The Syrian War Keeps Getting Worse for the People of Aleppo
A year ago, almost to the day, I watched a graffiti artist named Khalifa paint a huge smiley face onto a wall. The wall was pretty much all that remained of the house it had been part of, and every other house on the street was in a similarly bad state. The day before, the street had been hit by a Scud missile: That was Aleppo, Syria, in 2013.
Khalifa had sprayed a slogan next to the smiley face. It read, in Arabic, “Tomorrow this will be beautiful.”
The Only Person Young Thug Follows on Instagram Tried to Fly Me to Dubai in Exchange for Sex
I have a compulsion, or a penchant rather, to seek out and passively absorb images any time I find myself idle. In high school, I satisfied this urge through Tumblr—I would tumbl deep into k-holes of Mary Kate Olsen pro-anorexia blogs and Laguna Beach montages. But now I am (ostensibly) an adult, so I use Instagram to quench my thirst for meaningless images. Celebrity Instagrams are the apex of the form, a place where you can lose yourself in the 2,000 comments on a selfie of Young Thug in the passenger seat of a car.
It was precisely that moment of Instagram hypnosis that an unnamed Noisey editor discovered a strange anomaly: Young Thug aka @thuggerthugger1 follows a single person on Instagram. Just as Kanye only follows his one true love, Kim Kardashian, on Twitter, Young Thug has an interest in only one account, one account over the millions that exist, one account to fill his entire feed every time he desires the soothing soma of social media.
I reached out to Mr. Al Buqaish via Facebook about a month ago. He responded almost immediately to my inquiry, but his messages were suspiciously laced with grinning, blushing, and winking emoticons. I should have realized after the first winky-face emoticon that this was not going to be a normal interviewer-interviewee relationship. Instead of agreeing to a Skype or email interview as I had suggested, Humaid took the conversation to an entirely different place:
Crude Journalism: Chevron Bought a Newspaper to Mask Its Bad Record on Safety Abuses
Richmond is tucked into California’s western tricep, a former wine town with a population just over 100,000. Under the administration of Mayor Gayle McLaughlin, the town is thelargest city in the United States with a Green Party mayor. It’s also an oil town—in 1901, Standard Oil set up a tank farm, choosing the location for its easy access to San Francisco Bay. Soon after, a western terminus of the Santa Fe Railroad was built in Richmond to handle the outflux of crude. Over the course of the 20th century, Standard Oil became the Standard Oil Company of California (SOCAL), and later, Chevron.
How to Kill a Wolf: An Undercover Report from the Idaho Coyote and Wolf Derby
The best way to fatally wound a wolf without killing it instantly is to shoot it in the gut, preferably with armor-piercing ammunition. Unlike soft lead-tipped bullets, which mushroom inside the body cavity and kill quickly, heavy-jacketed AP ammo pierces the target and blows out the other side.
This has two advantages: The first is that, especially with a gut shot, the animal will suffer. It will bleed out slowly, run a mile or so in terrified panic, and collapse. Then it will die. The second advantage is that, if you’re hunting illegally (out of season, at night with a spotlight, or on land where you shouldn’t), there is little forensic evidence for game wardens to gather. No bullet will be found in the cadaver. Most importantly, the animal will have traveled some distance from where it was shot, so that tracing the site of the shooting is almost impossible.
I gleaned these helpful tips from a nice old man at a saloon in Salmon, Idaho, which last December was the site of the first annual Coyote and Wolf Derby. I had come to this rural town—population 3,000—to enter as a contestant in the derby. Over the course of two days in late December, several hundred hunters would compete to kill as many wolves and coyotes as possible. There were two $1,000 prizes to be had, one for the most coyotes slain and the other for the largest single wolf carcass. Children were encouraged to enter, with special awards for youths aged 10–11 and 12–14 listed on the promotional flyer. The derby’s organizer, a nonprofit sporting group called Idaho for Wildlife, advertised that the event was to be historic: the first wolf-killing contest held in the US since 1974.
