Friday, July 31, 2020

Your Monthly Horoscope: August 2020

Leo season is here, asking us what we’re passionate about, but a full moon in cool air sign Aquarius asks us to take a detached view of things. A new journey toward our heart’s desire begins with the new moon in Leo, and Virgo season asks how we can be of service to others.

Aries

The sun in Leo brings one of the brightest times of year for you, dear Aries! Read your monthly horoscope here.

Taurus

August finds you lounging as luxuriously as a lion. Read your monthly horoscope here.

Gemini

Welcome to one of your favorite times of the year, Gemini! Read your monthly horoscope here.

Cancer

This is your season of abundance and luxury, dear Cancer! Read your monthly horoscope here.

Leo

Happy solar return, dear Leo! Read your monthly horoscope here.

Virgo

Your season is just around the corner, dear Virgo. Read your monthly horoscope here.

Libra

You're breaking free this month, dear Libra. Read your monthly horoscope here.

Scorpio

What do you want your legacy to be, dear Scorpio? Read your monthly horoscope here.

Sagittarius

It’s an especially exciting time of year for you, dear Sagittarius! Read your monthly horoscope here.

Capricorn

Leo season is an intense time of year for you, dear Capricorn. Read your monthly horoscope here.

Aquarius

Leo season highlights the relationship sector of your chart—cute! Read your monthly horoscope here.

Pisces

You're transforming your everyday life, dear fish. Read your monthly horoscope here.

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'Othercide' Is a Tactics Roguelike for Brooding Goths

It took me ten hours and eight retries to defeat the first boss of Othercide, a tactics roguelite by Lightbulb Crew. For a game about the endless cycle of an existential fight between good and evil, that seems fitting.

I shot, stabbed, and shield-bashed The Surgeon, a colossal corvid figure with half a rusted shear in each hand, and a legion of subservient doctors and twisted therapists, into oblivion. But all those attempts to defeat him had left my graveyard, from which I can resurrect my fallen Daughters, so full that many were forgotten forever to make space for the countless other corpses falling in. Failure isn’t the end in Othercide, though, but what is the real cost of trying again?

Othercide is a timeline management tactics game where managing and planning around the order of play is as important as the actual moves you make on the tactical grid, similar to XCOM: Chimera Squad. It's also quite literally dripping in its own mythos, with a focus on its own mysterious lore and bleak vibes that set it apart from its peers.

othercide_screen03.jpg

You’re the Red Mother, the ethereal spirit of humanity’s greatest warrior, locked in an endless cosmic war with the Chosen One of Suffering, a child who was tortured, vivisected, and abused by a terrible roster of evil men so much that it fractures time and births the concept of suffering into the world. I think, anyway, because for much of the game Othercide's characters and events are as opaque as the inky black void they spawned from.

Your soldiers in this war are Daughters, moody goth ladies all with ashen white hair, fierce warriors spawned from a birthing pool and given one of a few classes: revolver-wielding Soulslingers, sword-swinging Blademasters, and buff, tanky Shieldbearers. There’s a fourth unlocked later, but these are your base three.

You send out trios of Daughters to Synapses, the battlefields upon which the eternal war is fought. They're monochromatic amalgamations of disparate time periods, within which the denizens of Suffering lurk: monstrous manifestations of humanity’s own crimes against itself. The stark color palette aside, Othercide might at first look like a conventional tactics game, albeit one with a run-based, roguelike twist. While its square grid might call XCOM and its imitators to mind, however, the timeline that governs move order is where the game gets wonderfully intricate.

Where your Daughters are placed along that timeline depends on a few factors, the primary of which is how many action points they’ve each used up. Every Daughter’s base AP is 100, and moving or using most instant actions will drain this AP. Go below 50, and you’ll enter "burst mode"; you can move further or attack more, but you’ll do so at the cost of shunting that Daughter to the end of the timeline, increasing the time it’ll take for their next turn to come along. Basically, making them do too much in a single turn will exhaust them, putting them at risk of taking more damage from more enemies with more turns in-between yours.

The back-and-forth on this timeline is just as crucial to your success as the exchanging of attacks and counterattacks on the map. You could put your trio of Daughters into motion like a perfect orchestra of violence, firing off a shot here and swinging a blade there, but if you’ve used up all your action points, it’ll mean jack shit.

There are also abilities, and Memories to equip them with, that can affect both your own place in the timeline, and that of the monsters you face. Exploring these crumbling, literally backwards spaces uncover Memories that you can equip to the various attacks performed by your Daughters. For instance, Soulslingers are Othercide’s equivalent of rogues and rangers. They can sacrifice a percentage of their health to lie in wait for another Daughter to be attacked, blasting the assailant with dual pistols before they get the chance to strike. Equipping that skill with the memory ‘Drill’ increases the damage done by that counterattack by 20%. But Memories aren’t just upgrades. They come attached with snippets of the story, pieces in the larger puzzle of how Suffering came to be. They’re fragmented and disordered when you find them, devoid of all context, but as more Memories flood into your codex, the picture on that puzzle slowly comes into focus.

othercide_screen02.jpg

Failing to grasp the importance of managing turn order and the efficiencies of my Daughters played a considerable part in why I struggled with the Surgeon, that first boss, whose legion of Caretakers buffed him with initiative modifiers that brought his place in the timeline closer and closer to the start. He’d end up having two or three full turns in the time it took for any of my Daughters to have one. Giving my Daughters Memories that pushed enemies back in the timeline and pulling off explosive combos with them served as a very effective way of balancing it out.

It took quite a while for me to understand the strategy of the timeline, and to know when I was struggling enough that I’d be better off beginning a new recollection. I also struggled quite a lot with Sacrifice. This meant training up Daughters enough that you could cast them back into the void, the only way you could heal the others. As the review guide I’d been given had told me, “One sacrificed daughter is better than three dead ones.” But… was it?

If three died, then I’d lost lives at the hands of an existential antagonist, but sacrificing put the deaths of these Daughters into my own hands. Even resurrection, an act where no lives were lost--they were regained, even--felt murky. With every resurrection you put a Daughter through, their clothes grow more tattered, their eyes increasingly sullen, their lips smudged. I’d dragged them back out from the serenity of death again and again, to fight the legion of nightmarish creatures and prevent the birth of Suffering. But isn’t that suffering, too?

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The last time a game made me grapple with this sense of putting imaginary characters with digital faces through endless trauma was Undertale. But with Undertale, it was a feeling I’d been left with at the end of its runtime, and I had a choice over whether to test the moral quandary; I didn’t. In Othercide, that Eldritch trolley problem is something you’re forced to endure in order to see its end, to understand any of what’s actually going on. I’m consumed by this dilemma, while playing a game that’s Suckerpunch by way of Edgar Allen Poe, and a soundtrack that may as well have been composed by Evanescence. And it’s fantastic, every morbid second of it. Every wince, every sigh, every kill, every death.

Othercide is a cosmic battle between good and evil, and you’re told you’re on the side of good. But through all the bodies you bury and the tortured souls you rip back out of the inky black below, only to bury again in the pursuit of ending all suffering and trying to understand how that suffering came to be, it makes you wonder what the difference really is between you and them. And I can’t get enough of that feeling.



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Fuck the Police: Why Does Cop Porn Still Exist?

Professional dom King Noire has experienced violence at the hands of police throughout his life. When he was 10 years old, cops shot and killed his friend's cousin, 16 year old Phillip Pannell. Later, when Noire was an older teen, they killed another friend, 24-year-old Jelani Manigault. Noire told me he's been beaten by the police himself on numerous occasions.

So when he first started his career in the adult world, he was adamant that there was one type of role he'd never take: a cop. "It's a complete fetishization of our pain and torment," he said.

At the peak of global protests against police brutality this summer after the police killings of Breonna Taylor and George Floyd—as images of protesters being teargassed and beaten by cops in riot gear flooded the news—something odd was happening on porn sites.

On xHamster, one of the biggest tube sites along with Pornhub and Xvideos, searches for terms like "cop," "police," and "jail" rose 39 percent in the U.S. and 25 percent worldwide between the first week of May and the first week of June. According to xHamster vice president Alex Hawkins, that surge has since died down, and interest in cop porn in general has been on the decline for the past five years.

What does it say about us, as porn-viewers and as a society, when eroticizing Black oppression is suddenly in demand at the height of awareness of systemic injustices Black people face? How did police-themed scenes become a common trope, and do they have a place in the future of porn?

A BRIEF DEFINITION OF COP PORN

First, let's establish what "cop porn" is. The most mainstream example might be the party stripper cop scenario, when a cop shows up at the door and, in porn scenes at least, it immediately leads to sex with that cop. In some ways, it's not that different from the old pizza delivery guy trope or horny plumber: Someone is there to do a job (in this case, strip for a bachelor party) and gets otherwise occupied.

