses Flood has realized, one quite unlike any game world before it. Forrest isn't about to get carried away with what the game's potential success will do for its fledgling studio.

"Our hope is that this game does well enough that we can afford to make another, and maybe grow a bit as a studio, but until it's out and we can see how it was received both commercially and critically, it's awfully hard to say. At the very least right now, I can say that we feel like we're in a really good spot, and the reception we've received from our early access players has been really good. Now, we've just got our fingers crossed that people will like the final product.

"Ultimately, if the worse case scenario comes to pass, and the game is a commercial and critical failure, we still get to have the knowledge and pride that a small group of us got together and built something from nothing, finished it, and got it out to the world. The fact that we've been able to do this is a gift already, so no matter what happens, I'll still be happy with what we accomplished."

The Flame in the Flood is released for Xbox One, Windows, and Mac OS X on February 24. Find more information at the game's official website.

Follow Mike on Twitter.

We Investigate the Weed Industry's Corporate Takeover on the New Episode of 'VICE' on HBO

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This Friday, February 26, HBO will air another episode from season four of VICE's Emmy-winning show. Last week, we explored the debate behind the right to die in the US and Europe. This week, we take a look the ground-breaking procedures helping to cure blindness, and then we meet the major corporate players of the legal marijuana world.

In the episode's first segment, "Beating Blindness," host Isobel Yeung investigates the new assistive technologies and surgical advancements helping people who have completely lost sight regain visual perception.

Then, VICE's Hamilton Morris travels to California's infamous Emerald Triangle to meet struggling mom-and-pop marijuana growers, and he visits with the investors and entrepreneurs eager to cash in on the next big consumer market—even if it could mean putting the small-scale famers out of business.

Watch a trailer for Friday's episode above, and keep an eye out for the rest of season four, airing every Friday night at 11 PM, exclusively on HBO.

If you're desperately in need of more VICE episodes to carry you through the week, you can rewatch our entire third season online now.

Musical Urban Legends: The Who Needs Help in Today's Comic from Peter Bagge

The VICE Reader: Umberto Eco Taught the World How to Think About Conspiracies and Fascism

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Umberto Eco in Italy in 1975. Photo by Walter Mori/Mondadori Portfolio via Getty Images

I discovered The Name of the Rose and Foucault's Pendulum, the two best-known novels of Umberto Eco, who died on Friday at the age of 84, during my junior undergraduate year. A used-book vendor had parked his formica table of curated paperbacks in front of the university library where I worked, and I wandered over to examine his wares, idly picking up Eco's The Name of the Rose. I asked the vendor if he had anything Borgesian, and he pointed at the book in my hand: "Right there in your hand, buddy." Then he added, "But I'm a bigger fan of this one myself," and handed me Foucault's Pendulum. Somehow I headed home with both books.

The Name of the Rose is an undeniable homage to the great Borges. Published in 1980 to international acclaim, Eco sets his monastic whodunit in a Benedictine abbey's labyrinthine library called the Aedificium, which houses the lost second part of Aristotle's Poetics (the part about comedy). It is guarded by the only two people who know how to navigate it—its librarian, Jorge of Burgos, and his assistant.

Unlike Borges, Eco wasn't a genius librarian but a celebrated semiotician—"the most important representative of semiotics, since the death of Roland Barthes," a reviewer for the New York Times wrote in 1983. It was in Foucault's Pendulum, his second novel, that Eco unleashed his mastery of semiotics. In it, a trio of minor editors at minor publishing houses decide to create their own conspiracy (what they call "the Plan") and in the process mix themselves up in actual conspiracy plots of secret-society world domination. The internet was made for books like this: The first paragraph is in untranslated Hebrew. There are connected references to the Knights Templar, Bogomilism, the telluric current, and Mickey Mouse. Anthony Burgess claimed it needed an index. Salman Rushdie deemed it "fiction about the creation of a piece of junk fiction that then turns knowingly into that piece of junk fiction." Eco called it a thriller. I found it thrilling, not so much for plot but in looking up its esoteric references.

Foucault's Pendulum also showed me how funny erudition could be. Central to the plot is a computer program that randomizes text fed into it, creating improbable storylines: They try passages from the Kabbalah and an automobile manual, the result being that a car's powertrain is a modern-day Tree of Life (a drawing of which appears in the front matter of the book). I wonder if this idea came about during one of his long nights out with his students, a happy habit of his. How many great literary ideas have been birthed by similarly drunken nights?

