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Back in the Day, Lesbian Drag Kings Worked for the Mafia

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Archival photographs courtesy of Lisa Davis's website

At a café in lower Chelsea, author and historian Lisa Davis leaned across the table to pass 40-year-old lesbian gossip to me. "Corinne wanted to take everything from Lee," she said. "So Lee called the Mafia. They sent Big George to Long Island, and that was the end of the problem. Corinne immediately backed down, Big George went home, and Lee got half the business."

Davis paused for a moment to enjoy my shock. "Oh yes," she said. "The Mafia was very equitable!"

Although it might sound surprising to hear about out lesbians working with and for the mob, there was a time in New York City when all the gay clubs were Mafia-run. Davis is an expert on those years, and the author of Under the Mink, a mystery set in the world of the lesbians and drag kings working in the mob-run nightclubs that dominated the Greenwich Village gay scene in the 30s and 40s. Davis, as a young lesbian academic in New York in the 60s, befriended many of these women and captured their stories in her novel.

The book, like the world it describes, is an artifact of a once vibrant culture that's slowly dissolving into the mainstream. It was originally published in 2001 by Alyson Books, the storied LGBT publisher that's fallen on hard times. Davis has begun reprint negotiations with IntoPrint Publishing, a company that helps get out-of-print books back into circulation, but as of now you'll have to borrow a copy from a friend. Which is a tragedy, because it's not only a fun, engaging mystery, but it also offers a window into a largely unknown community of lesbians. The book is meticulously researched, drawing not only on interviews with the women involved, but on original research Davis also undertook.

TRENDING: I Spent Pride Day with Berlin's Most Famous Drag Queen

VICE sat down with Davis to talk about the 30s, the Mafia, and the glamorous drag king world her novel explores.

VICE: Very little of the world in this book is memorialized or remembered today. You're clearly not old enough to have lived it, unless you have a great moisturizing routine. So how did you learn about it?
Lisa Davis: I knew a woman named Gayle Krumpkin, alias "Gayle Williams" when she played the 181 Club—once upon a time, the biggest drag show in town. This was in the 60s, '64 or something? She and her friends had all worked in the bars. You would think that for gay girls, working for the Mafia would be some kind of scourge, but it was the greatest thing that ever happened to them. If they got together, that's all they talked about! And they all had photo albums. I took copious notes.

Being gay—dressing up in your little trousers and suit—you could easily get yourself murdered. The Mafia protected them.

Tell me about the bars.
These clubs began to open up in the late 30s. 1939 was the New York World's Fair. Mayor LaGuardia was always a puritan, but he really went into clean-up mode then. He pushed a lot of things out of Times Square. To where? The Village! Where the police could have cared less.

The clubs run by the Mafia were very elegant. Movie stars went to them. The gay bars were dives. Most of the bars in the Village were lesbian, while the boys were uptown under the 3rd Avenue "el," the elevated train. The girls were downtown on 3rd Street, under the 6th Avenue el. The Village belonged to the gay girls, because the suffragettes had been there first, and they were all queer as pink plates.

Gail Williams, a performer at Club 181

What was it like for these women, working for the mob?
Buddy Kent [another drag king of the era] said the Mafia was very good to the gay girls. They were coming out of the Depression, they had nothing, and being gay—dressing up in your little trousers and suit—you could easily get yourself murdered. The Mafia protected them.

The girls mostly worked as wait staff, but sometimes they were stars, like Blackie Dennis, who was a crooner. She was a big number. She also had a strip act, which she did at Jimmy Kelly's and other places. But most of them were waiters, some were drag kings, and some performed as strippers or worked as prostitutes. That was one reason the Mafia liked the girls: They could be moved over into prostitution. But the girls didn't seem to mind that either! I think because there was so much money in it.

So what happened? Why did the bars close?
The attacks on the Mafia during the 50s basically decimated them, so many of these clubs closed. What's his name who wrote the book about the Mafia, [Peter] Maas? He said they're just like the Democrats or the Republicans. But they [the government] had to get rid of the Mafia because they were making too much money and they couldn't control them. Oh, and television. Television put them out of business. C'est la vie.

Buddy Kent, left, and an acquaintance

What happened to the women?
Well, Gayle moved to "Fla"—that's Florida. To die, basically. Slowly but gracefully. But she survived because people she had known 50 years before in the clubs came to live with her in her trailer, because they had no other place to live. And so once again, they were all together. Toni the Stripper, Sully Sullivan—who was not a beautiful girl, one of those tough butch types. There they all were: Toni, and Sully, and Gayle, and somebody named Augusta Cohen (alias Gus Cole), and somebody else named Bill or whatever. All they did was sit around and talk about the ladies who worked for the Mafia.

Jackie Howe and Buddy Kent ran something called the Page 3 on the corner of Charles Street and Seventh Avenue. It's a very big space. Now it's some kind of Mexican thing, but it was a real club that ran from the mid-50s to the mid-60s. They did pretty well until television came along, Buddy said.

Follow Hugh on Twitter.


When Rihanna Messages You on Instagram, You Answer: An Interview with BBHMM's Sanam

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Photos via Sanam's Instagram

When Rihanna dropped her very NSFM video for Bitch Better Have My Money on Thursday, internet detectives immediately went to task sleuthing the identity of her unnamed Desi henchwoman. Who was she, the enigmatic brown girl who helped Rihanna knock model Rachel Roberts unconscious with a single swing of her wine bottle? One name kept reappearing in the breathless tweets and comments, a single first-name moniker, like Rihanna herself: Sanam.

Sanam is a 25-year-old Seattle resident who, prior to BBHMM, has never had any experience acting, in music videos or otherwise. Three months ago, she received an Instagram message notifying her that @badgirlriri had begun following her account. Days later, the pop queen sent her a mysterious Instagram message inviting her to collaborate on an unspecified project. Turns out, Rihanna had been wowed by a selfie Sanam posted, and wanted to cast her in the video for her new single.

Now Sanam's on a first-syllable basis with "Rih" and racking up major internet fame. People are enamored with the mean-mugging accomplice who helped Rihanna seek revenge on her swindling accountant. VICE spoke with Sanam about being on set with a real world goddess, her quick rise as a brown girl Cinderella, and how she learned to love the internet.

VICE: How have you been since the video premiered?
Sanam: I've been going to my job like a regular person. I work at a plant store in this really shishi white neighborhood and most of the people who shop there don't know what's going on. The day after the video came out, I just went to work and everything was so normal there, but my phone was blowing the fuck up all day. My co-workers knew what was going on, but none of the customers who came in recognized me. Some girl on Tumblr sent me a message, and was like, "Hey, you rang me up there once, and I just saw you in the Rihanna video. That's so crazy!"

It's overwhelming, because I'm hella normal. I work at a plant store.

You posted an Instagram snapshot of Rihanna following your account a few months ago. What happened between Rihanna following you on Instagram three months ago, to Rihanna casting you as her co-star in her new video?
When I refreshed my notifications, she had unfollowed me, so I was sad about it. Then two weeks later, she followed me again. The next morning, I went to work, and I got a DM from her on Instagram. She was like, "Hey, I have this idea I want to run by you. I think you're so fucking rare. Let me know if you're interested." I had no idea what she was talking about. I was just freaking out, because Rihanna is messaging me on Instagram, telling me that she thinks I'm cool.

Then I got another message from someone who works for the production company that made the video, and they were like, "We want to put you in Rihanna's video! Send us an email or give us a call." At first, I was just like, This can't be real. This is really weird. I don't know about this. But I ended up getting in touch with the guy who messaged me and it was all legit. I spent my entire day at work going back and forth talking to them. At the end of the day, they were like, "We just got the confirmation from Rih: We want to cast you, and we want to fly you out tomorrow." And I flew down there the next day.

She followed me on Instagram on a Wednesday night, and then I was in LA on Friday morning. It was crazy.