Then there's your classic blue-uniform roleplay, where someone's getting arrested and the culprit has to do something — anything — to get out of the ticket. Border Patrol scenarios, which are more about race and often feature Latinx actors caught in the act of crossing the border, are in the cop porn category.

"Cop porn started off as a way to enjoy fetish without acknowledging fetish," Hawkins said. "Before 50 Shades of Grey made power-exchange dinner party conversation, cop porn was an easy way for viewers to enjoy that type of fantasy without having to cross the threshold into BDSM. Power exchange has entered more mainstream productions, so cop porn just doesn't have the cache it used to."

Even if it's in decline, however, police-themed porn is still popular. There are multiple highly popular police-themed channels on Pornhub, for example: the "Fake Cop" channel has more than 82 million video views. The "Screw the Cops" channel only has two videos, but more than 330,000 views. "Border Patrol Sex" has eight videos and nearly seven million views. On XVideos, the most-viewed cop porn video has more than 41 million views.

"In reality, life doesn't separate itself out like that. Fantasies and projections are how people navigate everything."

A lot of cop porn is lighthearted and downright goofy. The sort of "ma'am I'm here to arrest you... for being too sexy" sort of jokes that are present in much of porn. But finding these scenes as an easy avenue for goofiness and fun is a luxury that not every viewer can enjoy. If you've never been on the receiving end of police brutality, or raped by a cop while in custody, it would be a lot easier to get into scenes depicting those things.

Most entertainment—and porn especially, being so overtly fantasy and frequently campy—requires some suspension of disbelief. But suspending that disbelief is becoming harder in a world where it's becoming increasingly impossible to remain ignorant of the reality of rampant police brutality.

"Ignorance truly is bliss, but to continue consuming such porn after gaining knowledge makes you part of the problem," kink educator and professional dom Blaksyn told me.

HOW POPULAR IS COP PORN

Police roleplay in porn goes back as early as the mainstream commercial porn industry itself. The 1986 film Miami Spice starring Amber Lynn as an undercover cop is just one example. 1986's Flasher is about, well, a rogue flasher in Central Park, but the police role in this one only comes in the end, when actress Victoria Stanton, playing a cop, decides she's more open minded than her prudish detective partner.

Porn usually follows and reflects what's happening in culture, and while it's hard to say whether police porn in the 80s was motivated by events of the time, that does seem to be the case today—and data from porn viewership shows it.

"With so much news about police and policing these days, it's not surprising to see a sudden uptick in searches," Hawkins said. "In my experience viewers fantasize about what is already on their minds. They fantasize about the figures they fear or loathe and the figures they love in equal parts."

There are a few studios that have dedicated series and sites to the genre. Adult Time's "Girls Under Arrest" plainly lays out the core conceit of most cop porn in its description of the series:

"...rebellious teens getting caught and fucked to avoid charges or jail time...Be a part of the action as a dirty cop catches a teen girl with illegal drugs and fucks her for her release as her boyfriend waits in the car; or watch as a cop catches an escort in the act in a seedy motel and gets a freebie in exchange for her release."

Police taking sexual advantage, and raping, people in custody isn't just a porn fantasy. It's a legal loophole that exists, and keeps cops from being convicted of rape. Recently, with increased and vocal criticism of police violence around the world, more people are talking about the legal loophole that allows police in 35 states to have sex with their detainees. In 2018, two NYPD cops arrested and raped an 18 year old while she was handcuffed in their unmarked vehicle. The Brooklyn district attorney dropped those charges.

Voyeurism is repeated across many types of porn that would be considered societally taboo: everything from "caught masturbating" and "caught cheating" plots (like the one Ted Cruz famously tweeted) to "casting couch" scenes rely on a trope where the viewer is surreptitiously seeing something not meant for public consumption.

Some sites lean much farther into tropes of brutality and race than others, depicting plausible situations of police misconduct as fetish. FetishNetwork's "Operation Escort" series is about undercover cops doing stings by hiring sex workers, having sex with them, and then arresting them—something that actually happens in real life. "Latina Patrol," also by FetishNetwork, features a detainment, sex, and deportation theme.

Not all cop porn involves race. But based on the production effort these studios have gone to, and the extremes they've taken the trope—and considering that so many people were searching for it during the height of the Black Lives Matter protests— the racial aspect of a lot of cop porn appears to draw viewers. That spike in popularity is saying something about how we perceive the genre, eroticism of state violence—and how the industry typecasts BIPOC performers.

"It’s dangerous, naïve and wildly privileged to choose to divorce the reality of police brutality from detention porn as entertainment”

Managers and agents told King Noire he'd never succeed in the industry if he kept turning down roles that stereotyped him being Black. So he focused on becoming independent, starting his own studio and creating content on his terms.

In our phone conversation, Noire specifically brought up Black Patrol as an example of racist stereotyping in the industry—something the BIPOC Collective, of which he's a member, is working to change.

"Over the span of our entire existence as Black folks in this country, America has found different ways to justify how they treat us," he said. "It also plays on the other stereotype of Black and brown people being hyper-sexualized, as if we always want to fuck."

WHAT ATTRACTS PEOPLE TO COP PORN?

Like Noire, Blaksyn also said they never have and never will take a role playing a police officer or other figure of state authority. But the appeal of cop porn or other arrest and detention-themed porn, as they see it, is multifaceted.

"First, there is the attractiveness of power itself. Individuals are drawn to power as a result of their personal narrative. Power and privilege intersect, but understanding how they relate is subject to one's position in society," Blaksyn said. "In this case however, I think this allows people to confront the atrocities of the world in a digestible way. Those who have power enjoy these depictions vicariously. Those without power enjoy these scenarios as a result of the controlled and predictable environment, offering a chance to change one's narrative around power and consent."

In a 2016 Q&A published in the journal The Black Scholar, Ariane Cruz, assistant professor in the Department of Women’s, Gender, and Sexuality Studies at Penn State, addressed race play in a BDSM context. We don't need to separate race play into a "fringe" category within BDSM, she wrote, which sets it up to be seen as radical or extreme.

Cruz wrote that race play is a kind of performance that reveals the "mundane and everyday erotic currency" of race in contemporary American culture.

"I suggest that we extend the theoretic aperture of race play beyond its BDSM and pornography framework to illuminate the ways in which the violent pleasure of play of race is enacted in the larger venue of popular culture," she wrote.

A Black man in a confrontation with the cops could definitely be considered mundane in American culture. Violence, too, is often mundane. But eroticizing that encounter in porn invites the viewer to take pleasure in violence, specifically violence enacted by the state.

So why are people turned on by displays of state authority? Amber Jamilla Musser, professor of American Studies at the George Washington University and the author of Sensual Excess: Queer Femininity and Brown Jouissance, told me that some people have a psychological desire to connect with power as a way of expressing belonging to a larger structure—in this case, the state.

"What gets complicated in race play always is the fear that these fantasies and desires will not just stay in the porn studio (or bedroom), but that they actually articulate someone's subconscious desires for society," she said. But people still express a desire "to engage in fantasies that render them subservient," she said.

"What is happening in those cases can also be described as a desire to repeat reality with a difference," Musser said. "Instead of being pulled over resulting in pain, here it results in orgasms. What is pleasurable is the ability to repeat these scenarios with a difference that one controls. If reality is difficult because one doesn't have the option of control, these porn spaces allow viewers and performers alike to potentially explore these situations with a more favorable outcome."

At the same time, model and adult performer Jessa Jordan told me it's not possible to separate cop porn as entertainment from the realities of police brutality as it exists.

"It’s dangerous, naïve and wildly privileged to choose to divorce the reality of police brutality from detention porn as entertainment," Jordan said. "People will continue to be sexually attracted to and desire the fantasy of sex with cops because it’s more about the concept of an authority figure enacting control over them, being forced to the whims of someone else perceived as a superior or just succumbing to someone who has more physical force or strength. If the focus was more on those aspects instead of an inherent emphasis on racist, and often times classist, social norms, then maybe police porn could exist in a less problematic format, but it will continue to be problematic as we continue to live in a society that is terrorized by police and their various extended forms."

Blaksyn said that to ask if it's possible to separate cop porn that features police brutality from real-life state violence is to challenge the narratives of Black performers and consumers. "Being able to separate the two screams privilege and ultimately makes one complicit," they said. "I personally cannot separate the two.”

THE FUTURE OF POLICE IN PORN

The performers I spoke to expressed a hope that with the recent pushes to change the unfair treatment of models of color in the adult industry, genres that exploit their trauma will die off as well.

If there's one thing the porn world does best, it's responding with speed and precision to the desires of consumers. The reason this genre is in decline is likely because people got bored with it and stopped seeking it out as much, so studios stopped spending the time and money to make it.

Hawkins noted that the decline in interest in police-themed porn scenarios could be a matter of investment: Filming a scene with convincing uniforms, scripts, police cruisers, and dedicated sets for jails require a budget. At a time when viewers are just as eager to watch candid, unscripted experiential porn or connect with a cam model, it's likely just not worth it.