Not long after I finished Foucault's Pendulum, his fifth novel was published in English: The Mysterious Flame of Queen Loana . I literally picked it up the same week I was due to graduate, but I never finished it. No longer a student, I wanted to move on from the coziness of academia, where Eco's concerns for semiotics and meaning felt very immediate, to New York City, where people live in daily and mildly extravagant symbolism.

But Eco left his mark on me. I never skip an unknown reference, choosing instead to look things up as I read along. It's much easier of course to do that now with Wikipedia. Not surprisingly, the writer himself had an interest in the site, writing in his regular column for the Italian magazine L'Espresso about the need to maintain Wikipedia's integrity after his own entry was filled with false information. "Collective control can make sure a fact such as the death of Napoleon is always correct," he wrote, "but it is much less able to protect my own entry from lies and rumors."

Then last year, Eco suddenly and unexpectedly popped back into my life when, in penning a piece titled " Donald Trump Is a Fascist," Slate's senior political editor Jamelle Bouie cited Eco's 1995 New York Review of Books essay "Ur-Fascism" to back up his claim. Eco, a childhood supporter of Mussolini, snidely recalls the early pride of winning an essay competition: "I elaborated with rhetorical skill on the subject: 'Should we die for the glory of Mussolini and the immortal destiny of Italy?' My answer was positive. I was a smart boy." Eco spent most of his life refuting that argument, and in "Ur-Fascism," he warns of 14 signs of fascist ideology, which include Cult of Tradition and Personality, Obsession with Enemy Plots, and Contempt for the Weak. It's practically checklist-ready, and Bouie convincingly argues that Donald Trump hits half of these 14-points. The piece went viral, and suddenly Eco was back in my feed, being used to prove that one of the most notorious presidential candidates in US history was no worse than Mussolini or even Hitler.

In losing Eco, we have lost not just Borges's heir (with, as yet, no heir apparent to Eco) but a mind shaped by an older way of learning: of antiquated research and cataloguing methods. We take for granted these tools at our fingertips, but at least I am in awe of someone like Eco, who could dig deeply without them. I would have loved to have been a student of his. One of his earliest books, How to Write a Thesis, was translated just last year. The critic Hua Hsu, writing for the New Yorker, pointed out some of its anachronistic tips, such as using a date book to keep track of sources, but contended that Eco's purpose was greater than giving useful, if aged, bullet-points. "How to Write a Thesis," he wrote, "isn't just about fulfilling a degree requirement. It's also about engaging difference... and humbly reckoning with 'the knowledge that anyone can teach us something.' It models a kind of self-actualization, a belief in the integrity of one's own voice... and taking oneself seriously enough to ask for an unfamiliar and potentially path-altering kind of mentorship."

Perhaps How to Write a Thesis would have been more useful to me during college, instead of his thick tomes of fiction, but it was in them that I found an unlikely professor, one willing to offer up the encyclopedia inside his brain to help me to begin assembling my own, and to take pleasure and find poetry in the items I include. "Mickey Mouse can be as perfect as a Japanese haiku," Eco once said. I, as many other people, will miss him showing us why.

Follow Michael on Twitter.

What European Countries Were Hoping For—and What They Actually Got—at the EU Summit

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Angela Merkel and Francois Hollande. Photo by Eoghan OLionnain

This post originally appeared on VICE UK.

This was dubbed a "three-shirt summit." On Friday, after two days of hog-sweating it in Brussels, long after David Cameron's bleary-eyed 5:30 AM departure for a two-hour nap, the EU's 28 leaders were told they were all going to need to get back on booking.com and purchase hotel rooms for one more night.

But the madness isn't how long it lasts, it's that it ends at all. The logistics of making 28 heads of state agree on anything are mind-bending. After all, everyone has to be made better-off by any deal the leaders sign. Have you ever tried to simultaneously give 28 people what they want?

Contrary to British egotistic belief, the attendees at last week's EU summit didn't all turn up just to make sure Dave can see down the challenge of Boris Johnson and Michael Gove. European PMs and presidents all have their own Boris Johnsons and their own challenges, with their own cranky electorates pointing very different guns to their heads, the likes of which we don't even understand. Lithuanian social media campaigns over dairy subsidies. The Maltese obsession with EU red tape on its plug spanner industry. The Cypriot BoJo menacing the Cypriot PM in the polls with his challenge over ATM taxes.