It's already a pretty iconic video. How did they describe the concept to you?
For the first few days, I had a general idea of what was going to happen. We're going to be kidnapping this person and you guys are going to be her henchmen and you just have to be really tough. I think the term they used was "bad bitch." When they told me more about the video, I was like, Holy shit. Knowing Rih, I knew this shit was going to be super controversial.

What was she like in person?
She's so sweet. She was showering us with compliments. She is so fucking real and down-to-earth, which is the corniest thing to say about a famous person, but she really is.

When we were down there, the first day I met her, I was like, "How did you find me?" She was like, "I saw you on my Explore page." She saw that picture of me where I was wearing my nath and my tika. She was like, "I just thought you were so cool, and I was like, I don't know if I should message her or not. I don't know if she's going to be down." I'm just sitting there, like, "Are you crazy? How could you be nervous to message me?"

How was it like on the set? It looks like it was a blast to shoot.
I got the flu the day before I left to go there. So I was super sick the entire time, and the first three days I lost my voice. I was just like, I'm on the verge of death right now, but this is the best week of my life.

I remember we went into her trailer so she could give us a "yes" or "no" on what we were wearing, and she was like, "Do you need anything? Do you want me to get some medicine or something?"

You're like a modern-day brown girl Cinderella. You'd made legions of brown girls jealous.
Yeah, it's really true. You don't see a whole lot of Desi girls doing stuff like this.

Besides working at a plant store, you're also an artist. What kind of art do you make?
I've been painting and drawing since I was younger. Getting older, and especially [since] becoming more aware of social justice issues, I like to make art that speaks on that, but in a really funny, cheeky way. I haven't worked on anything in a long time. I had an art show in Baltimore in February.

It's hard to make art when you're a woman, but especially a woman of color, just because it's not respected in the same way as a white male artist's work. It's really hard to feel empowered sometimes. Being in the video, I feel like that's given me a little bit more of a platform to talk about that kind of stuff.

You met Rihanna on the internet, on Instagram. But you also have this community, and following, that you've built online before, with your art and persona.
I posted one selfie [on Tumblr] that really blew up. I've been on the internet for a really long time. So I really had some kind of a following, but not on this scale. I have a love-hate relationship with the internet, like every other person my age. It can be so fucking toxic and shitty sometimes, but...

But only on the internet can Rihanna cast you in her music video from an Instagram photo.
Exactly. I'm not complaining.

Follow Tasbeeh on Twitter, and check out Sanam on Instagram.

Financial Chaos Looms After Greeks Reject Bailout With Resounding 'Oxi' Vote

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Financial Chaos Looms After Greeks Reject Bailout With Resounding 'Oxi' Vote

Welcome to the Photo Issue 2015

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Paris, May 1968. Press photographers wait in front of the Odeon Theatre, which has been occupied by students for weeks and is being evacuated by the police. (Henri Cartier-Bresson is on the left.) Photo by Bruno Barbey/Magnum Photos.

This article appears in The Photo Issue 2015

We live in a world where millions of images are being made between the moment you started this sentence and the moment you'll finish it. Most of these photographs will be made in the same way. Someone will take a camera out of his pocket and point it in front of him, creating a visual document of his life to share with a few friends. There's an anxiety in professional photography over this glut of new pictures—a fear that all these shareable, disappearing images of daily life somehow devalue the medium. But the truth is that this documentary practice has long been part of the photographic tradition. The purpose of these pictures is not just to show our friends what the world looks like to us but to tell them what it feels like to live our lives and to convey our stories.

The images in this year's photo issue, produced in collaboration with Magnum Photos, all came into the world through the same social documentary impulse. When Magnum was founded, in 1947, two years after the end of the Second World War, its four original members—Robert Capa, Henri Cartier-Bresson, George Rodger, and David "Chim" Seymour—were motivated by a curiosity about what it looked like to live in the remains of the war's atrocities and destruction. The cooperative was established as a community of photographic authors, allied in an effort to fully chronicle the world and interpret the way that people inhabited it.

Legendary MoMA curator John Szarkowski once compared photography to "the act of pointing." In this visually overwhelming world, it's the pointers who help us make sense of the overload of imagery by guiding our precious attention. It's photography—a silent and still medium of lessness—that has served as one of our great coping mechanisms for reality's messy too-muchness. So, with a staggering amount of new visual data coming into this world every day, we actually need skilled pointers more than ever. That is, the more photographers there are, the more we need good photographers. At Magnum's core is a loose band of skilled pointers united by a common instinct to spend their lives curating reality, silently yelling, "Look!"

The artists in this issue—Magnum members Bruce Gilden, Alec Soth, Bieke Depoorter, Peter van Agtmael, and Mikhael Subotzky, as well as Magnum Foundation grantees and a handful of VICE's favorite young photographers—all work at the crossroads of photojournalism and art. Their approaches are diverse, but they share a knack for capturing the images that exist as resonant frequencies amid the cacophony. Their pictures, about their hometowns, how we inhabit our homes, the silent presence of our political leaders, the lived experience of state violence, are illustrations of the enduring power of using a camera to understand the stories of our lives.

—Gideon Jacobs and Matthew Leifheit

Half of the copies of this issue were printed with a cover photo by Mikhael Subotzky, the other half with a cover photo by Dru Donovan. Donovan's photo is part of her series Positions Taken, which re-creates scenes of police arresting men in the Bronx. Subotzky's cover photo comes from Deep Hanging, a work he produced with fellow South African photographer Lindokuhle Sobekwa.


Cover by Mikhael Subotzky.


Cover by Dru Donovan.

Ronny, the man in Donovan's cover photo, says about his arrest: "I had just moved to New York, and I was driving with a friend back to my apartment. I was new to the area, and I accidentally turned the wrong way down a one-way street. Just as we made the turn, three cruisers pulled up with their guns out. I stopped the car with my hands on the wheel, and the cop yelled out, 'Hands up! Hands up!' So I put my hands up. And then somebody else yelled, 'Put your hands back on the wheel!' In my mind I was thinking that I could probably die over the stupidest thing, like putting my hands in the wrong place."


Paris, August 25, 1944. Crowds celebrate the liberation of the city. Photo by Robert Capa © International Center of Photography/Magnum Photos.



Bali, Indonesia, 1953. One of the most exciting dances of Bali is the kecak, known as the "monkey dance," in which the men from an entire village take part. Photo by George Rodger/Magnum Photos.



Florence, Italy, 1953. Communists gather in the Piazza della Signoria. Photo by David Seymour/Magnum Photos.



Munich, West Germany, 1962. Crowds during the visit of Charles de Gaulle, president of France. Photo by Henri Cartier-Bresson/Magnum Photos.

'True Detective' Takes a Page from David Lynch and Finally Hints at a California Carcosa

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All photos by Lacey Terrell. Courtesy of HBO

[Warning: spoilers ahead.]

Ever since Ned Stark's head fell from his body in the first season of Game of Thrones, we've been in the grips of event TV. We don't merely watch shows anymore; we rush to Twitter, Reddit, and Tumblr to debate and theorize and rage about plot twists and character turns. Few things build buzz like social-media debates— Game of Thrones ended with its highest ratings ever this season despite its most controversial episode—and in the post-Game of Thrones era, shows try to generate them with shocking cliffhangers. True Detective had its first successful social-media storm with the second episode of season two when lead character Ray Velcoro (Colin Farrell) took two shotgun blasts—one at point-blank range—from the mysterious birdman.

Twitter erupted, Reddit speculated, and critics discussed the completely bold choice to apparently kill off a major character in only the second episode. The consensus seemed to be that there is no way that Ray could survive or, at best, he would be hospitalized for most of the series. Who could survive a point-blank shotgun blast to the stomach?

The good news for Colin Farrell fans is that Ray isn't dead. He got a few boo-boos and peed his pants, but is essentially fine. Ray was shot with rubber buckshot, he tells Ani, "You know, like cops use." I remember playing paintball as a teenager and seeing a gigantic bruise on the back of my friend after he was shot from a foot away. I'm not a ballistics expert, but Ray's tiny bruises and mild rib cracks seem pretty narratively convenient.