It's also possible that over the years, as more stories of violence at the hands of the police are uncovered as commonplace, the fantasies of "good cops" and "bad apples" have been exposed as just that: unrealistic fantasies that mask the reality oppressed communities face. Unless performers and directors are willing to push the trope to the absolute extreme, as Black Patrol does, consumers get bored and the content gets pushed down by tube site algorithms.

Noire believes that the way forward is for BIPOC performers to take control of their own content as he did early in his career, and choose to work with—and watch—content made by studios that don't put people into racist categories or scenarios.

"We're in an age right now where a lot of these studios, the reason that they're trying to be as extreme as possible is because they feel their grip [on the market] loosening," he said.

"There isn’t a place for scenes with racist themes in modern or future pornography—companies that make it just need to catch up with the rest of us and start getting more creative and inclusive with their screenwriting," Jordan said. "That includes employing more Black and non-white passing POC as screenwriters, producers and directors because these scenes often reduce non-white characters to stereotypes and caricatures. Give us the ability to tell our own stories and show our sexuality authentically."

The answer might not be to ban all porn eroticizing state violence or shun it as irredeemable. But viewers need more literacy about BIPOC sex workers' experiences with police, and a willingness to interrogate why they're turned on by eroticized, glamorized scenes of real-life violence.

"I think there is a cultural desire for pure objects, that we can say that something is ONLY entertainment or that something is completely unproblematic," Musser said. "In reality, life doesn't separate itself out like that. Fantasies and projections are how people navigate everything."

Framing the existence of cop porn as whether or not it should exist raises all of these questions about how porn and fantasy carry into our lives, Musser said. "This is a broader question about where pornography resides culturally—can it ever just be entertainment? But then is anything?"



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How One Company Collected Browsing Data Via Android Apps

"I'll get right to the point," the March 2017 email from advertising firm Ogury to an Android app developer read. Ogury had a proposal: allow Ogury to put its code that serves adverts into the Android developer's app, and it would pay him depending on how large the app's user base is. The cold email is not unusual in the app development world—lots of companies pitch these bundles of code, called software development kits (SDKs)—but Ogury claimed it had something different.

"What makes Ogury special is, we have an opt-in data collection method which gives us granular user-level data which no other ad platforms have—not even Facebook," the email from an Ogury employee read. The app developer who received the emails provided them to Motherboard; Motherboard granted the source and others anonymity to speak more candidly about industry practices.

For some time Ogury had particularly insightful data because once its code was embedded in an app, it would also record a user's website browsing history and terms entered into search engines outside of the app itself. Ogury then took this data and used it to serve more relevant adverts to users in the apps as well.

"Ogury leverages every web page browsed by the user. Every product the user has viewed, regardless of site. All research performed by the user online, via urls, etc. All bookmarks made by the user. All apps downloaded by the user. All the usage on the apps. All social media consumed," another document provided to people inside the technology and advertising industries and obtained by Motherboard reads.

Do you have documents showing how any other companies collect data? We’d love to hear from you. Using a non-work computer or phone you can contact Joseph Cox securely on Signal on +44 20 8133 5190, Wickr on josephcox, OTR chat on jfcox@jabber.ccc.de, or email joseph.cox@vice.com.

The data collection is no longer happening in this form in part because of a change in how the Android operating system handles app permissions, Thomas Pasquet, founder and CEO of Ogury told Motherboard through a spokesperson. Pasquet said that Ogury now "probabilistically extrapolate[s] browsing history" at a domain level rather than the full URL.

But emails, presentations, and other industry documents about Ogury's business still give some insight into how companies behind these kind of SDKs have installed their code into everyday apps in order to collect data. They also highlight how valuable a person's web browsing data can be to some companies. In January, Motherboard reported that the anti-virus company Avast was gathering this sort of data from users.

In one of the presentations obtained by Motherboard, Ogury says "We only exploit 1st party data that we collect directly."

Kumar Mettu founder and CEO of Dexati, a company that makes photography focused apps and who was included in the list, told Motherboard he has received more than 50 emails from Ogury asking him to integrate its SDK into Dexati's apps. "Most of them promising high eCPM (Typical of any ad company)," he added, referring to how much Ogury would pay for ceach one thousand users that see Ogury advertisements.

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A section of an Ogury presentation obtained by Motherboard. Image: Motherboard.

App analysis companies MightSignal and Apptopia also provided Motherboard with lists of apps that they said contained the Ogury SDK. They include maps, games, horoscopes, and a bevvy of other types of apps.

Pasquet said Ogury partners with 9,000 apps, but added that data collection doesn't happen in all of them. In one of the earlier Ogury presentations obtained by Motherboard, the company said it has a reach of 300 million unique users, including 15 million in China and 14 million in India.

On its website Ogury heavily emphasises that it obtains consent from app users to gather information. Pasquet also said Ogury obtains consent from users via a pop-up in an app.

"If the consumer does NOT give consent for us to collect their data through the consent manager, the consumer will still see ads, but they will not be targeted, because absolutely no data was collected," Pasquet said. He added that 55 percent of users don't grant Ogury consent. (One of the older documents obtained by Motherboard said, at the time, over 80 percent of users opted-in).

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A section of an Ogury presentation obtained by Motherboard. Image: Motherboard.

After Android 7, which was released in August 2016, Ogury changed what data it collected because Google changed the permissions structure around collecting browsing data, Pasquet said.

"Therefore, with Android 7 and the versions after, we stopped collecting deterministic  browsing history, we extrapolate it from raw network information. We start by displaying our first-party consent notice to the user, and only if the user accepts do we collect network information that we use to probabilistically extrapolate browsing history at a domain level (for example the domain “amazon.com” as opposed to the specific url “amazon.com/printers/epson”)," he explained.

Pasquet said Ogury stores data for 90 days for active use, 120 days for reporting use, and then up to 1080 days for backup purposes, after which the company deletes the data.

Earlier this year, anti-virus maker Avast closed down its data collection arm which was harvesting the browsing data of users' of the company's software after Motherboard and PCMag investigated the practice.

Subscribe to our cybersecurity podcast, CYBER.



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Taylor Swift Super Fans Are Furious About a Good Review

Taylor Swift's new album, Folklore, was released to universal acclaim from fans, non-fans, and music critics alike. But some parts of Swift's fandom are upset that music critics don't like it enough.

Pitchfork has had a long, hard road towards legitimacy as a music criticism website. I am old enough to remember a time when we clowned on them for being too earnest. Their effusive praise for Radiohead's Kid A is still hard to read without cringing, even 20 years after the fact. Over the years, Pitchfork's reputation has swung the other way, in line with its image as a "hipster" website. Artists like pop musician Halsey have bemoaned getting low scores from the outlet (a 6.5 out of 10, which caused the artist to unknowingly call for One World Trade Center to collapse), and the perception is that their taste is pretentious, generally favoring white, male, guitar-based music over everything else.

Despite all of that, Pitchfork senior editor Jillian Mapes gave Folklore a glowing review. Mapes compares Swift to the likes of Jane Eyre, and says that the album highlights her talent for storytelling in songs. 

"You can tell that this is what drives Swift by the way she molds her songs: cramming specific details into curious cadences, bending the lines to her will," Mapes wrote. Even with that praise, Pitchfork and Mapes in particular are now targets of Swift's most ardent stans. You see, she gave the album an 8.0, and fans think that this positive review was not high enough.

Although it's been a few days and the furor has died down, the replies to Pitchfork's tweet about the review are littered with demands that the website either take down the review or re-score it. 

"Folklore deserved a 10. Also personally offended by the suggestion she should have 'pruned' seven & hoax. That speaks volumes about the taste of the person writing this review, yikes," one fan wrote. 

Not every Taylor Swift fan feels this way, and some stan accounts have tried to call in their fellow fans, saying that harassing a critic is out of line. Unfortunately, the angrier fans have not calmed down, and if you search Mapes' name on Twitter, or if you search "Pitchfork Taylor Swift," you'll still find Swifties tweeting about how unfair her review was. Mapes has confirmed that her address and phone number were doxed and she has been receiving calls from upset fans, as well as death threats on Twitter and via email. Mapes locked her Twitter account right as the review went live and at time of writing has not unlocked it.

For Swifties, part of the issue is that Pitchfork's 8.0 rating lowered Folklore's score on the review aggregator website Metacritic, taking the album from a 90 to an 89. The way that Metacritic calculates their scores is an opaque science. In their FAQ, they say that it's a "weighted average" but don't provide much clarity on what that means and how different scores are weighed. The intense scrutiny of this critical consensus is similar to the fan response towards any criticism of the video game The Last of Us Part II, which saw the game's director and one of its voice actors lay into critics who had issues with the game.