Yet somehow, everyone won. So everyone signed. How exactly? Scratch the surface with our guide to the week's winners and winners.

BELGIUM (AND ALL THE MINNOWS)

WANTED

The Belgians are the biggest Euro suck-ups in the whole place. Not only does their economy depend on the Brussels gravy train pulling into Bruxelles-Midi laden with delicious gravy, they also live in a small country. Pretty much all the minnows are in favor of everything EU because it stands up for their interests against the bigger bully-boys. Without the EU, Belgium is just the welcome mat to future invasions of France, and so, coming into the summit, the leaders were the only ones arguing against any brakes on an "ever-closer union." The Belgians want as much of a closer union as they can possibly have, and they won't be satisfied until they're so close they can feel the EU from the inside.

GOT

The insertion of a clause stating that Cameron's deal was a final offer. That, after last weekend, Britain could never again come back to the table and ask for another helping of national sovereignty. "There's no second chances," Belgian PM Charles Michel proudly proclaimed.

Greek Prime Minister Alexis Tsipras. Photo by Panagiotis Maidis

GREECE

WANTED

Greece's far-left Syriza government came into this EU summit less concerned about its economic death-spiral than it has been in a long time, only because its already kerosene-doused politics has been set fully ablaze by the tens of thousands of migrants still turning up every week at Europe's southeastern border.

GOT

Within hours, Alexis Tsipras's government declared its intent to block any Brexit treaty if other EU states continued to close their borders to refugees. This was a coded reference to the Austrians, who've started introducing daily caps. Cue: enough panic to win the Greeks a one-on-one joint summit with the Austrians, which ended in the pair vaguely declaring their intent to "co-operate better."

French President Francois Hollande. Photo by Jean-Marc Ayrault

FRANCE

WANTED

To look imperious by ignoring the whole sideshow. Francois Hollande is under so much pressure at home over terrorism and his still-tanking economy that he would be seen as aloof and trivial if he got too deep into arguing the toss on Brexit.

GOT

An agreement that non-Eurozone countries like Britain can't veto financial rules that only concern the Eurozone countries—thereby allowing the Eurozone to hurtle toward its doom much more efficiently.

Danish Prime Minister Lars Lokke Rasmussen. Photo by News Oresund

DENMARK

WANTED

To use Britain as a patsy/battering ram for all the unpleasantness the Danes don't want to throw their own moral weight into. Like the UK leaders, the Danes also seem to have to hold their noses and make gagging gestures every time they walk into a summit room with Merkel and Hollande. The minority party in the Danish government, the Danish People's Party, is staunchly anti-migration, so the members were only too happy to endorse Cameron's plans to index-link child benefits paid back to children in migrants' home countries to the cost of living in those countries. In fact, Danish Prime Minister Lars Lokke Rasmussen claimed that this had also been his idea, calling it "a flower in my garden."

GOT

The flower in Rassmussen's garden:

"A proposal to amend Regulation (EC) No 883/2004 of the European Parliament and of the Council on the coordination of social security systems in order to give Member States, with regard to the exportation of child benefits to a Member State other than that where the worker resides, an option to index such benefits to the conditions of the Member State where the child resides. This should apply only to new claims made by EU workers in the host Member State. However, as from 1 January 2020, all Member States may extend indexation to existing claims to child benefits already exported by EU workers. The Commission does not intend to propose that the future system of optional indexation of child benefits be extended to other types of exportable benefits, such as old-age pensions."

Beautiful.

German Chancellor Angela Merkel. Photo courtesy of Christliches Medienmagezin pro

GERMANY

WANTED

Britain. The Germans understand that without Britain their beloved Euro empire is just them and the French on a series of screechingly awkward dates. They know that once Britain leaves, the French and the Spaniards and Italians will gang up to force through more high-tax protectionist measures, which wouldn't help the Germans sell cars to Americans. Britain's an unlikely soulmate, but a soulmate nonetheless, which is why Mrs. Merkel spent the week waving through all Cameron's carping about migrant benefits, standing up for his demands as "logical and reasonable" before the summit, and intervening again and again in the summit room like a tiger mom at her kid's debating tournament.