Killing Ray Velcoro would have, indeed, been a bold and exciting development. Having him survive with relatively minor injuries feels a little cheap. In retrospect, no one should have believed he was dead. Colin Farrell is, so far, the central character and the top-billed cast member. Even Game of Thrones waited a full season to kill a major character. But this illustrates the downside of trying to craft shocking moments for social-media consumption. These events can keep fans engaged through the week, but if they don't have real consequences—or lapse into Lost-like incoherency—fans get annoyed quickly.

Despite the easy cliffhanger resolution, this week's episode shows True Detective settling into its groove. By this point you know what the show is: a dark and self-serious California noir filled with ridiculous lines and an increasingly intriguing—and increasingly convoluted—plot. You either love it, hate it, or, like some I know, enjoy it ironically.

So what else happened this episode? We open with a country singer bathed in blue light and Ray talking to this father in some kind of dream world. His father tells him a cryptic story about Ray "running through the trees. You're small. Trees are like giants. Men are chasing you." Everything about the sequence feels inspired by David Lynch, a combination of the dreamy Blue Velvet bar-song scene and Dale Cooper's mystical dream visitations in the incomparable Twin Peaks. (Lynch also directed Mulholland Drive, one of the greatest and weirdest California noirs.) The scene is crafted well enough to count as homage instead of rip-off, and it gives us the first real taste of the mystical Carcosa flavor that made True Detective season one so unique.


Speaking of season one, check out our documentary on the real 'True Detective':


We get some more hints of the larger plot: Ani walks in on Ray's boss at the scene of Ray's shooting. He's making sure everything goes through Ray and Ani's rinky-dink task force. They follow Caspere's money to the set of an apocalyptic Mad Max-style film, where they meet a pompous, man-bun sporting Asian director. The director is either a loving ode to—or a pot-shot at—season one's acclaimed director Cary Fukunaga. (There have been rumors that Fukunaga and writer Nic Pizzolato had a falling out, and Fukunaga and his man-bun didn't return to direct this season.) This nicely ties the overall story of corrupt California politicos into the corrupt film industry in classic LA-noir fashion.

We also get to see the decadent mansion of Vinci's corrupt mayor, which is complete with Stalinesque paintings of himself. Vinci itself is based on Vernon, a real city with a real corrupt past that involved a mayor who claimed to live in Vernon but actually lived in a fancy LA neighborhood. As the detectives pull up, Paul Woodrugh (Taylor Kitsch) says, "The mayor of Vinci lives in Bel Air?" Ani also catches a glimpse of the missing sister of the woman whom she gave a foreclosure notice to in episode one. This missing sister had worked in her father's hippie Panticapaeum institute. In short, the threads are starting to be pulled together and everything appears to be linked.

Speaking of links, here is one to the Creators Project: Why True Detective's New Title Is Seeing Red

On downtime, Ray visits his alcoholic and racist father, who rants a little about how O. J. and the LA riots ruined police work for white cops, and mutters, "No country for white man." Elsewhere, Paul hangs out with an army buddy whom he had some kind of love affair with, essentially confirming what was obvious: Paul is a self-hating, closeted homosexual. If the nail hadn't been hit on the head enough for you, Paul talks to a gay prostitute who says he can sleep with women with the right medication... just like Paul popping Viagra for episode one's least-enjoyable-blowjob-ever scene.

Actually, Frank might look even more pained in this episode as his wife tries to get him up enough to ejaculate in a cup for in-vitro fertilization. He's more excited ripping out the "FUCK-YOU" grill out of the mouth of his one-time employee. Frank's storyline also gives us our second actual murder. One of his men, Stan, has been killed in similar fashion to Caspere. "Who the fuck would have something against Stan?" Frank shouts, although perhaps a better question is who fuck remembers who Stan even was? It's hard to care about the death of a character that most audience members can't even recognize, and this highlights a problem the show is still having three episodes in: Do we really care about the characters?

Vagueness is defining trait of every character's backstory, except perhaps Ray. Ani was raised in some kind of cult/commune/institute, but we have no idea what actually happened to her or what actual beliefs of the place were. Paul is scarred both physically and mentally from his past with a shady group called Black Mountain, but all we've been told about them is "they did bad stuff!" It's clear that these groups, like Frank's mafia connections, will become part of the plot moving forward, but holding off on all details leaves the characters as clichés. It is not coincidence that after last week's cliffhanger, so many fans said Ray was their favorite character and they hoped he didn't die. He has to be, he is the only one who isn't an outline.

On the other hand, the episode ends as strongly as it starts with a chase sequence after a masked creep—Birdman with a new disguise? Another member of the creepy mask Vinci death cult?—sets Ani and Ray's car on fire. An eerie, mysterious opening and a tense, creepy closing... Is True Detective finally taking us to the California Carcosa?

Season two of True Detective airs on HBO on Sundays at 9 PM.

Lincoln Michel's writing appears in the Believer, American Short Fiction, Buzzfeed, and Oxford American. He is the online editor of Electric Literature and the coeditor of Gigantic magazine. His debut story collection, Upright Beasts, is forthcoming from Coffee House Press. Follow him on Twitter.

Fourth of July at Muscle Beach

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On an average day, the Venice Beach boardwalk is populated with breakdancing street performers, vendors selling incense and palm readings, tourists from all over the world, and sketchy clinics advertising medical marijuana cards. But a few times every year, a stretch of the beach becomes flooded with muscles, as men, women, children, and the elderly line up to compete in the Muscle Beach bodybuilding competition.

The name Muscle Beach nods to the long history of beachfront bodybuilding on Los Angeles's west side. Today, the Venice Beach Weight Pen—an outdoor gym on the Venice Boardwalk where Arnold Schwarzenegger used to pump iron—carries on the legacy of Muscle Beach, including the bodybuilding events.

The contestants are amateurs, but the competition is stiff, and some bodybuilders come back year after year to compete for various titles. We sent photographer Michelle Groskopf behind the scenes to capture the rippling muscles, tanning lotion, and glittering gold prizes.

See more of Michelle Groskopf's photography on her website and on Instagram.

Thousands March in Toronto, Urge Canada to Turn Away From a Fossil Fuel Economy

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Thousands March in Toronto, Urge Canada to Turn Away From a Fossil Fuel Economy

There’s No Place Like Nome

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Headed south on Nome-Council Road at midday as the city ends.

This article appears in The Photo Issue 2015

In 2003, a 19-year-old Native American woman was found dead in an abandoned gold mine in Nome, Alaska. Two years later, Nome police officer Matthew Clay Owens was convicted of her murder. Soon after his arrest, I was sent to photograph Nome for a magazine that went out of business before my essay was published. The place has haunted me ever since. More than any other location I've been to in the US, Nome evokes a feeling of frontier rawness. When VICE asked me if there was a place I wanted to photograph, my first choice was to return to Nome.

Part of what attracts me to the city is that it is a home for outsiders. Nome mushroomed more than a century ago when three Scandinavians struck gold in a creek. Soon thousands of prospectors, sex workers, and other opportunists arrived. Natives from villages in the region also made their way to the "Sin City of the North." It is also a place where visitors seem to disappear. Some have attributed this to the work of a serial killer, perhaps Officer Owens. Others have speculated that this is the work of UFOs. In recent years, researchers have concluded that the disappearances are the result of harsh weather and rampant alcoholism.

The first thing that disappears in Nome, it seems to me, is the natural law and order of things. Well after midnight, while the treeless city hovers in an endless arctic sunset, small children roam around town and couples make rafts out of icebergs. Nearly every morning one can find a sad lost soul passed out on the seafront rocks, nearly dead from one of the countless bottles of Monarch Canadian whiskey that litter the beach. ("What's the favorite drink in Nome?" the joke goes. "Monarch on the rocks.")