Right now, this subset of Taylor Swift's fandom are acting out the worst behaviors we've come to accept as routine in video game fandom, which also has an unhealthy obsession with Metacritic scores. In their case, video game fans know that sometimes bonuses for developers are tied to Metacritic scores. In 2012, a developer from the acclaimed studio Obsidian revealed that because one of its games did not reach an 85 on Metacritic, the developers who worked on it did not receive royalties. Marketing teams at big game publishers obsess over a game's final Metacritic score. They'll invite people to play big budget games before release and "mock review" them in order to estimate a Metacritic score before release, and make final adjustments in order to increase it. 

Taylor Swift's continued success does not rely on a high Metacritic ranking. Swift is already a critically acclaimed, popular artist, and multi-millionaire whose work has dominated the charts every time she releases a new album. She is arguably one of the last standing pop stars in the way we understand the term when it was coined, the last one who can dominate our culture with brand deals and sold out stadium tours in an age where fewer people actually buy music. You don't get to that position on hype alone—Swift is a talented songwriter and singer, and music critics have acknowledged her talent even on albums that don't showcase her best work. Pitchfork gave one of her previous albums a 9.0, writing, "In a counterpoint to the musical wanderlust on display, there’s a newfound patience to Swift’s observations, a knowledge that narratives form out of brokenness and frustrated communication more often than they do out of ease or any emotional clarity." They compare her to Joni Mitchell and Pablo Neruda, describing her work with a deep sense of respect.

The issue with this behavior is less the quality of Taylor's work—which is, again, broadly good—but fans stifling any kind of conversation about art unless it is unbridled praise. We should always condemn harassment and doxing, of course, but even the threat of harassment is enough to make both critics and regular ass people pull their punches instead of being fully honest. One particular criticism of Folklore that fans have taken issue with is Mapes saying that she felt that the songs "hoax" and "seven" were filler. I think "seven" is a great song, but not everyone in the world is going to like every song. Hell, I once went to a party where someone turned off "Ride" by Ciara to put on Arcade Fire, and while I'll never understand that it's not illegal to dislike Ciara.

It's important to remember that fandom is a place of love, a community where people can lift each other up and support each other. It feels good to belong, and tweeting at randoms that Taylor Swift is good, actually, can help melancholy teens find that place of belonging. We also can't pretend that it's only young women who act this way. Toxic sports fans get into physical fights in stadium parking lots over their team, living out fandom rivalries in a violent, dangerous way. It's not hard to understand why people do this, though. Yeah, I do think it was really funny that Dodgers pitcher Joe Kelly said "nice swing, bitch," to an Astros player that he almost hit with a ball. The feeling of allegiance with Kelly, who lost to the Astros twice when they were cheating, is intoxicating. But that's also why it's so dangerous. I mean, Kelly is truly just being an asshole. Why should I cheer that on?

Maybe it's inevitable that fans will get overly invested in their fandoms. The moniker stan comes from Eminem's song "Stan," released in 2000, about his own experiences of being the subject of a toxic fandom. Little has changed in 20 years. That said, we should all be more introspective about what this obsession is serving. All I can see is a stifling of creativity, of placing an artist's popularity and commercial success far above the actual work that they do. 

That the focus is on the numerical score of Mapes' review and not her thoughtful writing is the most disheartening. Even though Mapes clearly loved Folklore, the number is the only thing the fans can see. These numerical scores breed such toxicity, and have become such a distraction from constructive and interesting criticism, many critics are stepping away from them. Here at VICE Games, for example, we don't put numerical scores on game reviews. The same is true for Kotaku, where I previously wrote reviews. Polygon stopped using numerical scores in 2018, explaining that "focusing on criticism and curation, will better serve our readers than the serviceable but ultimately limited reviews rubric that, for decades, has functioned as a load-bearing pillar of most game publications."

The value of Swift's work will only truly be known once time has passed, when people feel more free to take it seriously and discover its nuances, to highlight her strengths, and yes, to recognize her weaknesses. Stopping that conversation from happening is all but a guarantee that she will only ever be seen as a teenage craze, a flash in the pan, a pop artist with no value.



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New Ghislaine Maxwell Documents Reveal Explosive Sex Abuse Allegations

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Ghislaine Maxwell told her bail hearing this month she hadn’t been in contact with Jeffrey Epstein in over a decade. Emails from 2015 released on Thursday night show she was lying.

The emails were unsealed by a federal court in Manhattan, along with lengthy depositions from one of Epstein’s accusers, Virginia Roberts Guiffre, who claims she saw former President Bill Clinton on Epstein’s private island with “two young girls from New York,” and that Maxwell engaged in sex with girls as young as 15.

She also says Epstein had 12-year-old French triplets secretly flown onto his island as a “birthday present.”

The latest bombshell revelations come in over 600 pages of documents that were released on Thursday night which included several lengthy depositions from Guiffre’s, email exchanges between Maxwell and Epstein, flight logs, court documents, and communications from Giuffre and Maxwell’s lawyers.

U.S. District Judge Loretta Preska ordered on July 23 the documents unsealed, but Maxwell’s lawyers made a last-ditch effort to stop the release on Thursday.

“The court is troubled — but not surprised — that Ms. Maxwell has yet again sought to muddy the waters as the clock ticks closer to midnight,” Preska wrote in response to the request to delay the release. 

Maxwell was arrested on July 2 and charged with trafficking minors for Epstein, and with perjury. She pleaded not guilty on July 14, and her lawyers said she “vigorously denies the charges.”

The documents released Thursday stem from a 2015 civil action brought against Maxwell by Roberts Giuffre, who says she was Epstein’s “sex slave” and was forced to have sex with a string of high profile people, including billionaire investor Glenn Dubin, Prince Andrew, modeling scout Jean Luc Brunel, and former governor of New Mexico Bill Richardson.

Two other documents — a 2016 deposition about Maxwell’s sex life and a deposition by an unidentified Epstein accuser — remain sealed, pending the outcome of an appeal by Maxwell’s lawyers.

Here are all the revelations from the unsealed court documents:

‘You have done nothing wrong’

In her bail hearing earlier this month, Maxwell claimed she had not been in contact with Epstein for over a decade. 

But an email exchange between the pair from January 2015 released on Thursday night undermines that claims.

READ: Ghislaine Maxwell groomed girls for Epstein by trying to ‘normalize sexual abuse', prosecutors say

In the email exchange, the pair discuss Epstein's 2007 arrest for solicitation of prostitution and Maxwell's denial of any involvement. Then Maxwell tries to distance herself from any romantic involvement with Epstein, suggesting “Shelly” come forward to say she was Epstein’s girlfriend from 1999 to 2002.

The identity of Shelly is unknown, but Epstein responds “OK with me.” He then gives Maxwell advice on how to deal with the attention she is receiving.

“You have done nothing wrong,” Epstein wrote, “and I would urge you to start acting like it. Go outside, head high, not as an escaping convict. Go to parties. Deal with it.”

‘You could tell they were really young’

Guiffre claims in her depositions that Epstein once had three 12-year-old girls flown in from France as a birthday present.

According to Guiffre’s evidence, the girls were a “gift” from Epstein's longtime acquaintance and frequent guest Jean-Luc Brunel, who was a scout for America’s Next Top Model. The girls, believed to be sisters, were hidden from the plane’s flight crew.

“Jeffrey bragged after he met them that they were 12-year-olds and flown over from France because they're really poor over there, and their parents needed the money or whatever the case is and they were absolutely free to stay and flew out,” Giuffre said.

'He was so excited about the entire event, replayed over and over again over the next course of weeks how cute they were and how you could tell they were really young,” Guiffre continued. “He went on to tell me how Brunel bought them in Paris from their parents, offering them the usual sums of money, visas, and modeling career prospects. 

“Laughing the whole way through, Jeffrey thought it was absolutely brilliant how easily money seduced all walks of life, nothing or no one that couldn't be bought.”

Clinton’s ‘favors’

Guiffre told lawyers in 2011 that Clinton visited Epstein’s Little St. James island along with herself, Maxwell, Epstein, and “two young girls” from New York.

She added that Clinton stayed in Epstein’s private residence on the island, where “orgies were a constant thing that took place.”

READ: Ghislaine Maxwell pretended to be a journalist named 'Jen' to buy a hideaway house, prosecutors say

When asked if she had any recollection of Epstein saying Clinton owed him favors, Guiffre said, "Yes, I do. It was a laugh though. He would laugh it off.”

“You know, I remember asking Jeffrey what's Bill Clinton doing here [on Epstein's island] kind of thing, and he laughed it off and said well he owes me favors.”

“He never told me what favors they were,” Guiffre continued. “I never knew. I didn't know if he was serious. It was just a joke... He told me a long time ago that everyone owes him favors. They're all in each other's pockets.”

Maxwell and ‘quite a few girls’

Guiffre describes having sex with Maxwell but also recounts seeing her assault girls as young as 15.

The incidents described by Guiffre allegedly took place in New York, New Mexico, Florida, France, and near the swimming pool on Epstein’s island.

Guiffre said Maxwell would assault underage girls “virtually every day” adding that there were “quite a few girls and it was girl-on-girl action. So there was a lot of licking vaginas, breasts.”