GOT

Britain? Or at least, enough flimsy concessions to allow David Cameron to go back and go on about Peace In Our Time for a weekend.

Related: Watch 'Why the Deadly Asbestos Industry Is Still Alive and Well'

THE VISEGRAD STATES

WANTED

Counseling to overcome their own inferiority complexes. The Visegrad states are the four richer nations of eastern Europe: Poland, Czech Republic, Hungary, and Slovakia. To them, the debate over child benefits had become a referendum over whether their working-abroad citizens were going to be put in dunce caps and seated at the front of the class just because Joe Stalin rolled over their nations' lawns in 1945. "We agree we need reform," admitted Czech Minister Tomas Prouza. "But historically, we were second-class citizens in Europe for 45 years. The memory is still with us, and I can't imagine any Central European prime minister would agree to reinstate second-class citizenship."

RECEIVED

A reduction from 13 years to seven years for the length of Cameron's benefits "emergency brake" and some similar meaningless "concessions" from original negotiating positions that allowed them to go home and announce that they broke the spirit of the British oppressors.

Follow Gavin on Twitter.


A Lawyer Explains Why Bill Cosby Is Suing the Woman He's Charged with Assaulting

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Bill Cosby after a judge ruled the criminal case against him would proceed in Pennsylvania. (AP Photo/Mel Evans)

Dozens of women have come forward with sexual assault allegations against Bill Cosby, but Andrea Constand is the only one to get the comedian criminally charged. Cosby faces three felony counts of aggravated indecent assault for allegedly drugging and assaulting the former Temple University basketball employee in his suburban Philadelphia home in 2004. The case was launched by Montgomery County Prosecutor Kevin Steele after Cosby's deposition in a 2005 civil action brought by Constand was unsealed this past summer. The original, decade-old suit concluded with an out-of-court settlement and confidentiality agreement, which Cosby's lawyers tried to argue precluded any criminal prosecution. But Steele, who made a campaign issue of Cosby's alleged crimes last fall, was determined to go forward, and a judge sided with the prosecutor early this month.

But even as Cosby's lawyers were petitioning to have the case thrown out, they filed a lawsuit alleging Constand violated the terms of the 2006 deal. The comedian's attorneys argue the woman and her mother breached the settlement by voluntarily cooperating in the criminal investigation; they're also going after Constand's lawyers for playing ball "despite being under no legal obligations to furnish her files voluntarily to the district attorney," as well as National Enquirer parent company American Media over the outlet's stories about the allegations.

Cosby's suit is ostensibly about recouping the initial payout. But with assets totaling approximately $350 million, it's money the man clearly doesn't need. Alongside the defamation of character suits he filed against several of his other accusers last year—Cosby's wife Camille was slated for a deposition in one of those cases Monday—this latest legal broadside is best understood as part of a multi-pronged offensive designed to quietly achieve what society did for decades: to keep Cosby's accusers silent.

We asked seasoned New York criminal defense attorney Isabelle Kirshner for her take on the former icon's aggressive legal strategy so far.

VICE: How does this kind of confidentiality agreement that Cosby's lawyer says blocked prosecution even get set up in the first place?
Isabelle Kirshner: It's not an enforceable thing to say that, "I won't bring criminal charges against you." That is against public policy. So if a prosecutor reaches out to you but says, "I know that you signed the agreement, but I want to talk to you or I'm gonna subpoena or I want you to cooperate with law enforcement," again, this is all part of an overall strategy for him to discourage people from coming forward and continuing to talk to the press. He's able to afford to undertake this strategy when most people can't.

This interview has been edited and condensed for clarity.

Follow Brian Josephs on Twitter.

A New App Is Trying to Forge Friendships Between Democrats and Republicans

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Image via Verona

Have Democrats and Republicans ever seemed as far apart as they do now? With the possibility of a socialist Jew from Brooklyn facing off against Donald Trump in a general election, there is an end of days quality to the latest election, and one that seems to have the country more polarized than ever.

Enter Verona, an app seeking to bridge the gap between Fox News and MSNBC, Nascar lovers and pot smoking yogis. Named for the city where the fighting Montagues and Capulets caused the deaths of Romeo and Juliet, Verona is a Tinder-esque app originally conceived of to pair Palestinians with Israelis, which it has been doing for a year now, to great success. Recently, creator Matthew Nolan decided to expand the app to connect other populations at war, and Verona is now available to Republicans or Democrats seeking friendships across the aisle, as well Trump supporters and Latinos who might want to chat.