As a photographer, I've never felt comfortable photographing outside my culture. When I've photographed in a place like Beijing or Bogotá, I've felt like an invader or a fraud. While Nome feels as exotic to me as any foreign city, I'm also aware that it is a deeply American place created by outsiders for outsiders. This isn't to say I ever once felt comfortable there. But it does feel like a place in which I could disappear.


The Wall of Sound

Explaining Yanis Varoufakis, Greece's Anti-Austerity 'Rock Star'

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"Yanis Varoufakis at Subversive Festival" by Robert Crc - Subversive festival media. Licensed under FAL via Wikimedia Commons

This morning, Greek finance minister Yanis Varoufakis announced his resignation. Varoufakis said he "was made aware of a certain preference by some Eurogroup participants, and assorted 'partners,' for my... 'absence' from its meetings," and so he's resigning to help Prime Minister Alexis Tsipras reach a deal. He said he would "wear the creditors' loathing with pride" and called the "no" vote "splendid."

Varoufakis's anti-austerity ideas are spelled out in his book, The Global Minotaur: America, Europe, and the Future of the Global Economy. Below we're publishing the foreword to that book by Paul Mason, economics editor for the UK's Channel 4 News.

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On February 20, 2015, Yanis Varoufakis entered the HQ of the European Union alone—both literally and figuratively. He came without advisers, press liaison, or bodyguards—and with the Brussels press corps salivating over what seemed like a certain and abject surrender. Sixteen days before that, the European Central Bank had punctured the euphoria of Syriza's election victory by suddenly withdrawing its regular loan facility to the Greek banks, putting them on life support, and triggering a silent run on bank deposits.

By the time Varoufakis arrived in Brussels, he knew that up to €1 billion [$1.1 billion] a day were draining from the Greek banking system: he would, without a deal, be forced to impose capital controls, limiting ATM withdrawals, and preventing the removal of cash offshore. In the end he signed a deal somewhat short of abject surrender. Greece would get leeway to implement measures to counteract austerity; the high levels of government surplus (4 percent) demanded by the 2011 bailout were waived.

In all other senses, Greece was still a debt colony of the EU. But it had been granted a modicum of home rule, and what we used to call the "comprador bourgeoisie"—the pliant agents of the colonists—were gone.

Most ordinary politicians would have given a terse statement, taken a couple of questions and headed for the steam room in their hotel. Instead Varoufakis conducted a 40-minute Q&A hailing the deal as a minor victory—which, once you understand the eurozone, it was. For Varoufakis had, in those 16 days, vaulted the minotaur.

In the original version of his book, The Global Minotaur: America, Europe and the Future of the Global Economy , he set out an analysis of the 2008 crisis and its aftermath using the Cretan legend of the minotaur as a metaphor: the "Global Minotaur" was US capitalism centered on Wall Street, extracting tribute from the world after 1971. Lacking a Theseus to kill it, the mythical beast was killed by unsustainable economics. But the spirit of the minotaur lives on. Austerity economics, and the primacy of the banks over households, businesses, and state treasuries, have been the articles of faith guiding the eurozone since the Greek crisis began. As America imposed its one-sided deal on the world after the fall of Bretton Woods, so Germany remained determined to take only the upside of the Euro arrangement.

With the arrival of Syriza in power the Euro Minotaur awakened, looked up, and took aim at the most colorful presence in its labyrinth—Varoufakis.

Though I'd been engaged with his work for years, I only met Yanis Varoufakis three days before the election of January 25, 2015. He lucidly laid out his argument, and his plan: Greece was effectively insolvent; Europe's bailout a €320 billion [$353 billion] handout to the north European banks to protect them from that fact. Unless the eurozone acquired an effective mechanism for recycling fiscal surpluses and deficits—with the mountains of idle savings energized so that they become productive investments, particularly where investment is lagging behind—it was "finished within two years."

But Varoufakis remained convinced, like the majority of Syriza's economic gurus, that a "good euro" was achievable. The auguries were positive: Mario Draghi (President of the European Central Bank) had launched quantitative easing—a €1.6 trillion [$1.75 trillion] monetary stimulus—plus he had called for less austerity. Jean-Claude Juncker (President of the European Commission) had launched a fund aimed at bringing €300 billion [$330 billion] of investment to the stricken eurozone. The politics were lined up in favour of Greece. Between the election and February 20, Varoufakis learned a lesson on behalf of the entire European left: politicians do not control Europe; the Minotaur does.

We don't know whether the reprieve Varoufakis won on February 20 will last, expand, or get closed down. But we do know the power that fresh ideas alone can bring. Varoufakis's straight-talking changed the modus operandi of Euro summits, probably forever. His preparedness to expose the workings of power-summitry and pressure threatened to put out of business a press corps whose working lives had been devoted to accommodating it. In every conversation there were three audiences: Greece, its debtors, and the workers and youth of Europe.

What irked the debtors most was that Varoufakis looked and sounded like one of them. A successful professional economist in the West European tradition, who had moved left at a time when others of his generation were moving right, Varoufakis knows enough of the way the neoliberal world works to make every clash with it look and feel excruciating. Most politicians cannot be theorists. First, because they are rarely thinkers; second, because the frenetic lifestyle they impose on themselves leaves no time for big ideas. But most of all because to be a theorist you have to admit the possibility of being wrong—the provisionality of knowledge—and you know you cannot spin your way out of a theoretical problem.


Watch our documentary about Greek austerity's drug of choice, Sisa: Cocaine of the Poor.


In his book, Varoufakis laid bare the central problem of the world economy: the lack of an agent to create new rules, new paradigms of behavior, new reservoirs of popular consent. If China is unready, the European center too unpopular, and America too decayed to do it, he asked the question: who will? Through the sheer incompetence and venality of the political centre in Greece, and the exasperation of its people, the answer was: the radical left.

Whether they win or lose their fight with the Euro institutions, Syriza have demonstrated the power of theory. Varoufakis predicted the catastrophic end of the Greek bonanza, the unsustainability of leveraged finance, and the fragmentation of the eurozone—even while the theories acceptable to the Wall Street Journal and Financial Times said the opposite. He also told his advisers, from the very beginning, that they could expect a deal with Europe only at "one minute past midnight." That is, he theorized the potential accidental outcomes of the crisis too.

That's what gives The Global Minotaur both its power and its poignancy. We don't know how the fight between Syriza and the eurozone will end—but we can be certain it will involve compromise. Politicians live in the world of compromise; theorists do not. But by the end of it, the radical left will know what it means to fight for a new, fairer kind of capitalism, in the teeth of resistance from the old kind.

March 28, 2015

This is an extract from Paul Mason's foreword to The Global Minotaur: America, Europe and the Future of the Global Economy by Yanis Varoufakis, just published by Zed Books.

Follow Paul on Twitter.

Standing Up with Andre Arruda: Andre Gets Heckled

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Standing Up With Andre Arruda features disability advocate and comedian Andre Arruda, who is living with Morquio syndrome and relies on a scooter to get around.

In this new, original series we hang out with Andre as he talks about the way people treat him, how he copes with assholes, and where he finds the humour in life's various obstacles.

In Episode 1, Andre tells fellow comedian Bobby Knauff about how doing one of the worst types of gigs—a set at a casino—was made even more awful by a drunken heckler whose calls to "bring back the midget" almost started a riot. He also shares his feelings about all the names given to people under 4'10" and how none of them are right.

We Talked to Filmmaker Desiree Akhavan About Putting More Bisexual Women on Our Screens

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Still of Desiree Akhavan in 'Appropriate Behavior.'

This article originally appeared on VICE UK.

Desiree Akhavan is one of those people whose name comes with a number of prefixes—specifically, "Iranian," "bisexual," or "female"—which, rather than serving to describe her accurately, only really undermine her. It makes it seem as though, in spite of being all of these things, she has still somehow managed to cobble together both a popular web series and a film!