Working at Mar-a-Lago

In her deposition, Roberts describes how she first came into contact with Maxwell, and subsequently with Epstein: through her job at Mar-a-Lago, in 2000.  

“My dad is a maintenance manager or supervisor, I don't know what you call it. But he worked in the maintenance department, mostly on tennis courts, working on the air conditioning, helping set up for functions. And he got me a summer job there.”

Roberts was then called for an interview as a locker room assistant, and she revealed that one part of the process necessitated her taking a lie-detector test.

“I had to go through a  series of drug tests, polygraph tests. I mean, it was a very extensive regime to get a job there,” Guiffre said.

Once she got the job, her tasks included making tea, cleaning up the ladies’ locker room, and “folding the toilet paper into a little triangle every time anyone went to the toilet.”

READ:  Prince Andrew Is stonewalling the FBI in the Epstein probe

Guiffre says she only worked at Mar-a-Lago for two or three weeks before Maxwell approached her there.

“I was working at Donald Trump’s spa in Mar-a-Lago and I was prompted by Ghislaine to come to Jeffrey’s mansion in Palm Beach that afternoon after work to make some extra money and to learn about massage,” Guiffre said.

Prince Andrew

Guiffre, who alleges she was forced to have sex with Prince Andrew when she was 17, was asked if the British royal would have information about Epstein.

“He would know a lot of the truth,” she replied.

Andrew has strenuously denied all allegations against him, even though he was photographed with Guiffre around the time of the alleged incident. 

But investigators in the U.S. have repeatedly accused Andrew of failing to make himself available for questioning.

Cover: NEW YORK, NY - MAY 6: Ghislaine Maxwell attends the 2014 ETM (EDUCATION THROUGH MUSIC) Children's Benefit Gala at Capitale on May 6, 2014 in New York City. Credit: Corredor99/MediaPunch /IPX



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Politician Claims BAME Communities Are 'Not Taking the Pandemic Seriously Enough'

An English Conservative MP is facing calls to apologise for “shameless scapegoating of minorities” after claiming that BAME communities are not taking coronavirus seriously enough.

The comments came after the government imposed new lockdown restrictions across parts of northern England on Thursday, in response to a spike in coronavirus cases. Health Secretary Matt Hancock was criticised for announcing the restrictions on Twitter on Thursday evening, just hours before Muslims were set to start celebrating Eid al-Adha.

On Friday morning, the Muslim Council of Britain said, “With the first day of Eid being today, for Muslims in the affected areas, it is like being told they cannot visit family and friends for Christmas on Christmas Eve itself.”

Speaking to LBC radio, Craig Whittaker, the Tory MP for Calder Valley, one of the affected areas, was asked if there was a particular concern about Eid celebrations taking place during the pandemic.

“It’s nothing to do with Eid as far as I’m concerned, but… what I have seen in my constituency is that there are sections of the community that are not taking the pandemic seriously," he said.

Asked to clarify that he was talking about the Muslim community, Mr Whittaker responded: "Of course.”

"If you look at the areas where we've seen rises and cases, the vast majority – but not, by any stretch of the imagination, all areas – it is the BAME communities that are not taking this seriously enough.”

Mr Whittaker said he had been “challenging our local leaders for three weeks” over the issue.

Mr Whittaker also appeared to blame British Asians for living in crowded housing. "We have areas of high multiple occupancy – when you have multiple families living in one household. It doesn't specifically have to be in the Asian community, but that is the largest proportion,” he said.

In June, Public Health England published a report stating that BAME people are more likely to die from coronavirus. The report said that, “BAME people are more likely to live in urban areas, in overcrowded households, in deprived areas, and have jobs that expose them to higher risk. People of BAME groups are also more likely than people of White British ethnicity to be born abroad, which means they may face additional barriers in accessing services that are created by, for example, cultural and language differences.”

The Muslim Council of Britain blasted the MP, saying, “This is shameless scapegoating of minorities. Mr Whittaker should apologise.

“It is one thing to discuss health inequalities and challenges with intergenerational households and occupational hazards – and these factors being prevalent in certain groups... It’s quite another to make baseless accusations, claiming certain groups aren’t taking the pandemic seriously, especially when these claims are contradicted by a local Director of Public Health.”

Dominic Harrison, a Director of Public Health for Blackburn and Darwen Council, a nearby affected area, tweeted, “I do not think that there is any evidence that the northern towns now taking extra control measures are seeing rising rates because of exceptional local failures to social distance… The increased vulnerability to higher rates in northern towns are mostly driven by social and economic inequality.”

He said that he supported the new measures as “they align with the local measures we had already taken locally”.

Asked if he agreed with the MP’s comments at a press conference, Prime Minister Boris Johnson said, “I think it’s up to all of us in government to make sure the message is being heard loud and clear by everybody across the country, and to make sure that everybody is complying with the guidance.

“A huge amount of effort is now going into that, and I want to thank all the community leaders, the mosques, the imams who have worked hard with us to get messages across, all faith leaders and other community leaders, getting that message across throughout society. But ultimately it’s up to everybody. It’s up to the whole country to get this right and to do it together.”



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Far-Right Leader Matteo Salvini to Face Trial for Illegally Detaining Migrants at Sea

The Italian Senate has voted 149 to 141 to see far-right leader Matteo Salvini tried for allegedly illegally detaining over 160 migrants at sea in August of 2019.

Public prosecutors argue Salvini broke international law by denying migrants a safe port. In Italy, Members of Parliament are protected with immunity and cannot be tried unless the Senate green lights the proceedings. The vote paves the way to a trial that could see him face up to 15 years in jail.

Salvini leads the anti-immigration League party and served 14 months as the interior minister with Italy’s previous government. In August of 2019, he made news when he refused to let over 160 migrants disembark from the Spanish NGO ship Open Arms for 19 days. The ship had rescued the migrants in two operations near the Libyan coast on the 1st of August.

The next day, the NGO asked for a safe port to dock in Malta, the closest country at the time, as well as Italy, the next-closest, and Spain, where the ship was registered. Italy denied access, based on a newly-passed law later considered unconstitutional. By then, the ship, overburdened and with more than 30 minors onboard, was already close to the Italian coast. It docked in rough waters 800 metres from the island of Lampedusa – and stayed there for 19 days.

The humanitarian crisis was matched by a political one. At the time, the League was in a tumultuous coalition with the populist M5S party. On the 13th of August, the Italian courts overruled Salvini’s ban because of the “exceptionally grave and urgent” conditions on the ship. The two governing parties were completely split on the issue, with Salvini refusing to let the migrants disembark, even though six countries had already agreed to take them. Eventually, on the 20th of August, the migrants were allowed in, after experts warned many were experiencing severe anxiety and suicidal thoughts. The coalition split that day.

This is not an isolated case. The Senate voted not to proceed in the very similar Diciotti case in 2019, when the League was still in government, but authorised the courts to go ahead with a trial in the Gregoretti case in February of 2020. This means Salvini could be facing two trials in the coming months, a potential blow to his aspirations to become Italy’s next Prime Minister. He claims the trial is politically motivated.

Salvini enjoys widespread popularity, especially on social media. Under his leadership, the League jumped from the fringes to Italy’s first party in just under seven years – although polls show he’s lost votes in the past 12 months. Today, #ImWithSalvini trended on Twitter, with supportive messages from his voters, but it was quickly hijacked by K-pop stans promoting LGBTQ+ messages and thirst traps.

“Let’s see if a lesbian tweet gets to top #I’mwithsalvini. It’d be funny,” wrote one user.



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Flo Milli's Classic SWV Sample and 13 Other Songs Hotter Than This July

Every time we sit down to bring you the month in music, we are sure that eventually, the dust will settle and the industry will return to normalcy. But as Miguel once wrote on his third studio album Wildheart, “What’s normal anyway?”

For a moment, July felt like 2009 again, with Kanye West and Taylor Swift dominating headlines. West held a presidential rally in Charleston, North Carolina and teased on Twitter that a new album, named after his late mother, would be on the way. Swift, on the other hand, released her eighth studio album, which might as well have been a black metal album. It was a month of problematic music news: The real Lady A called out the band formerly known as Lady Antebellum for claiming to be allies only to steal the name she’s been recording under for over 20 years. Burger Records, a record label that also contemplated a name change due, shut down completely after allegations of sexual misconduct went public. Through it all, music continued to prevail. Posthumous albums like Juice WRLD’s Legends Never Die and Pop Smoke’s Shoot for the Stars Aim for the Moon were bittersweet releases that only extend their legacies.