Nolan is banking on the idea that exposure breeds good vibes, and that hanging out with a person who comes from the opposite side of a political divide can create enough connective tissue to bridge that divide. VICE caught up with Nolan to chat about Verona's latest foray into domestic politics.

VICE: Last time we spoke, you had just launched an app matching Israelis and Palestinians. How's that working out for you?
Matthew Nolan: It was an unexpected success. Since we last talked, it just kept growing. We're at tens of thousands of users.

It got me thinking—the world is so polarized right now by the media and politicians. I think we're at a time when people need to come together, need to collaborate, instead of taking sides. So that's the motivation behind opening these new groups.

When Trump made his election speech and said those terrible things about the Mexican community, I thought, well, I might be able to do something to help bring people together, when there are loud people in the media trying to separate us.

By the media you mean...
I mean media figureheads like Trump, like Bill O'Reilly—these very polarizing people. When people are experiencing economic trouble, to point out a group, to vilify them and say, "That's the reason why everything is going wrong"—whether that's the right vilifying the left or the left vilifying the right politically, or whether it's Trump vilifying the Latino community—Adolf Hitler did the same thing to the Jews; that's how he rose to power.

Given the state of communication technology and given the challenges we all have to face right now, it's more important for people to come together and empathize with one another than at any other time. That's why I'm building this thing.

So how does it work?
When you sign on, you have three different options. You can join Israeli/Palestinian, and pick one or the other; Republicans and Democrats, and you pick one or the other, or Trump supporters and Latino Americans, and you pick one or the other. And whichever you pick, we show you the other; if you pick Democrat, we show you Republican, and vise-versa.

And people are signing up?
They are. And it looks like it's going to be growing pretty fast.

So there are actual Trump supporters who are signing up to meet Latinos?
Yes.

Wow.
With the Israeli/Palestinian group, when it first came out, people said, "That could never work—there would be nothing but arguing, nothing but negativity." There have been zero reports of any nastiness. It's been nothing but positivity. I think the fact that all the chats are private allows you to really empathize with the person. If you're in an elevator with somebody, it's a far better experience to just get along, you know what I mean?

Are people using it for friendship or for romance?
That's a great question. When it first came out, we said it was a dating thing, and then all of these people from the Middle East reached out and said, "Hey, that's great, but what we really need out here is a friendship app," so I sort of rebranded it as a friendship app, and people use it primarily for building friendships on either side of the divide.

That said, there have been some dates. Users have reached out to us and thanked us for what we've done. They'll basically say, "Thank you for building this thing, I met someone very special on it," and I'm like, "Wait! Rewind! Who did you meet? Tell me the story." There have been reports of people entering the border into Israel from the West Bank and relationships forming that way. I know about a dozen of those, but there could be more. And we're talking about a guarded border there. But Verona is primarily a friendship platform.

Are you on Verona? But I guess you're not Israeli or Palestinian...
I tell people that even if you're only a fraction Jewish or a fraction Palestinian, or if you're neither, but maybe you have an ideology that resonates with one, choose that. I've made friends on Verona. Two weeks ago, I had a chat with someone in Jerusalem about Arab house music.

So you signed in as Israeli?
I sign in as Israeli. Well, I'm on as both. I kind of switch back and forth.

For dating or friendship?
I'm the barkeep. But I've made friends on there.

I know you've just launched the new groups, but are there more Trump supporters signed up to meet Latinos? Or more Latinos signed up to meet Trump supporters?
There's slightly more Latinos, but the numbers are changing a lot.

Are there more Democrats or Republicans?
More Democrats—about three quarters are Democrats.

Does that mean that liberals really are more open minded?
A lot of the work we're doing is based off studies by Arthur Aaron, who has done a lot of psychological research about reducing prejudice and how relationships form. The whole theory behind Verona is that if you make friends with someone who is in an out-group, and then you tell your friends you've made friends with someone from the other side, and they're really not that bad—studies have shown that reduces prejudice not just in you but also in your friends. There's a network effect.

So people on either side of the Israeli/Palestinian thing will tell their friends, "Hey, I met someone on the other side, and they talked for half an hour about their passion, which is tennis—so how bad can they be, you know?" That's how we're building global empathy on either side.

