Los Angeles: Come to the 2014 VICE Photo Show
Remember how much you loved the art in this year’s photo issue? Did you rip out pages of the magazine and plaster them on your wall because you just loved them so much you wanted to gaze at them longingly while you lay awake at night?
Now you can experience those photographs all over again… but bigger, not affixed to the wall with duct tape, and not for you to delicately caress after being emotionally overwhelmed by their artistic power (seriously, don’t touch them! They’re expensive!). Tomorrow night, we’re throwing a party to celebrate our 2014 photo issue—and lucky you, you’re invited (yes, you).
Join us at the Superchief Gallery in downtown Los Angeles, where you can experience the art all over again. Check out photos by the likes of Cindy Sherman, Richard Kern, Jaimie Warren,Laurie Simmons, and a lot of other great photographers. Entry is free, and 21-and-over.
Thomas Morton (one of our hosts from VICE on HBO) and Fidlar will be DJing. Oh, and did we mention that the drinks are free?
Want to join the party? RSVP here.
How to Stage a Felony
In 1979 a guy I knew at a photo agency in LA told me he could market phony crime photos to true-crime magazines, so I invited some of the neighborhood guys over and told them to bring a date and a weapon.
Meet Sean Pablo
Of the colorful cast of new faces in Supreme’s first full-length video, 16-year-old Sean Pablo Murphy was the most polarizing. I decided to call the young Sean Pablo and ask him what’s up with his new Converse commercial, what it’s like having Jason Dill as a boss, and how he lost his virginity.
The Guy’s Choice Awards Was A Reminder That Women Are Objects
I am writing you, dear reader, from a dark place. A cavernous hole. A nightmarish hellscape. I write you having just watched a tape of last night’s Guy’s Choice Awards. I woke up at 8 AM in order to do so, which means I started the day operating at a loss. And it only got worse. I fear the horrors I witnessed during the jail sentence-esque two-hour broadcast have caused me to permanently lose sentience. I now know, however, that I don’t require sentience. Because I have tits.
69 Loves Denim Like We Love To 69
Denim is universal, and so is 69. No, not the position but the brand, the symbol, and the name behind the designer who is creating full denim collections made for everyone. This anonymous designer has been creating non-demographic denim since the brand launched in 2011. People have been going apeshit since the first 69 collection sold at Assembly New York, and in an industry where image is everything, forgoing fame is a true testament of character. 69 can’t be anonymous forever but can at least keep his or her unnamed integrity for now.
Introducing the 2014 Fiction Issue
This summer’s fiction issue is themed around movies—”Hollywood,” Clancy Martin says. We shared an intuition that a lot of the most interesting writing being done today is being done for movies and TV. Maybe it would be more accurate to say that we watch a lot of movies. So we made a long list of our favorite movies and looked up the writers who worked on them, and we harassed them and their agents and their publicists for months. We started with a really long pitch letter, but we learned that in LA it’s proper etiquette to write three-word-long emails. We tried to romance them by inviting them to dinner at the Chateau Marmont. An interesting thing about the writers in this issue—David Mamet, Michel Gondry, Louis Mellis, Alec Sokolow, John Romano, Merrill Markoe, Kevin McEnroe—is that none of them gave a damn about what we could pay. In fact not one of them even brought it up. So maybe one lesson of this issue is, if you want to be a writer and not have to scramble for every dollar, the old maxim holds true: Go to LA.
But back to movies. Here’s what we like about movies: They have stories. They are entertaining. The dialogue is simple. We were watching Searching for Bobby Fisher last night at the hotel in Chennai. William H. Macy says, “It’s just a game.” He’s the father of a seven-year-old chess player talking to another father, and we know that what he means is, “I’d like to rip your head off and s**t down your throat.” Similarly, just a few nights ago we were watching The Shining, and the actor who plays the manager of the Overlook Hotel describes the murders to Jack Nicholson during the job interview. He says, “I can’t believe it happened here, but it did,” and all three of the men in the room somehow already understand that it’s going to happen again. Because of the genius of actors and directors, there’s so much you can do—as a writer—with a line of dialogue that you just can’t do in other forms of writing. But all this is covered in an interview with Robert McKee—Alec Sokolow (Toy Story) makes McKee work through his theories, and Tony Camin, possibly stoned, asks McKee the tough questions, e.g., “Wasn’t Who Framed Roger Rabbit the third in the trilogy ofChinatown?” There are also a few pages of Nabokov’s screenplay version of Lolita with notes in his hand, masterfully introduced by Blake Bailey, and a story by Thomas Gebremedhin that evokes Santa Monica like no other fiction we’ve read (and ought to be a movie).
Anyway, we asked Steph Gillies and Debbie Smith to art-direct again, and again they knocked it out of the park, with work by Richard Phillips, Martin Parr, and others. We also have some work by traditional (i.e., non-movie), LA-based writers about LA, and a story about Lindsay Lohan by James Franco, and fiction by Emily McLaughlin and Benjamin Nugent.
Pick up a free copy of our fiction issue anywhere VICE is distributed, but those go quickly, so subscribe to make sure you get a copy every month. You can do that here. If you’ve got yourself an iPad, download our free app for even more pictures, extended video footage, and special extras.