Flo Milli, “Weak”

Flo Milli's debut mixtape, Ho, why is you here?, has people talking for all the right reasons. The Alabama native's bubbly energy makes the 12-track project an easy listen. She's confident, she's fun, and she's not taking shit from anyone. "Weak" finds the 20-year-old putting a modern twist on a classic SWV sample. She's more interested in asserting her independence and counting cash, than writing about a debilitating love. Besides, your inconsistent "good morning" texts are not impressing Flo Milli—and they shouldn't. —Kristin Corry

Ganser, “Emergency Equipment and Exits”

Chicago's Ganser have released a monster of an LP in Just Look at That Sky, a nine-song collection of nervous energy and pummeling post-punk arrangements. Keyboardist Nadia Garofalo and bassist Alicia Gaines trade lead vocal duties throughout, but Gaines sings on highlight single "Emergency Equipment and Exits." Over screeching guitars and synths that wouldn't feel out of place on The Cure's Disintegration, Gaines intones, "It’s a long way down / I don’t want to be here." While it's beyond a cliche to point out that an album that deals in anxiety and an overwhelming sense of dread feels more relatable in a pandemic, there's no denying that Just Look at That Sky warrants repeat listens right now. —Josh Terry

KenTheMan, “Freaky Freestyle”

KenTheMan has been bubbling up in Houston's rap scene for years, and she's only getting better. It's impossible to listen to "Freaky Freestyle" without walking away feeling untouchable. In three minutes, Ken provides us with doses of sex appeal that is straight raunchy at times (which we love), but also an unshakeable belief in yourself. We are also fond of anyone who can fit a Mean Girls reference in a rap song: "Since bitches can't sit with me, they don't want to see me eating." —Kristin Corry

Eli Winter, “Maroon”

Eli Winter's expansive guitar compositions evoke the pastoral warmth of artists like Daniel Bachmann, William Tyler, and Ryley Walker. "Maroon," the lead single on the 23-year-old Chicago artist's upcoming three-song album Unbecoming, patiently stretches out over a seven-minute runtime. While that's nothing compared to Winter's sprawling unreleased 23-minute album opener "Either I Would Become Ash," his keen ear for earthy textures and evocative phrasing makes the gargantuan track a breezy listen. Backed by a band the includes Mute Duo's Sam Wagster on pedal steel, guitarist Cameron Knowler on nylon strings, and Circuit Des Yeux Tyler Damon on drums, Winter rounds up an extraordinary and meditative single. —Josh Terry

Brandy, “Rather Be”

It feels like a holiday when Brandy releases new music. It's been eight years since her last album, but the multihyphenate has recently teased us with features with Daniel Caesar and Ro James. "Rather Be" has all the elements R&B fans have grown to love from Brandy: slinking production and vocal runs that only bolster the claims that she's "the vocal bible." Co-written by Victoria Monét and DJ Camper, two architects of contemporary R&B, "Rather Be" solidifies Brandy's veteran status while introducing her to a generation of new fans. —Kristin Corry

Bartees Strange, “Mustang”

In March, Washington D.C. artist Bartees Strange released Say Goodbye to Pretty Boy, a gorgeous EP that boasted covers of songs by the National. Those reimaginings would be just a glimpse of the heights he reaches on his new original single "Mustang." Named after the small conservative Oklahoma town where Strange grew up, the track exudes the explosive rage of an outsider as he yells, " I'd rather die than not be myself again." With clashing guitars that evokes most driving highlights of mid-aughts indie rock, Strange's songs are cathartic as they are intense. —Josh Terry

Snoh Aalegra, “DYING 4 YOUR LOVE”

Snoh Aalegra's music can feel like a beautiful ambush. Her voice is serene and smooth, with raw and honest songwriting to match. Aalegra's "DYING 4 YOUR LOVE" picks up where ugh, those feels again left off. Singing over bluesy guitar strings, Aalegra realizes she was blindsided in her relationship. The song's second verse sounds like the response to a man trapped in Drake's "Marvin's Room," who uses liquid courage as an excuse to say things that would otherwise go unsaid with no follow-through. Drake's music often misses who gets hurt, but Aalegra's provides perspective. "So how can I believe or trust in anything you say / When you so easily regret it next day?" —Kristin Corry

Half Gringa featuring Gia Margaret, “Afraid of Horses”

Isabel Olive makes rustic and resonant rock songs as Half Gringa. Her 2017 single "Pennsylvania Dutch" is probably the best primer on her emotive voice and ear for a goosebump-inducing chorus, but her upcoming sophomore LP Force to Reckon is a breathtaking leap forward. The latest preview of the album comes in the brooding "Afraid of Horses," which features fellow Chicagoan Gia Margaret. Here, Olive constructs a plaintive and gorgeous melody as she sings, "I just wanted to ride with you / And advance to the next realm in pursuit of my own truth." Throughout, the twang in her voice makes for a perfect foil for Margaret's softer-hued harmonies. There are few artists who can make introspection so vividly-rendered as Olive. —Josh Terry

Summer Walker, “Let It Go”

There are few new R&B singers who sound at home over an acoustic guitar, but Summer Walker is one of those exceptions. "Let It Go," the opener on her recent EP Life on Earth, feels the closest to her guitar-led YouTube covers and last year's CLEAR. The song stings a little, mainly because no one wants to admit that they've overstayed their welcome in a dysfunctional relationship. Walker doesn't sit in her pain though. She's made it to the other side of a broken heart and let a new, healthy love in. By the time she reaches the song's end, she's achieved a different level of unbothered: "'Cause you're doing too much, and you're trying too hard / Tryna get a reaction / I am a child of God / So I cannot be touched." Hold on, we're adding that to our email signatures right now. —Kristin Corry

Lomelda, “Wonder” 

Lomelda's Hannah Read has made a career out of finding big, emotional moments in simplicity and subtlety. The Texas songwriter's latest single "Wonder" only has three or so lines of lyrics throughout, but it's Read's expressive delivery that gives the track its power. She repeats every stanza like a mantra ("You got a lot/Give it your all") over a cacophony of guitars and ambling drums. It makes for a mesmerizing, unsettling, and oddly hopeful single, and there's something special about the expert way she sets a mood in just two minutes. —Josh Terry

Pop Smoke featuring Roddy Ricch and 50 Cent, “The Woo”

Fans of Pop Smoke have fantasized of a collaboration between him and 50 Cent since we fell in love with the Brooklyn rapper last year. But no one could have predicted it would have manifested on Pop Smoke's posthumous debut album, Shoot for the Stars Aim for the Moon. The star-studded collaboration, which also features Roddy Ricch, is an example of how far Pop could push Brooklyn drill's sound. The Spanish guitar pairs well with his signature bass-driven production creating a style that extends beyond New York City. 50 Cent keeps up well with his successors, and when Pop interpolates the Queens rapper's "Candyshop" it feels like a passing of the baton. "The Woo," and Shoot for the Stars, are a painful reminder that Pop Smoke should be here for this moment. —Kristin Corry

Bill Callahan, “The Mackenzies”

Since June, Bill Callahan has been releasing one song from his upcoming album Gold Record each Monday until it's released on September 4. He's put out five singles so far, including the dirge-like "Protest Song" and the pastoral "35," but the favorite of the bunch so far is "The Mackenzies." The friendly charm of Callahan's recent output has been his obvious happiness in settling down and starting a family, which was basically the entire theme of 2019's Shepherd in a Sheepskin Vest. This single carries similar emotional weight as he tells the story of being welcomed into a neighbor named Jack's home. He paints a simple scene, singing, "inside it seemed the place had already laid [out] for me." But as he settles into the dinner party bliss, he's taken aback by his new friend's kindness. He sings, "and I wished that Jack would call me son again." —Josh Terry

100 Gecs featuring Fall Out Boy, Craig Owens, and Nicole Dollanganger, “hand crushed by mallet”

With 1000 Gecs and the Tree of Clues, the duo enlisted friends and collaborators like Charli XCX, Lil West, Dorian Electra and others that make up the Gecs Expanded Universe to hop on revamped versions of songs off their 2019 album. But make no mistake; this isn't your typical "remix album." The multi-genre romp features songs that are both familiar and wholly new, and it includes a couple of fan faves ("toothless" and "came to my show") that have only existed in YouTube rips of Gecs' Minecraft sets. But perhaps the biggest highlight comes in the pop punk-ified version of "hand crushed by mallet," which opens with Fall Out Boy's Patrick Stump belting out the first line. One YouTube commenter observed that listening to it mimics the experience of walking around Warped Tour in 2010 passing by different stages, and nothing I've read about Gecs funhouse mirror music has ever felt more accurate. —Leslie Horn

Boldy James & The Alchemist, “Bernadines”

On July 10, Boldy James and The Alchemist released the deluxe version of The Price of Tea in China, which dropped in February. Originally a 12 track project, the additional four tracks don't add much fat to the final product. "Bernadines" matches the tenor of the rest of the album: a sparse and menacing Alchemist beat, with the Detroit rapper on top, rapping in slo-mo while simultaneously rapping right on time. The galloping hi-hats make this song a perfect companion for running to, which is how I listened to this song in July, a lot. The cold and airy beat mixed with James's low, never-wavering voice feels like air conditioning on my brain. —Ashwin Rodrigues



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A Man Who Lost His Penis Now Has a New One Growing On His Arm

When he lost his penis to a blood infection, Malcolm MacDonald underwent a groundbreaking procedure to have a new one grown on his arm, before it could be grafted to his groin. However, medical delays have left the 45-year-old with the penis attached to his forearm for the last four years.