That film is Appropriate Behavior, which came out earlier this year. It's a personal story, one that follows late–20-something Shirin as she comes out of a long-term relationship with a woman (the highly strung Maxine), gets a job as a summer school teacher (smoking weed between classes), and navigates the quagmire that is dating when you're bi and surrounded by self-satisfied Brooklyn creatives.

Lena Dunham liked Appropriate Behavior so much that she gave Akhavan a role in Season Four of Girls; the UK's Channel 4 liked it so much that they've asked Akhavan to write a TV series; and we liked it so much that we called up the writer/actor/director to talk about why we need more bisexual women on our screens.

VICE: Hi, Desiree. I really liked Appropriate Behavior, which is unusual—maybe it's just like a pathology I have, but I quite often find queer films about women to be awful.
Desiree Akhavan: No, not at all a pathology. They can be the worst, so embarrassing. That's actually how my web series started. I co-created it with my girlfriend at the time—we were sitting around one day and just bitching and moaning about how much we hated gay movies and how we didn't identify with them. And then we thought, Is this internalized homophobia? Maybe we're homophobic lesbians! And that was like the whole premise for a show. So we did a comedy about self-hating lesbians, because that's what we sounded like.

How did that concept manifest?
It's called The Slope. We were at film school at the time, so after school we would get together with friends and shoot these five minute scenes with no budget, just based on the kind of comedy—situational comedy—where we'd just say the most inappropriate things you could say.

Did that evolve quite naturally into Appropriate Behavior ?
Yeah. They're different for sure, but when I was making the show I always had it in the back of my mind that I wanted to make a feature film. And I wanted to take the low-budget energy I had from the show—it was so effortless, a really fun, and easy thing to do—I wanted to take that and apply it to a feature film.

When you say "low budget and effortless," did that involve casting your friends?
Lots of the people are people I knew, like Crystal, who's played by one of my oldest friends, Halley Feiffer. We held auditions for Maxine—I didn't write the part with Rebecca Henderson in mind, but it was really clear to me that she was the frontrunner from the word go.

Trending on VICE Sports: Abby Wambach's Journey from Rochester to the World Stage

Why was that?
A lot of people came in and did something on par with blackface—I call it "gayface": when straight actresses walk in with, like, a backward baseball cap and baggy jeans and do their impression of a lesbian, as though a lesbian would not be a real human being. So, that happened a couple of times, and I remember thinking, This is both hilarious and really telling of how most people approach films with gay protagonists.

Often, they treat them as though they wouldn't respond to situations in the way that a regular person would, that their gayness is their first and foremost quality at the front of their mind, and, you know, that's not how I feel—and Rebecca is gay, and that's not how she feels. So, watching her perform was such a pleasure, because it was like, "Oh, you're making choices and you're giving Maxine life, in the way you would any character."

I don't like Maxine, but I can't tell if I'm supposed to. Was she influenced by someone in your life?
People either love or hate her—it's funny. She wasn't really influenced by anyone, no, but I recognized her traits in lesbians I had loved growing up: she's incredibly sensitive and political. I had never dated someone who was like that, though—I think it's hard to be a very politically correct, sensitive person and date someone like me.

I can see that. How much of the film is telling a story that's close to you and how much of a political impetus was there on your part? Do you think there should be more bisexual women on our screens?
First and foremost, there definitely should. However, I am the world's laziest activist, and if I were Paris Hilton, then I would make stories about being Paris Hilton. I am a storyteller—I really care about telling my story and expressing myself, and the fact that I've never seen stories that reflect life as I know it is a real motivator. I don't want to make propaganda, but I believe in the work I do. I feel I have a moral obligation to do it. We never talk about bisexual people's stories, and it's such a missed opportunity.

Being bisexual is like having a superpower. There is no one else in the world who knows what it's like to love, date, and fuck both men and women. It's the age-old question, since, like, forever. I mean, think about When Harry Met Sally—everybody wants to identify "What is the difference between the sexes?" and here's this one type of person who knows exactly the difference because they've experienced it firsthand. That hasn't been seen on film much, which is really exciting. The best stories are the ones that are yet to be told.


Related: VICE Meets Crystal Moselle Director of 'The Wolfpack'


Appropriate Behavior must get compared to Broad City and Girls quite a lot. How does that feel?
Yeah. I'm a really big fan of those shows, so I feel honored to be compared to them.

I guess one similarity is the Brooklyn setting—you definitely take the piss out of Brooklyn's culture a little bit.
I mean, we're making fun of everything, but we're making fun of things that are in ourselves as well. Sometimes you wake up and you're like, "I didn't do it consciously, but I just belong to a movement of young assholes who are completely entitled. It wasn't even like a conscious decision, it just happened." I can appreciate the things that are amusing about me and appreciate how there are, like, 40 other bisexual filmmakers out there on my street corner in Brooklyn, and you just have to laugh at it at a certain point.

How has the film changed things for you? Now you've moved to London, do you get recognized? Or do you at least get hit on more?
I get recognized maybe twice a week, and it's just like a friendly, "Hello! I like you!" which is actually quite lovely. I never get hit on. If anything, I think people are less interested in dating me after seeing Appropriate Behavior.

If you're compelled to make stuff that is quite close to your lived experience—autobiographical, you could say—how is it going to evolve?
I don't consider my work autobiographical, I consider it personal, and I do think that I'll always be making work that's personal to me. The next feature I'm making is based on a young adult novel, so it's already written and the story's not mine. We haven't announced the name of the book that we're adapting yet, but I can tell you it's LGBT, it's set in the States, and it's a book I really love.

What else is coming next?
I'm also working on a TV series based in the UK—a bisexual dating comedy. It's about a woman who's been a lesbian her entire life and comes out as bisexual in her 30s and starts dating men for the first time. It's not true to my life; I always came out as bisexual and I wasn't closeted in that way, but it's exploring something that's very personal to me, which is living and dating as a bisexual woman, what that means in the gay community, what it means in the straight community, and what it means as a single person trying to fall in love or get laid.

Thanks, Desiree.

Appropriate Behavior was released on DVD and On-Demand on June 29 from Peccadillo Pictures. You can order from Amazon, iTunes, and all other good retailers.

Follow Amelia on Twitter.


We Partied with Defiant Greek 'No' Voters Last Night in the Streets of Athens

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This article originally appeared on VICE Greece.

Jubilant Greeks poured into Athens' Syntagma Square last night to celebrate a referendum result that overwhelmingly said "no" to more years of austerity and debt repayments. Wrapped in blue and white flags and singing traditional protest songs, the crowd was drawn from the 61 percent of voters who chose to defy the country's creditors elsewhere in Europe.

After a long, stressful week of closed banks and a daily cash withdrawal limit of €60 per person, many of those celebrating said the "no" vote had restored some pride to the country. Greece has labored under the repayment demands of the EU and the continent's financial institutions for five years, and many Greeks resent what they see as their vilification as feckless southern idlers.

It's likely that for many the celebratory mood will begin to fade as the ramifications of the "no" vote become clear this week. But despite their uncertainty about what happens next, the people in Syntagma last night seemed happy that their voice was finally being heard.

Want some background? Here's a brief history of Greece's debt.

Was Jesus Gay?

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Modified image via Flickr user Waiting for the World

After the Supreme Court's historic ruling on gay marriage, it seemed like all the proudly homophobic Christians came out of the woodwork to talk about how much they still hate gay people. As a straight Jew, the homophobia amongst Jesus's followers has always struck me as a bit of a surprise: Worshipping at the feet of a ripped, hung man, seems at least a little homoerotic. But it's Jesus himself who lights up my gaydar like a Christmas tree. He's a skinny young otter-like guy, flocked by a mess of dudes, telling everyone to love and care about each other, who later gets the shit beaten out of him by a bunch of closed-minded conservatives who are terrified of change.

As it turns out, this is not a unique theory. Dr. Reverend Bob Shore-Goss, an openly gay senior pastor, has written several books on the subject, including Queering Christ and Jesus ACTED UP: A Gay and Lesbian Manifesto. He holds a doctorate degree in Comparative Religion from Harvard, and he serves on the National Advisory Board of the Center for Lesbian and Gay Studies in Religion. Oh, and he believes that Jesus was gay. I got in touch with Reverend Goss, who laid out the Biblical evidence and explained how his theory plays out.