The Ukraine Uprising Had Its Bloodiest Day Yet Yesterday
Kiev was burning again on Tuesday. After a period of calm, yesterday’s violence was the deadliest since Ukraine’s “Euromaidan” protests began in November.
The number of deaths rose throughout the day, as more and more corpses were found in the streets of Kiev. By Wednesday morning, at least 25 people had lost their lives, including nine police officers. Reports about the number of injured vary but start at over 200. A Ukrainian doctor on the scene said that the real number could run “into the thousands,” and the tolls of those both killed and wounded are only likely to rise. A stream of photos on social media showed people, many of them apparently unconscious, with their faces covered in blood.
Yesterday’s crackdown was a brutal riposte to anyone who thought the situation in Ukraine would be settled any time soon—a position that didn’t seem too fanciful as recently as a few days ago. On Sunday, police and protesters started to pull back from their standoff on Kiev’s Hrushevskoho Street, the site of the worst clashes in January. The place was an absolute mess: a sea of soot, tires, and burned-out vehicles, studded with Ukrainian and foreign flags.
VICE News is launching soon. Meet Aris Roussinos, a Rory Peck Award-winning journalist who covers not only traditional hot spots like Mali, Syria and South Sudan, but from the front lines of social movements and urban conflicts that are changing the face of the world as we know it.
Moises Saman’s Stunning Photos of Humanity in Conflict Zones
Peruvian photographer Moises Saman has spent the past few years living and working in Cairo and documenting the effects of the Egyptian revolution on the city’s residents—though he might argue that “documenting” is the wrong word. His work willfully avoids a chronological, ordered, historical view of the uprising, instead focusing on capturing humanity and the emotions of the participants. We spoke to him about how he maintains faith in humanity after working in war zones for years and the irrelevance of “objectivity” in relation to his work.
VICE: I heard that it was images of the Balkan conflict that initially made you interested in photography. Is that right? Moises Saman: Yeah, that was the first time I had any interest in photojournalism. Seeing that work in the mid- and late 1990s was an inspiration.
That seems odd, even by the standards of war reportage—the Balkans conflict always seemed to me a brutal and especially grim war. What was it that hooked you? I don’t know if it was necessarily anything particular about the photos, though amazing work was done there. I think it was more to do with that specific period in my life. It was a time when everything clicked in my head—when I started paying attention to the news and the world. Covering that war day in, day out was the moment that I “dialed in,” if you know what I mean. I became interested in the world beyond my personal bubble.
Cairo, Egypt. May 2, 2012. Anti-military protesters beat a man they allege was a pro-military thug during clashes near Abbaseya Square in central Cairo.
You went to the Balkans at the end of the conflict there—how did that trip effect your newfound awareness of the world? I went in 1999, in the summer. I was totally unprepared and it was a badly thought-out trip. My good friend who was meant to be with me pulled out, so I went alone. I maxed out my credit card and didn’t sell one picture from the trip. I had tried to read up on the situation, but once I was actually there, I realized I didn’t know what I was doing at all.
I needed to do it, though. I think good things came of it, and my experiences there matured me a bit. I went there, and I made mistakes, but thank God I came home in one piece. If anything, it reassured me that I wanted to continue exploring photojournalism.
A lot of your work tends to be done in war zones. How do you feel about the tag of “war photographer”—is it a label you resent? I don’t know if “resent” is the right word. But I don’t like it. I think it’s full of connotations that don’t really represent what I’m about as a photographer. It’s true that I tend to work in a lot of conflict zones. Somehow I hope my work is not just seen as something that is only related to conflict—people killing people and so on. Within the context of violence and repression, I try to find some moments that transcend that.
Sometimes it doesn’t work, of course, but it’s what I aim for. I look for moments that we can all relate to. It’s not just about showing events and images that eventually we all will become numb to—pictures of dead people or violence. So “war photographer” is a term I shy away from.