MacDonald told The Sun he was “completely gutted” when his penis fell off in 2014, after an infection in his perineum – otherwise known as the “gooch” or “grundle” – turned into sepsis.

“Because I’d been through the devastation of knowing I was going to lose it, I just picked it up and put it in the bin,” MacDonald, from Norfolk in the east of the UK, explained to the paper. “I went to the hospital and they said the best they could do for me was to roll the remaining stump up like a little sausage roll. It was heartbreaking.”

The father of two turned to alcohol, feeling like “a shadow of a man” for the two years after losing his penis, until his GP referred him to Professor David Ralph, a phallus construction expert at University College Hospital London (UCHL).

Dr Ralph – who, in 2018, created a “bionic penis” for a British man who was born without one – told MacDonald he would be able to build him a penis out of skin from his left arm. In a £50,000 NHS-funded procedure, doctors were able to roll this skin – containing nerves and blood vessels – into the shape of a penis, before adding a urethra and two tubes that will allow MacDonald to pump the appendage into an erection.

The plan was to attach the penis to Mr MacDonald’s groin in 2018, two years after it had been grafted to his arm. However, he had to miss the scheduled operation due to illness, and the surgery kept being pushed back for other reasons.

A UCHL spokesperson told The Sun that MacDonald had missed or cancelled a number of appointments to complete the procedure pre-lockdown. “We will try to rearrange his surgery as soon we are able, now that services are gradually returning closer to normal following lockdown,” they added.

“The delays have been hard to deal with,” MacDonald told The Sun, adding that he’s unable to run because the penis “waggles about”, and that he cannot go swimming or wear a short-sleeved shirt.

However, he did say, “When I saw it on my arm for the first time, I was so, so proud,” telling the paper, “I took to it so much I nicknamed it ‘Jimmy’. That was what me and my mates called each other growing up, and this penis was definitely my new mate.”

“Not having a penis felt awful. It’s most men’s worst fear,” he said. “For me, I was never worried about sex, because I already had two children. It was always more about my self-confidence and simple things like using the loo.”

"I can’t lie, having a penis on your arm for four years is a really strange thing to live with,” he added. “But I am determined this penis will be ultimately used for what it was built for.”



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Congress Can Save Independent Venues if It Wants To

This week, Maine's Port City Music Hall announced its permanent closure marking another irreparable loss in an already devastating list of cultural institutions shuttered. Independent venues urgently need a bailout. If no major legislation is passed before the Senate starts their recess, the National Independent Venue Association (NIVA) estimates that 90 percent of independent venues would have to close in six months without federal assistance.  

As Congress negotiates the details of a forthcoming stimulus package to combat the staggering economic damage of the pandemic, there are still no votes currently scheduled for sweeping legislation like the NIVA-backed RESTART Act. "Even the smartest people who've done this a million times before, like legislators and lobbyists we're working with, say that they can't give any solid predictions when there's going to be a vote and what happens next," NIVA Director of Communications Audrey Fix Schaefer told VICE. With no guarantee that relief is coming their way, organizations like NIVA and the National Independent Talent Organization (NITO) have been left to wait for action while lobbying for legislation that'll give their industries a lifeline. 

The most promising proposed law comes in the Save Our Stages Act. Co-sponsored by Minnesota Democrat Sen. Amy Klobuchar and Texas Republican Sen. John Cornyn, it's specifically tailored to the needs of independent venues. It creates a $10 billion grant program for live venue operators, promoters, producers, and talent representatives. Recipients can use these grants for costs like rent, utilities, mortgage obligations, taxes, maintenance, paying contractors, and any COVID-related expense, whether it's procuring PPE or expenditures to meet local and state and state guidelines. It’s an extension of the [Paycheck Protection Program]—kind of like the airlines [bailout] was—to get at a particularly hard-hit industry that the PPP isn’t going to work for," Sen. Klobuchar wrote of the bill in a Rolling Stone op-ed

While many independent scrambled to get the PPP, the loans' eight-week window wasn't suited for the prolonged shutdowns the industry is facing. "The Save Our Stages Act is a critical lifeline," said Joe Shanahan, the founder, owner, and operator of iconic Chicago venue Metro. Businesses like ours are eligible to collect no greater than 45% of their gross revenue of 2019. It's a very smart fiduciary equation as they use the numbers from 2019 to take us through 2020." Like the proposed RESTART Act, the Save Our Stages Act extends the PPP for six extra months of short-term economic relief. Also, it will issue supplemental grants after that period if funding remains available and applicants still need help. 

Where the RESTART Act and the Save Our Stages Act differ is that the latter limits the size of eligible businesses to those with under 500 full-time employees, rather than 5000. "The PPP was a fumbled rollout, and we all know that so many big businesses grabbed a lot of that money," said Shanahan. "I mean, isn't this the Small Business Administration? The Save Our Stages Act ensures that a publicly-traded or Wall Street-funded company receives this money." While it won't be the thing that guarantees the survival of every independent venue, it does target relief to independent venues who are suffering the most. "We can survive with either the RESTART Act or the Save Our Stages Act but the latter is tailored to our line of business," said Fix Schaefer. 

Another bill proposed in the House also aims to help independent venues who have taken a loss on canceled shows. The Entertainment New Credit Opportunity for Relief & Economic Sustainability, or ENCORES Act, is backed by NIVA. Proposed by Wisconsin Democrat Rep. Ron Kind and Pennsylvania Republican Rep. Mike Kelly, the bill would provide tax credits worth 50% of each refunded ticket. For Fix Schaefer's company, I.M.P. which owns independent clubs like the 9:30 Club, Merriweather Post Pavilion, The Anthem, and Lincoln Theater, that relief would be considerable. "So far, we've had 222 canceled or postponed shows," said Fix Schaefer. "When you add all that, that is more than a quarter of a million tickets for just one company. The ENCORES Act addresses another one of the debilitating financial ramifications of this pandemic. It would be very meaningful to get that help."

Not every proposed fix helps independent venues. Fix Schaefer and NIVA warn that Florida Republican Sen. Marco Rubio and Maine Republican Susan Collins' Continuing Small Business Recovery and Paycheck Protection Program Act locks out some of the places that need help most. Fix Schaefer says that many of the loans in this plan aren't forgivable, they don't allow for flexible use of funds that would cover high-cost rents and exclude businesses that rely on part-time workers as most indie venues do. "Rubio's plan also excludes seasonal businesses which means that amphitheaters, places that in most parts of the country are by definition seasonal, can't get the help," said Fix Schaefer. "We are working as fast and as hard as possible to explain a very complicated industry to people who have never needed to know about it before." 

Independent venue owners like Shanahan aren't trying to rush back and potentially put their staff, fans, and performers at risk for a quick dollar. "We've accepted that we will not be open until there's a vaccine. Independent venues are economic engines as well as cultural agents and the Save Our Stages Act recognizes the fact," said Shanahan.  NIVA is currently responsible for 1.3 million emails that asked Congress to support legislation like the RESTART Act, the Save Our Stages Act, and the ENCORES Act, but more work needs to be done. "We've always been able to take care of ourselves but now we are under the gun," Fix Schaefer said. This is dire. We only have between now and when Congress goes on recess." 



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7 People Talk About Not Being Able to Make Rent During a Pandemic

Amid COVID-19 regulations and closures, over one million U.S. citizens filed state unemployment claims for the nineteenth week in a row. Despite an overwhelming amount of the population’s obvious inability to pay for basics like rent, food, and healthcare, the government has only provided one $1,200 stimulus check per person. (Both Republicans and Democrats have agreed to a second stimulus check, but the amount and eligibility are still being debated.) Unemployment benefits were increased by $600 a week during the last week of March, but that benefit is scheduled to expire today, which will affect millions of people's ability to pay their bills—and their rent.

Even with the stimulus check and unemployment benefits (which have been notoriously difficult to apply for), 32 percent of households in the U.S. weren't able to pay rent in July. During this economic crisis, citizens and politicians have advocated to cancel rent on national and local levels, but that has yet to come to fruition, leaving tenants vulnerable. In some cases, renters struggling to pay have been charged exorbitant late fees, faced harassment, and been threatened with eviction by their landlords.

VICE spoke to seven renters about their difficulties with rent payments, how they plan to stay housed, and organizing with other tenants during coronavirus.

Some names have been changed or shortened for privacy reasons. Interviews have been edited and condensed for clarity.

Meka, 36, San Clemente, CA

I’ve lived in the same building since November 2016. I’ve always paid my rent on time and in full. In mid-March, the small business where I work as a martial arts instructor was understandably asked to close by Governor Newsom’s stay-at-home order. I haven’t had an income since then, other than child support for my two kids. Luckily, that's enough for food and bills, but doesn't even make a dent in my rent, which went up from $1,850 to $1,950 in January.