Image by Flickr user Waiting for the World

VICE: Was Jesus Christ gay?
Bob Shore-Goss: I would hope he is. I would project that he is. For my own spirituality, I would love to jump into bed with Jesus. At the very least, Jesus was queer. That is to say: He broke the rules of his culture, of heteronormativity. He subverted masculinities and gender codes in his culture. Queer doesn't necessarily mean sexual orientation, but it can include that. St. Paul, I would say, would probably be described as a closeted homosexual today, but they didn't have those words at the time.

How was homosexuality perceived in Jesus's time?
There was no concept of sexual orientation, but there was a concept of gender. So, in the Bible, when a man sleeps with another man like with a woman, it's an abomination. See, the emphasis is on a man betraying his status: He has feminized himself. So it's a gender violation as opposed to a sexual violation. The code of masculinity is very strong in the ancient world. Now, homoerotic relationships in the ancient world are really common, especially in the Greek and Roman worlds.

Does Jesus himself ever address that?
As a matter of a fact, one of Jesus's miracles is the healing the Centurion's boy. It's in Matthew and Luke. Matthew uses the word "pais"—you get the word pederasty from it, it means youth—to describe this boy, who is essentially a concubine to the Centurian. It's an erotic relationship. He comes to Jesus and asks for his boy to be healed. And Jesus asks if he should heal him, and he says, "I'm not worthy that you should come under my roof, but say the world and my boy will be healed." Jesus says about the faith of the Centurion, who is in a homoerotic relationship, that "there is no greater faith that I've encountered in Israel."

What's great about that is that every time you go to communion on Sunday, millions of Catholics say, "Lord, I'm not worthy to receive you, but only say the word and I shall be healed." They're uttering this homoerotic phrase that was uttered by a Centurion in an actual homosexual relationship with a youth. We've just sanitized that and forgotten those sort of things in the meantime. But a church of the second century would understand that this is a homosexual relationship and it wasn't a big deal.

So what evidence is there in the bible of Jesus's homosexuality?
There's hints of it, and then there's readings into it. The hints come from John's Gospel with the "beloved disciple." He and Jesus have an intimate relationship, although there are questions as to who the disciple actually is. Anyhow, the beloved disciple is lying on the chest of Jesus at the last supper and is supposedly in his "inner tunic," which is what we would call underwear today. It's a very intimate gesture, and it's a special gesture of affection between the two.

I would imagine Jesus loved all of his disciples, I mean he told everyone to love their neighbor. So, singling out a particular person as "beloved" seems significant.
Yes. Jesus only calls one other person beloved and it is Lazarus. There was also an excerpt that was discovered in the 1960s by a professor of history and ancient studies, Morton Smith, a very good scholar. He found an inscription that hints at a secret gospel, that people are dating back to sometime in the late part of the first century. There is a fragment that describes a naked boy who comes to Jesus very late, and spends the night for an "initiation." The fragment has been disputed, of course. But what this has to say is that there was some sort of homoerotic relationship, a love relationship.


If Jesus was gay, then he definitely would not support gay conversion therapy. VICE investigates the practice of "curing" gay people through religious counseling and lifestyle restrictions.


It seems that, like anything else in the Bible, you can draw your own conclusions, including that Jesus was gay. I mean, he's this queer figure, never married—
That is actually significant. Jesus was a rabbi, a teacher, and pretty much every rabbi at the time was married. But there's no testimony of Jesus's marriage. There are some interesting theories, Jesus could have been bisexual and carried on a relationship with Mary Magdalene and the beloved disciple. Perhaps he was intersex or trans, because he was born without a father, and therefore was born female and took on the phenotype of a male. Virginia Mollenkott argues that in her book, Omnigender. It's a fun sort of argument. What I'm saying is that people see this as really important. I once had a lesbian student tell me, "Jesus wasn't gay, he was perfect." So what does that say about how she views her sexuality? The Catholic position says that Jesus is perfect, so therefore he is intrinsically good and intrinsically ordered. Now what they say about gays is we are intrinsically evil and intrinsically disordered. Even evangelicals will say that Jesus was perfect so that, in order to be saved for evangelicals, you must be heterosexual to be saved.

On VICE News: Tears, Laughter, and Triumph for a Lesbian Couple in the Supreme Court's Gay Marriage Case

But if Jesus was gay, and he was perfect, then really it's only the gay people that are going to heaven, right? That's so deliciously ironic.
You know, I think there's a greater picture about how universal Jesus is. Jesus had sexuality. I used to think that everything about Jesus was perfect. Then in my first year of school, I was reading a book by John A.T. Robinson, an Anglican bishop and New Testament scholar, The Human Face of God, and there was a little footnote there that really disturbed me. It said that Jesus farted. And I said, "Oh my god!" And then I thought, Well, OK. He was human. And that led to, "If he was also human, did he have an erection at night? Did he have a nocturnal emission? All males experience that." So that was kind of an eroding of my sort of Catholic fundamentals around Jesus. And I went the next step by saying, "Was Jesus sexual?" And then, "With whom?" Then I thought, "Does it really matter?" And I think it does.

If Jesus was fully human, he must have been fully erotic. That would mean that sexuality was a positive thing, because we need to reclaim the fact that sexuality is a great and good thing, whatever sexuality that you are. So, you see where I'm coming from? I want to say that all sexualities are an original blessing because we're made in the image of God.

What I'm getting from this the most is that Jesus, as a queer human individual, could at least relate to the struggle of gay men—feeling like outcasts, having violence perpetrated on them for their queerness, whatever it may be.
Yeah, I'd say that you're absolutely on solid ground with your statement.

Even if Jesus wasn't gay, I imagine he'd certainly feel more kinship with the minority of homosexuals than the heteronormative Christians who preach hate.
It's funny, because fundamentalists go back and misread these things and get hysterical about it because they do not understand the historical context. They misuse it and they misrepresent their own ideology. And often times they're vehement about it because they have so much internalized homophobia, which indicates to me that they have those same attractions to the same sex that they need to stamp them out in other people. Jesus was not a fundamentalist. He's not a literalist. He spoke in parables and metaphor and story.

Was Jesus a top or a bottom?
Versatile.

Follow Jules Suzdaltsev on Twitter.

Runaway Fest Is a Music Festival Booked Entirely By High Schoolers

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Runaway Fest Is a Music Festival Booked Entirely By High Schoolers

USWNT Beat Japan and Win World Cup

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USWNT Beat Japan and Win World Cup

VICE Meets: VICE Meets Karl Ove Knausgaard

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Karl Ove Knausgaard is an unlikely literary celebrity. The Norwegian novelist is the author of the best-selling, six-volume, novelized memoir My Struggle—Min Kamp in Norwegian—a title deliberately borrowed from Adolf Hitler's autobiography Mein Kampf. As Knausgaard readily acknowledges, they are books without much of a plot, where quotidian events are described with exacting, and sometimes exhausting, detail. In Norway, a country of 5 million people, My Struggle has sold 450,000 copies. English-language critics regularly compare him to Proust and await the translation of each new volume with child-like anticipation. We met Karl Ove in New York, days before the release of My Struggle: Book Four.

The Author of 'The Cartel' on America's Role in Mexico's Brutal and Bloody Drug War

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Photo courtesy Knopf Doubleday/Don Winslow

Don Winslow's recently released novel The Cartel, a sequel to his 2005 book The Power of the Dog , chronicles the rivalry between a United States DEA agent and the cartel kingpin he is dead-set on taking down. In 600 pages, Winslow examines how the massive profits of drug trafficking allow for high-level corruption, explores the United States's role in the brutal violence plaguing Mexico, and questions the efficacy of a war against cartels determined to defend their power and prosperity by any means necessary.