Gentrification Comes to LA’s Skid Row, and the Homeless Get the Shaft
One of the worst things about being rich is sometimes you’re forced to interact with the poor. When not in a sitting in orthopedic chairs in skyscrapers or on Italian leather sofas in luxury condos, the wealthy are often forced to walk on their own two legs—at street level—as if they were proletarian slobs. And this is upsetting, for on a sidewalk, anyone, even the hideously unprivileged, can look you in the eye.
Developer Geoffrey H. Palmer thinks this is wrong. In 2009, the real estate mogul sued the city of Los Angeles and successfully overturned its requirement that he provide some affordable housing in his massive faux-Italian apartment complexes. But while that kept poor people out, it didn’t do anything to address the problem of the poor people Palmer’s wealthy future tenants would have to deal with in the still-gentrifying downtown area.
So when Palmer started construction on two new buildings, complete with a pool and indoor basketball court, he proposed a pedestrian bridge connecting them to minimize “potential incidents that could occur during the evening hours, when the homeless population is more active in the surrounding area.” In other words, the rich will be able to literally walk over the less fortunate.
These Guys Made Up a Fake Case to Get On ‘Judge Judy’
Back in 2010, there was an amazing Judge Judy segment that featured four people in a dispute over some smashed TVs and a dead cat. You may have seen a clip of it called "Best Judge Judy ending EVER!!!!!"
The story was completely made up. Invented by four roommates in order to get a free trip to LA and some cash out of the Judge Judy producers.
The story they invented was, basically, that a guy called Jonathan had gotten wasted at the house of a girl named Kate and smashed two TVs that she owned. One of the TVs, she said, landed on her pet cat, Trips, killing it. You can see the full segment here.
I spoke to Jonathan, the defendant in the case, to hear his side off what happened:
VICE: What gave you guys the idea to contact the show?
Jonathan Coward: Well, my friend Kate, who was the plaintiff, had just moved up to New York from Baltimore, and she asked me what a quick way to make money was. I had some friends who went on Judge Joe Brown back in the late 90s. They were on there for some sort of roommate dispute. And they told me that the show pays the settlement.
Was that a genuine case?
Yeah. So I told her we could come up with some story for Judge Judy, and we would probably get the settlement and a free trip to LA, because we knew that’s where they shot. So we tried to think of a story that was absurd, something that would be good television. So I just threw out the idea of the cat thing, just off the top of my head. The whole point was that we need to have a story that’s entertaining, but also involves damaged property. I was aware that the cap for small claims was around four grand. Kate got real excited about it and emailed the show straight away. And they got back to her, and were interested in doing it.
How did they reach out to you?
They just called. I allowed Kate to give them my number. I was really dodgy and cagey about answering the phone, and I would like, talk to them for a second and hang up, and I told them I’d do it if they gave me an appearance fee and flew my friend Brian out for a character witness. I guess I was more concerned about making this more of a party for ourselves than anything else.
How much of the story that you guys told is true?
Absolutely none of it. Once they agreed to put us on the show, we realized that we needed to take roles and not have this be something that was completely see through. There were tensions at our house, so a slight amount of it was real.
The Case Against Cars
The look on the receptionist’s face told me I had said something wrong. It was a maternal expression, like that of an elderly woman who has found her grandkid outside in the cold with a runny nose but no jacket. There was genuine concern in her eyes, but her pursed lips suggested a certain annoyed disbelief: Just what were you thinking, if you were thinking at all?
“You don’t have a car?” she asked, accusingly.
“I don’t have a car,” I replied.
It was my first day at a new job, and I had taken the bus that morning. That bus took me to a subway—a futuristic train that goes underneath Los Angeles in order to get from one place to another—so I didn’t need a car, just like I didn’t need the people’s history of the local parking situation she had graciously given me. Seriously, the subway is, like, right over there.
She nodded her head and forced a smile the way tourists do when they don’t understand a word you are saying.
This happens almost daily: We, the car-less of Los Angeles, must confess our lack of an automobile as if it were a character defect on par with betting on dogfighting. You risk being judged not only at your workplace but at the supermarket, where the teenage bagger asks if you need any help carrying those boxes of generic cereal out to your four-wheeled expression of self. Having a car shows that you have the financial means to own a car. Not having a car makes people assume you live at home and have an unhealthy relationship with your mother—and as sexy local singles say, that’s a deal-breaker.
So it’s a bit heretical when I say I like not having a car. It’s actually rather nice to leave the driving to someone else and not have to worry about steering your personal air-conditioned death box at 70 miles an hour on a freeway full of idiots—and hundreds of thousands of people in the LA metro region agree with me on this. Sure, it takes a bit longer to get somewhere—30 minutes instead of 15—but you also don’t have to spend 20 minutes circling the block for parking whenever you go out. And there are buses and trains that go almost anywhere, and by taking them you free yourself from worry about car payments, parking tickets, and DUIs.
You also don’t need to worry about getting mutilated in a horrific car accident. According to the US government, more than 2.3 million people were injured and 33,500 died on America’s roads in 2012. For people in the US between the ages of one and 44, motor vehicles are the leading cause of death. Avoid driving on a freeway and you significantly reduce your chance of being injured or killed on one.