I read as much as I could about the eviction moratorium and got some info from tenants’ unions and rent strike groups, then told my landlord at the end of March that I wouldn’t be able to pay April’s rent. She pressed me to agree in writing to pay back April’s rent over the next six months in addition to my regular rent, but I refused, not knowing how long we’d be on lockdown or when it would be safe to move or work.

By the end of April, she demanded that I tell her what my plans were. I told her that I couldn’t afford to move or sign a lease somewhere else and that I still wasn’t working. I told her she could just deduct April’s rent from my ridiculous security deposit ($4,200). Once she remembered that she would owe me the difference if I decided to move out, she suddenly got a lot friendlier and agreed that we could also deduct May’s rent from the deposit. Still, she wanted me to tell her if I planned to move out or pay her for June.

I told her it was too dangerous to move my kids during a pandemic. Once I said I couldn’t pay June rent, she told me she would evict us. I didn’t hear from her until I found a three-day notice to vacate taped to my front door on June 17 (the letter was dated June 15). There was no summons or anything for me to respond to, but there was a list of charges that included rent for the months of April and May (which she had already agreed in writing to deduct from my security deposit), plus $111 in late fees for each month.

She emailed again at the end of June to say that she would continue with eviction if I wasn’t out by July 5. I haven’t heard from her since, but am planning to stay in the apartment until the eviction process begins. I plan on emailing her again to let her know that I’m still without income and unable to pay rent for August, so I can be in compliance with the eviction moratorium which says that you have to notify your landlord ahead of a missed payment.

If I get evicted, I’ll probably temporarily move in with my ex for as long as we can make that work, and eventually drive out to stay with my mom in New England. We are very lucky to have family that can take us in and help us out, so my kids and I are not at risk of becoming homeless.

Once we're evicted, it’s going to be extremely hard to be able to rent again because of that mark on my record and credit. I’ve signed all kinds of petitions and called Newsom’s office to leave messages asking him to cancel rent for all Californians for the duration of the lockdown, but right now, I’m just taking it one day at a time.

Levi, 22, Iowa

The house I share with my roommates is owned by my university, but is managed by a rental company. When COVID restrictions began, I had my hours greatly reduced, from working about 15–20 hours a month to only working five.

Our landlord offered lease adjustments to all of their tenants on a case-by-case basis, and I was given two different offers. To start, they offered that I pay the full value of rent for the month of April ($400) and they would release me from my lease for May, but they would take my security deposit for breaking the lease (another $400). I told them that was crap (in not as many words), because, under normal circumstances, I would pay $400 for April and $200 for May because they prorate the first and last months, and I would get my security deposit back. The second offer that they gave me, which I accepted, was a 50 percent rent reduction for April and May, taken out of my security deposit.

My roommates and I created a petition to try and get the company to address our issues and ended up starting a rent strike with about 50 other tenants in the building. They responded with an email dismissing our claims and failing to take any action to rectify the situation. They also got the university involved to discipline us for spreading "false information" about the university as it related to our housing situation.

The strike fizzled out at the end of the school year because a lot of our members graduated and moved out or went home for the summer. This was around the end of May. With students coming back to campus, we hope to regain some numbers and resume the strike.

In any case, my household is still not paying rent, and our landlords have not really addressed it at all. They have started the process of fixing some of the issues we raised about the house's condition as a part of the strike, but not all of them. We are at a standstill right now. I would guess that they'll either evict us or withhold our diplomas until we pay the rent we owe. If they try to evict us, I'll be forced to pay.

Madeleine, 30, Brooklyn, NY

I was renting from a small company that is mostly run by an individual. I actually had to recently move out because of the rent situation, but I'm still working with my building and another to create a case against the landlord.

Many tenants in the two buildings organized with the Crown Heights Tenant Union in April to start a rent strike. The CHTU linked us to another building owned by the same landlord. That building was also striking and had tenants in current lawsuits against him. Tenants there had been granted a leave of rent for over a year due to structural and safety issues. We knew at that point that we were in the right and we needed to take action against him. CHTU has been helpful in keeping us organized and helping us find legal representation. We meet weekly and have large daily group chats.

I did not lose my job, as I work in health care, but most of my building and my roommates did. They were unable to pay, and I'm striking in solidarity. The landlord is offering no help. Just this week, we received a letter from his lawyer trying to make a deal with us, but he wants full payment, which is obviously no help. He harassed me personally for weeks on end until I had to block him and tell him that I would only communicate via email. Many of my neighbors are already being threatened with eviction and will be without housing if we can't pull through.

Kalonia, 45, Victorville, CA

I had an older veteran as a roommate who lived with me and my four children for almost nine years. Between his contributions and some assistance from the two fathers of my children, I was paying rent. My roommate passed away at home at the end of March.

I was current with rent until my roommate passed away. The extra $600 I had to pay for the house, plus solely paying for utilities and the internet my two youngest needed once school closed, put me behind.

In May, I was sent a three-day eviction notice after explaining to my landlord the situation I was in. A week later, the landlord and his wife showed up at my home unannounced, saying they thought I might have moved out without notifying them. Eventually, we settled on my paying as much as I could not to fall behind for more than a month. Currently, I have paid $700 of the rent for June. I still owe $800 for June and all of July’s rent. I’m literally going day by day.

As a way to “help,” my landlord emailed me last week about an old tenant—a family of four—looking for a home to move into. He asked how many rooms I would be able to give them. My roommate only had one room. This is a four-bedroom; I have three boys, one girl, and myself.

If I can’t get caught up on rent, they are going to evict me, though it’s unclear when, as they’ve been threatening to file since May. I’m getting conflicting information about if I am covered under COVID-related eviction moratoriums. When I was trying to find legal aid, I consulted the San Bernardino county website. I called some people and asked for help, but they would tell me about what they’d read, but not a definitive answer.  I don’t know if I still have a valid lease, since I paid after the three-day notice. I can’t afford legal consultations to get clarification.

I’m emotionally, mentally, and physically exhausted and afraid. I don’t have the income to move, and I will be on the street with my children during a pandemic if I’m evicted. This is really hard.

Paula, 27, Los Angeles, CA

I'm rent-striking because of COVID-related job loss, which happened at the end of March, and my roommate decided to withhold rent because she had an ongoing leak in her ceiling. She recently began paying rent again once it was fixed, as she’s still employed and working from home.

On top of all this, our third roommate vacated with less than a day’s notice because she's from Australia and was worried they would close the borders when lockdown began in March. Despite everything, our landlord expects my roommate and me to pay the full rent. We have a balance of almost $15,000 accumulated since April, according to them.

The landlord is complying with the city of West Hollywood's rent moratorium, but we were sent an email halfway into the pandemic essentially asking us to contribute some of our stimulus money to our rent balance. The landlord expects us to return to paying rent after the moratorium is up in September, as well as starting to pay back our balance. If this is required, I will most likely have to move out, and my roommate is planning to, as well.

Simone, 36, Washington, DC

Since 2009, I have been a renter at my current home. I've been rent-striking since April along with more than 70 of my neighbors, many of whom lost their jobs and can’t pay rent.

I had to lay off 28 of the staff at my restaurant, including myself, and have been on unemployment since March due to COVID-19. It’s not enough money to make rent. I informed the landlord back in March that I wouldn’t be able to pay rent. They have yet to offer any rent relief or reduction, despite numerous attempts to negotiate collectively with them as a tenants' association.

Unemployment expires soon, and if the landlord doesn’t respect the union’s demands, I will most likely not personally be without housing—but that's only if my business survives, which is far from guaranteed. If it doesn’t, I would be without housing, potentially along with many of my 225 neighbors here.

Natalie, 25, Illinois

I'm paying rent. However, after asking about COVID relief due to being furloughed from my job as a bartender, my leasing company snatched back a lease renewal they had already offered me.

I was furloughed from my job in March, which I told them when I let them know I was planning to renew. I asked about potential COVID assistance, and they said they had none, so I paid my rent in full. Still, they took the lease renewal offer back the day I tried to apply for it, on April 14—a day before it was due—and told me I had to be out by the end of June. I was flabbergasted: I had never breached my lease or even been late with rent during the pandemic. I emailed and called constantly for some sort of answer or reason why and they refused to respond.

They began charging me holdover penalties (three times my rent) for remaining in the apartment past the end of my lease, and are riding past my apartment, sending nasty letters. I am currently paying my rent, but not the holdover fees. I paid July rent in my building’s online portal and the landlords sent me an email saying they would call the police if I entered the leasing office, demanding I vacate immediately.

I don’t want to move simply because I’m not prepared to after being furloughed in the middle of a pandemic, and I want some answers. Why are they doing this to me, a young Black woman? I will be without housing if I am evicted, and I don't know what I would do in order to find it again.

Follow Reina Sultan on Twitter.



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