The book is as gruesome a read as it is insightful, chock-full of research into the organization and tactics of cartels and their (at times) strikingly similar governmental opponents. It is disturbing, and it is based in large part on actual events. VICE spoke with Winslow about what inspired his work on the topic, and why he hopes it will bring attention to what he calls the "American problem" plaguing Mexico.

Don Winslow. Photo by Michael Lionstar/courtesy Knopf Doubleday

VICE: What inspired you to start writing about drug war violence in Mexico?
Don Winslow: I was six published books into my writing career and there was a massacre—there's no other word for it—of 19 innocent people, men, women, and children, in Baha, California, near where I live. I didn't really start to write a book, I started to try to find out how we got to the point where people were willing to do that.

Now that was 1998, and we think that was a horrible incident, but it pales in comparison to what went on ten years later. The worst things I wrote about in Power of the Dog wouldn't have made the papers in 2011.

You hadn't planned on writing a sequel to Power of the Dog, but this increase in violence changed your mind?
That's right. When I finished with Power of the Dog, I thought I'd written about the worst of the worst. It absolutely ground me down and I had no intention of returning to that subject, ever. But as I sat here near the border and watched these events spiral out of control, I asked myself again, why? And I started to do research to try to get answers to those questions, and write out what I learned. The two books together encompass 15 years of the War on Drugs, as seen mostly through the prism of two characters—a DEA agent and a drug lord—locked in this vendetta against each other that began in the 1970s and just keeps going on.

It sounds like drug trafficking in Mexico has undergone some significant changes since your last book.
It has changed drastically. First of all, the sheer level of violence is so much bigger, and frankly, the level of sadism is so much greater. We couldn't have imagined it in our worst nightmares, and it is nightmarish, except that it's real—the decapitations, the mass murders—they're real.

Another way things have changed is with the militarization of the war on drugs. Cartels went out and hired their own private armies, a lot of times made-up by ex-special forces, some of whom were trained in the US as anti-drug soldiers. They went over to cartels and the level of lethality, if you will, became so much higher. It started as sort of an arms race—one cartel did it, then another and another, and pretty soon you have thousands of people fighting. And then, when the Mexican government in 2006 decided that they needed to intervene, they could no longer do it with police, a lot of whom had been coopted by cartels, so they sent in the military. Now you had a real war, and it was multi-fronted: cartel against cartel, cartel against military, certain police forces against other police forces.

The cartels also got very sophisticated about communication. They figured out it wasn't enough to win a war on the ground, that they also needed to control the narrative. Their use of propaganda, particularly through social media, was something we had never seen before. It used to be criminals tried to hide what they did, but in this era of Mexico they proclaimed it as a means of intimidation and terrorism, but also recruitment.

Plus, they terrorized and often killed journalists to control the stories in newspapers. After a murder came across a reporter's call radio, cartels would call their cell phones to instruct them on what they could or could not cover—and that's something absolutely new in crime. It's very different than the book that I had written before.

How did you conduct research into the real-life and yet "nightmarish" events on which you based the book?
I read a lot of journalism. I talked to people again and again. In this surreal sense, I followed it on the net. You can pull these videos up in five seconds. But what I really tried to do was to put names to the victims. I just felt that I owed them that, so I would cross-reference materials to try to show that these people had lives and families and hopes and fears and dreams like everybody else, and not just to have them be pornography of violence.

In The Cartel , you describe how the military's war on cartels has led to even more bloodshed.
Yes. 2006 was the year that Mexico launched its military program against the cartels, and the height of the violence really came around 2012 and 2013. Since the mid-2000s, an estimated 100,000 people [ ed. note: depending on who you ask] were killed. When you go to war with cartels, they fight back, and they are as well-armed in many cases as the Mexican soldiers fighting them.

A major theme in your book is that while Mexican and US governments often celebrate the capture or killing of a cartel kingpin as a victory, the take-down does not necessarily increase peace, but creates a power vacuum.
Exactly. All it does is create a multi-billion-dollar job opportunity, and there are always people wiling to take chances to step into that position because the wealth is fantastic. Look at Sinaloa cartel head Joaquin Guzman Loera (aka El Chapo), who was on Forbes magazine's World's Most Powerful People list in 2012. Chapo was captured last year. Great. But what difference does it make in drugs coming up to the border? None. While it might disrupt things for a few weeks, it will probably cause more violence as people scramble to fill those positions. The bottom line is we've captured drug lord after drug lord—captured or killed—and it makes no difference at all.

Why?
The real problem is not Mexico, it's in the US. It's in the market. It's our simultaneous prohibition of drugs and appetite for them that create such high profit margins, and that makes these territories worth fighting over and worth killing for.

And it's a tragedy: 100,000 people killed; 22,000 missing. That makes it one of the bloodiest conflicts in the Western Hemisphere since the American Civil War, and we're largely unaware of it. I think a lot of it has to do with the fact that this stage of Mexico's drug conflict coincides exactly with the post 9/11 era, so we've been very focused on terrorists abroad, and for good reason. On the other hand, we need to be more aware of the consequences our actions have on our neighbors, and in Mexico, those consequences have been severe.

You've compared Mexico's cartels to al-Qaeda and the Islamic State, and wrote that the United States's anti-terrorism initiatives, which focused on taking down top jihadists, spilled over into drug war tactics. So clearly, you see parallels between the War on Drugs and the War on Terror.
Absolutely. While terrorists like al Qaeda and ISIS are ideologically driven, cartels are driven by profit motive, sure. But if you look at what the cartels do—mass murder, torture of the vilest kind, kidnapping, mass rape, enslaving people to work on farms and plantations, sending out threatening videos—if that's not terrorism, I don't know what is.

Plus, we've evolved in our anti-terrorist doctrine form what's called counter-insurgency doctrine to anti-terrorist doctrine . The former involves building relationships with local communities, protecting or defending them from guerrillas. The latter is more simple: to go out and kill and capture terrorists, particularly leaders. And that philosophy in Washington leaked into the way we now approach anti-drug trafficking, so our focus in conjunction with the Mexican government has been to capture and kill drug leaders. The philosophies are similar.

You also say Mexico's military is making the same mistakes US soldiers did in Vietnam. How so?
From the beginning, when Nixon first declared the War on Drugs some 44 years ago, we dropped a substance very similar to Agent Orange onto the poppy and marijuana fields in Sinaloa and Durango, and we completely alienated the local community. We forced them into the cartels' hands, and we keep making the same mistake over and over again. The Mexican military has long been waterboarding people with gasoline and soda, which almost sounds amusing unless you're half-drowning with carbonation fizzing in your nose and throat. They've burnt buildings. They've taken young men suspected of being with a cartel back to army bases and tortured them.

That is, of course, just like Vietnam and elsewhere, going to alienate people in these villages. Now the cartels do things that are similar to and even worse than US soldiers did in Vietnam, but the cartels also build hospitals, churches, chapels, and clinics. They hold Mothers' Day and Day of the Children celebrations, giving out gifts. So they gain these heroic sorts of images in a lot of these communities, particularly in the rural areas where they're looked upon like Robin Hoods or heroes. Of course, they're not.

Your book compares the army to cartels, and describes police as "not protecting" but "guarding" cartels.
I didn't draw the comparison—the facts are there on the ground. The army has been, in some places, very corrupt. It has seized land from people. It has cooperated with drug traffickers and probably trafficked itself, so the army has formed its own power unit that's really not answerable to anybody, and that's what a cartel does.

Now, it may sound paradoxical, but the drug lords aren't really in the drug business, they're in the territory business, so a lot of top drug lords might never touch drugs their entire career. What they're doing is charging other, lower-level people to run drugs through their territory, and the most valuable territories are border towns near highways that run to major US cities. With that being the case, they have to secure the protection of the local police or army, and that means bribes go very high into the federal government. The federal police in Mexico have reorganized several times to try to route out corruption, but it tends to stick because the money is so extraordinary. They may also be threatened with violence, given no choice but, "Take it, or we'll kill you and your family."