So is that the goal of Verona?
Yes. We're trying to increase global empathy. A third of humanity is on the internet right now. It's crazy to me that there's not massive singing and dancing in the streets.

Do you sympathize with Trump's positions?
I can understand where his supporters are coming from ideologically. Or I think I understand. Or I'm trying to understand—and maybe Verona can help me understand—why they would gravitate towards the kind of message he broadcasts, and I think the important thing is that Trump supporters can communicate with Latinos, and vice-versa.

What would you say to someone who says, "Trump supporters are racists. Why should they get a platform to explain themselves?"
Not 100 percent of Trump's supporters are racists. And I think the cure for racism is empathy. As soon as you see life through someone's eyes, he or she is no different from you.

Ninety-nine percent of our human wants and desires are all the same. Trump supporters and Latinos want the same thing—they want to take care of their family, they want a good job, they want security, they want to feel safe. They want a great America. We're giving them the opportunity to communicate.

This interview has been edited for length and clarity.

Follow Batya Ungar-Sargon on Twitter.

The VICE Guide to Right Now: The Nation of Islam Promised to Protect Beyoncé if the Cops Won't

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Read: Three People Gathered in the Rain to Protest Beyoncé

During a sermon in Detroit on Sunday, Nation of Islam leader Louis Farrakhan pledged to protect Beyoncé if the country's police won't do it, TMZ reports.

Some context is needed because that sentence is pretty nuts: Just before the Super Bowl, Beyoncé released her racially charged "Formation" video and then showed up for the halftime show with a squadron of dancers dressed in Black Panther–inspired getups. Though the single and the performance were about black pride, not attacking the police (and though they were far less antagonistic than, say, "Fuck Tha Police" or a dozen Public Enemy songs), a lot of law-and-order types took exception to all this. A Miami police union even called for a boycott of the singer.

In a sermon, Farrakhan lashed out at the police, saying that Beyoncé "started talking all that black stuff... and white folks were like, 'We don't know how to deal with that.'"

"Look at how you're treating Beyoncé now," Farrakhan continued, addressing former New York Mayor Rudy Giuliani. "You're going to picket. You're not going to offer her police protection. But the FOI will."

Bey has yet to publicly take Louis Farrakhan up on his offer.

Thumbnail image via Flickr user Nat Ch Villa

Body of Winnipeg Teenager Missing for a Week Found in Recycling Bin, Man Charged With Murder

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Cooper Nemeth, pictured above, was last seen leaving a house party in Winnipeg on Valentine's Day. Photos via Facebook

The body of missing 17-year-old Cooper Nemeth, a high school student from Winnipeg, was found Saturday night in a blue recycling bin. Nemeth had been missing since he was last seen leaving a house party in the Sun Valley area of the city on February 14.

According to Winnipeg Free Press, Nemeth supposedly had set up a deal to sell a man Xanax that night, which is a prescription anti-anxiety medication and controlled substance. A friend of Nemeth's who spoke to Winnipeg Free Press on the condition of anonymity claims he saw Nemeth get into a car with two men—one of whom had set up a deal with the other. However, investigators have not confirmed whether or not this drug deal had anything to do with Nemeth's death.

Following Nemeth's disappearance, hundreds of family, friends, and other volunteers had been scouring Winnipeg in a search effort to find the teenager, who was in Grade 12 at River East Collegiate and played for River East Marauders AA hockey team.

Nicholas Bell-Wright, a 22-year-old from Winnipeg, was arrested and has been charged in the second-degree murder of Nemeth. He was found barefoot hiding out in a stolen vehicle at 4 AM Sunday by police, but was taken into custody without incident. Bell-Wright's car and home were also reportedly searched on Friday by the homicide unit of Winnipeg Police Service. Bell-Wright's criminal history includes a conviction for assault about two years ago.


Nicholas Bell-Wright, pictured above, is in custody and is being charged for second-degree in Nemeth's death. Photo via Instagram

Nemeth's body was found after Roshan Pothumulla, a homeowner who lives on Bayne Crescent in the Valley Gardens area of the city, and his wife heard noise outside on Saturday around 8 PM and called the police. When Pothumulla went behind his house, he saw legs sticking out of a bag in a blue recycling bin.