In addition to the United States's drug consumption habits and policy of prohibition, you also talk about immigration policy as a source of profit for cartels.
Again, what cartels control is territory, and the most valuable territory is across the border. For the most part, anything that has to cross the border illegally must go through the cartels, whether it's drugs or people. Cartels are increasingly involved in human trafficking because they control smuggling routes. So now undocumented immigrants, unless they're very lucky, have got to hire coyotes organized by cartels and pay them a fee to be smuggled across [the] border. Sometimes these coyotes take their money and just dump them down in the deserts or mountains where they die of exposure. Other times cartels will kidnap family members and demand they mule drugs across the border or have their relatives killed. Sometimes, they do run the drugs, and they kill the family anyway, or force the women into prostitution.

How has marijuana legalization affected cartels' business model?
Well, a lot. Two states have [fully] implemented legalized marijuana, while others decriminalize or allow medical marijuana, and the latest reports we get is that the marijuana coming up from Mexico has dropped by more than 30 percent, which takes a huge chunk out of the cartel payroll. With legalization in just two states, we're getting reports that marijuana plantations in Durango and Sinaloa states have stopped planting the crop because there's no money in it. They can't compete with the quality and price of the domestic American market.

That's the good news. The bad news is that, to make up for loss of income, the Sinaloa cartel—which pretty much runs the game at the moment—has lowered the price and increased the production of black tar heroin now flooding cities in America. Some people look at this and say, "Oh my god, we've legalized marijuana in two states and now we have a heroin epidemic." But what we should be looking at is the fact that we legalized marijuana in a couple states, and the implication is that imports from Mexico are down and dropping. What if we legalized heroin?


Check out our interview with journalist and drug war expert Radley Balko on the militarization of American police.


So do you think full-on legalization of all drugs is the best solution to stopping this violence?
Look, for some problems, there are no great answers. There are only less bad answers. We've been doing the same thing for coming on 45 years and it hasn't worked, and it's time to try something different, and that something must do more than make adjustments to our current policy. I think it has to be a whole new way of thinking, a whole new outlook.

Since writing this book, you've written op-eds about the drug war and even took out an ad in the Washington Post imploring Congress to end the War on Drugs. Do your aspirations with The Cartel go beyond entertainment?
Well, I'm a novelist, and my first goal is to write a good, entertaining and interesting book for the reader. That's always my primary responsibility. The ad was something I felt I needed to do—that if it could spark an honest conversation on the Hill, if we're out there challenging these guys in [the] hometown paper to take an honest look, to really try to rethink this, maybe we would get somewhere. I've been researching and writing about this damn thing for 15 years or more and I'd like to see it end. I don't think every writer has a social responsibility, and I just felt that, you know what, you should have some skin in the game, and then go ahead and speak out in ways other than a novel.

Follow Kristen Gwynne on Twitter.

The VICE Guide to Right Now: Some Brazilian Evangelicals Created a Sin-Free Facebook Where You Can Click 'Amen' Instead of 'Like'

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Screenshot via Youtube

According to the Telegraph, four Evangelical Christians in Brazil just launched a sin-safe version of Facebook called Faceglória. The site's creators met while working at the mayor's office in Ferraz de Vasconcelos, near Sao Paolo, and banded together over their shared loathing of the vile, pornographic filth Zuckerberg allows on his social network. Around 100,000 users have signed up in the first month.

Around 20 percent of Brazil's population is Evangelical, and Faceglória is a place for them to connect and talk about God without worrying about foul language or someone's bikini pics. The site is primarily marketed to Brazilians (the whole thing is in Portuguese), but anyone with a valid email can sign up.

Faceglória is under constant surveillance by more than 20 moral police, whose job it is to detect and dispose of posts containing sexy photos, violent videos, or just one of the 600 banned words. Again, since the site is in Portuguese, you might be able to slip in a "shit" or "fuck" without getting immediately nabbed, and you can still find a few rogue profile pics of Magic Mike or a couple of hot model-type dudes kissing.

The whole thing bares a pretty striking resemblance to Facebook, but with a few key differences. There is an overwhelming amount of cloud imagery, to really drive home the "heavens" thing, and instead of "liking" posts, users give them an "Amen."

All the while, a looping stream of holy music like "Ressuscita-me" rings out through an embedded Soundcloud widget on the page. If you are tired of all that obscenity and porn on Facebook and wish there was a constant playlist of worship songs playing whenever you socialized online, you can sign up here.

The Dangerous Lives of Colombian Mangrove Clam Collectors

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The Piangueras are a remote Colombian community who make a living collecting and selling clams found at the bottom of mangroves in the country's Pacific coast. The clams, which are a popular food in Ecuador, form the bulk of their income. Their work is dangerous, unregulated, and the constant wetness and mosquito population means disease is a massive issue. Because of the agility needed to get the clams, much of it is carried out by kids. But with few other income sources in the area and a lack of government presence and assistance, it's the only option many have.

German photographer Jonas Wresch came across this mangrove economy while living and working in Colombia. He spoke to VICE about his experience in the region, and how he tries to document poverty without being predatory.

VICE: Hi, Jonas. What took you to the Pacific coast?
Jonas Wresch: It was part of a bigger report on the life of a municipality called El Charco in Nariño. That's an area that has been heavily stricken by conflict, 85 percent of the population has been displaced for some period of time. I went there to document the effects of the conflict and different parts of life, like where people get their food from and that is how I came across the Piangueras.

Because of the agility needed to collect the clams, much of the work is done by kids.

How did you get access to the community?
It was pretty funny because these are ladies that have worked their whole life in the mangroves and I just asked if I could go with them. Their response was, "No! You can't go with us, you won't survive an hour!" They really painted a picture of a place full of malaria, where you have to rub your skin with gasoline so you don't get bitten by mosquitoes. In the end they were satisfied that I went there and survived. They were really friendly and open people.

What does a working day look like for the Piangueras?
It is a pretty interesting world. You go in this canoe and everyone is eating and having cigarettes. The clams sit right next to the roots of the trees so they dig 10 to 20 centimeters into the mud and check if there is one. The clams are not just lying around, so you really need to search.

What are some of the health risks they face, apart from malaria?
They have skin issues as they believe they need to rub petrol on their skin to keep the mosquitoes away. Also, they suffer snakes and other animal bites.

The biggest health concern for the workers is malaria from mosquitos.

There are lots of kids in your photos. Why is that?
There are many kids involved, especially because they have small hands and small bodies so they can move efficiently. A lot of them don't go to school or just go in the afternoon. The work is really tough and they are all very competitive, so they really have to focus on the job for hours. That is the only option they have, the older ones did say that they were tired of the job.

Are there other options of income in the area?
Not many. They either go to the military, that is a chance to get out, or there is also wood production, fishing, and banana plantations—but that's pretty much it.

You mentioned some of the older kids saying they were tired. Was that the general mood in the community?
They are aware it is tough, but it's a job with a lot of history and they are really proud. You talk to older women in the town and you can tell if they were piangueras, as they smoke in a certain way. It has a trajectory and it gives the community a sense of unity.

For children growing up in the area, other job options include joining the military, wood production, fishing, and working on banana plantations.

This area is also known for the lack of government presence and assistance, isn't it?
They feel totally abandoned. I have been in other areas of Colombia like the south of Bogotá, where life is very rough as well, but it is still more accessible. More NGOs go there, so people get a feeling they are being attended. This place is so far away and it is expensive to travel to by water because of the price of petrol. Not many people go there.

How do you photograph inequality with dignity, and not slip into "poverty porn"?
I'm always trying to find a balance between the victims and the actual resistance that people have. People aren't just suffering, nameless, they always organize themselves and they are very strong. I didn't want to portray this place as the worst on Earth, but that there is hope and that people have power. I felt really well in these Afro-Colombian communities because they are really welcoming and friendly and I tried to include that in my work.

Interview by Laura Rodriguez Castro, follow her on Twitter.

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