"I looked and I saw the dumpster and two legs sticking out from the... bin," Pothumulla told CBC News. "I thought it was somebody making a joke with me, put a dummy inside, like, fooling around." The recycling bin does not belong to the homeowner.

Police have stated that they believe Nemeth was murdered elsewhere from where he was found, and that his body was moved.

Brent Sayles, Nemeth's uncle, tweeted yesterday that the family will be making a public statement within the next few days.

Follow Allison Elkin on Twitter.

Rural Quebec’s ‘Bling Ring’ Lands Thief Jail Time and a Modelling Contract

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Stéphanie Beaudoin, pictured above, became known as the "world's hottest thief" after she was caught in a string of home robberies in Quebec. Photos via Facebook

Victoriaville, Quebec is a small town better known for its cheese curds than for its criminals. But in the summer of 2014, the region made international headlines when a group of teenaged thieves led by a 21-year-old woman was busted for robbing dozens of homes, Bling Ring style.

Mastermind Stéphanie Beaudoin's Facebook profile went viral, catapulting her into overnight fame as the "world's hottest thief."

This week, Beaudoin was sentenced to 90 days in prison—to be served on weekends—for breaking into at least 39 houses and making off with $80,000 worth of cash and luxury goods. She was also charged with illegal possession of three firearms, which were found in the trunk of her car.

Her three very minor accomplices (aged 11, 13, and 17) are being handled by the Court of Québec's Youth Division, and their identities are kept secret because of their age. Beaudoin told VICE this is a privilege she would have liked to share. "I could have done this when I was 15," she said. "Well, I could have not done it at all, but I did it. And if I had to choose, I would have done it when I was a minor."

Still, both Beaudoin and her lawyer seemed at peace with the ruling. "I told her it would be a good opportunity to bring a book in on Saturday and have it done when it's time to leave," said lawyer Denis Lavigne.

Between June 21 and August 5, 2014, Stéphanie Beaudoin broke into more than 30 houses in Victoriaville with her three accomplices, generally coming in through the basement window. By the end of their spree, they'd stolen $80,000 worth of goods and money. Beaudoin's trademark white Mitsubishi Lancer, adorned with pink rims, was spotted at the scene of the crime a number of times, prompting an unforeseen end to the series of burglaries they were committing. Had it not been for the noticeable blunder, the crime wave might have lasted much longer. "I couldn't stop, it was so intense," she said. "I had to be arrested."

Beaudoin told VICE she had a hunch that something was up before her arrest.

"I knew I was going to be arrested because I had been followed for a week. But I wasn't able to stop, it was just so intense," Beaudoin told VICE. Initially oblivious to the police's tracking, she says her boyfriend tipped her off to the chase. " had taken my car, and at one time he took a road that no one uses unless they're going to a specific location, so he understood that he was being followed," she said. "When he turned around, he saw the police badge. He told me, 'I don't know what it is that you're doing, but stop it right now because you're being followed.'"

The former nursing student says this did little to deter her from continuing with her crime spree.

Provincial police showed up on her doorstep on August 5, 2014 and found $7,000 cash in the trunk of her car.

Immediately, Beaudoin asked an officer for permission to delete her Facebook profile for fear that some of the racier content she had shared would be used against her.

"I told him I had some pretty compromising pictures and asked him lend me his phone so that I could log on Facebook. He said, 'No no, it can't be that bad.' And that was it." When she arrived at the station, it was already too late. "Journalists had saved the pictures. It was over."

Beaudoin saw the officer again last week. "He said, 'I never thought this would go worldwide!'" she said. But it did. "The sexy thief" became a meme, inspiring articles, tweets, and even an action figure. It's not the first time in recent memory that the media has trained such intense focus on on a criminal's appearance. It's not even the first time that such attention has provided a career path: Jeremy Meeks, AKA the hot mugshot guy, eventually started a modeling career with White Cross Management after his time in prison for armed robbery.

Before her arrest, Beaudoin had been a fledgling model with a limited career that mostly consisted of posing for calendars. "Nothing really big," she said. But as her picture continued to make international headlines, the young woman became in demand. In July 2015, her photo made the cover of local smut mag Summum, and in September 2015, she was recruited by B Models Management.

"I can have modeling contracts as Stéphanie Beaudoin, I could have my face on a skin care product," she said. "I just can't do it if the brand says something like 'Stephanie the criminal' or whatever. It's a pretty OK condition."


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