Wednesday, June 1, 2016

The VICE Guide to Right Now: Former Employees Say Trump University Was a 'Fraudulent Scheme'

Donald Trump and Trump University President Michael Sexton announcing the creation of Trump U in March 2005. Photo by Mario Tama/Getty Images

Ever since Trump University was accused of being a mechanism for defrauding people who wanted to learn Donald Trump's business secrets, the real estate mogul and presumptive GOP nominee has stood by his for-profit real estate seminar business. But he faces a contentious, potentially publicly damaging legal battle, as shown by the more than 400 pages of Trump U "playbooks" and testimony from former employees that was made public as part of one of the lawsuits against the company, the New York Times reports.

Trump U, launched in 2005 at the height of the housing bubble, claimed to be able to transform its students into real estate titans with a few weekend lectures. But at least three former employees described it as a predatory scheme that relied on savvy salesmen encouraging vulnerable people to take on credit card debt to pay for expensive lessons that weren't worth the price.

"In my experience, the primary goal of Trump University was not to educate students regarding real estate investing," testified Ronald Schnackenberg, who worked as a sales manager at Trump U for several months from 2006 to 2007. "The primary focus seemed to be making money, as quickly and easily as possible."

"Trump University was a fraudulent scheme," he added, according to court documents.

The Trump University handbook encouraged its sales team to dig personal information out of prospective students for leverage, and to "let them know you've found an answer to their problems." It also emphasized that they should encourage these people to take on credit card debt to pay for the courses.

Trump's lawyers called the testimony from employees "discredited," according to the Times, and Trump's camp continues to claim that most students at Trump U were satisfied (some of the unsealed court docs included positive statements from former students).

Trump has also gone on the offensive against the federal judge, Gonzalo Curiel, saying, "He is Hispanic, and he is very hostile to me" in a Fox News Indiana.

Read: There's Another Donald Trump Scandal That No One Is Talking About



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How Addicts, First Responders, and the Government Are Grappling with America's Heroin Problem

This Friday, June 3, HBO will air a new episode from season four of our Emmy-winning show. On the last episode, we talked with Edward Snowden in Russia about the state of government surveillance following his massive NSA leak. This week we investigate America's growing heroin problem and go inside the US military's new nuclear weapons program.

On the first segment, VICE's Thomas Morton traces the journey of heroin from poppy farms in Mexico to users in West Virginia to understand how first responders and government officials are coping with America's surging drug problem, where more people are dying from overdoses than from car accidents.

Then, VICE's Kaj Larsen investigates the US government's largest nuclear modernization effort since the Cold War, which could cost American taxpayers as much as $1 trillion. He goes aboard a ballistic missile submarine to see why the military wants to upgrade the nukes we have—and the potential danger of reigniting a nuclear arms race.

Watch a preview of Friday's episode above and make sure to check it out Friday, June 3 at 11 PM on HBO. If you want more VICE episodes to carry you through the week, you can watch our entire third season online now.



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The Hilarity and Ethics of Photographing Drunk People

Japan has something of a reputation for sophistication and refinement. This could explain why visitors are surprised by the nation's cavalier attitude to passing out in public. And it could be a reason why the Instagram account @shibuyameltdown is attracting some attention.

The account captures the partygoers of Shibuya in various stages of public inebriation. The account's creator is an Australian-born, Tokyo-based fashion designer who originally took the photos for his own amusement. After all, no one in Australia can fall asleep publicly without being viciously robbed, bashed, and then arrested. But Japan's Instagram crowd has recently taken notice, and the feedback seems positive, so far.

We spoke to the guy running shibuyameltdown, Thom O'Brien, about the ethics and hilarity of photographing drunk people.

VICE: Are you doing this because drunk people are funny?
Thom: Yeah, for some reason it's the funniest thing in the world. People are always tagging friends in it saying look at this shit. But also it's just daily life, you know?

As in, passing out in public is legal?
That's right. I think it's because for salarymen they work super long hours and their release is to drink. Also the last train is at midnight. So if people miss the last train and they can't keep drinking, they fall asleep. So it's totally kosher to fall asleep in a club or a bar or a restaurant. If you look around, you'll see it all the time. You walk past a MOS Burger or something and 50 percent of the people in there are asleep. Nobody tells you to move on or get out. People here work so much that they just get a little wink of sleep anywhere they can. Maybe that's why so many people sleep on the train. I've seen dudes with their hands in the train hooks and they're just sleeping, standing up, swaying with the train. They're not drunk, they're just getting a rest in. I think they say that Japanese salarymen only sleep four or five hours a night. It's just a busy culture.

But most of the people on your Instagram are drunk right?
Yeah I'd say more of them are drunk than anything else. I don't put up homeless people or anything like that, they've got to be salarymen or partygoers. But you see the businessmen in these all-you-can-drink places, and there's no doubt you'll see someone passed out. There was this one spot that was all-you-can-drink and I just preyed on the place because I knew there'd be someone vomiting on themselves or passed out every night. I don't know what I'm going to do with them all, I'm just sort of data-basing it.

Do other people contribute to your Instagram?
Yeah, people send me photos. And for me to be out capturing these things, I have to be out partying as well, and that's not ideal you know? But actually last week some famous Japanese dude tweeted about it and it went viral. It's gained like 800 followers in the last day.

Was the tweet positive?
Yeah! I translated it and it was just like look at this account it's so funny. Most of my followers were foreign, but all of the new ones are Japanese.

Are you making money from this?
Not at all. It's something that you don't see anywhere else in the world and it's interesting. It's got to the point where I leave a bar and cut a lap on my bike to see what's going on. I see heaps, but these days it's got to be a novelty meltdown. There's got to be vomit or some strange position or something.

Do you question the ethics of capturing people in such a shitty state?
Definitely, I've been abused several times. When you are using a point-and-shoot you've got a bit of a sudden flash and people wake up and get pissed off. Half of them are sleeping, but if they're crawling and vomiting they're still awake, so they know what's happening and they'll get angry. Or their friends will tell me to stop.

So how do you defend what you're doing if they don't like it?
I guess my take is it's fair game if you're on the street.

How do you regard this aspect of Japanese culture, personally?
I don't think it's bad. In fact, you couldn't do it anywhere else in the world because you'd get robbed. I see people with their iPhones on their chest and nobody touches them. Their wallet is next to them on the ground or their whole handbag is open. Nobody takes their stuff.

Interview by Mimi LaMontagne.



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What It’s Like When Your Roommate Has a Psychotic Episode

Photo by Lindsay Caro via.

This article originally appeared on VICE Germany

I lived with him for over a year, but never knew much about him. There was something caring about our relationship, even if we were just living together out of convenience. It's convenient that there's someone to switch off the burner on the stove you've forgotten about, or turn off the faucet when you got distracted drawing a bath. It's comforting to know that if you're choking, there's someone there to give you the Heimlich or call 911. It's comforting to know that if you died, someone would find you quickly enough to allow for an open casket funeral.

Even so, we'd maybe exchange about 40 words a week. We would say "morning" to each other in the morning and a casual "hey" later in the afternoon, or "sorry" if we happened to find ourselves in the kitchen at the same time. We never argued about cleaning. I would clean the kitchen and his invisible hand would tidy up the bathroom. Every month I would leave a stack of bills on the kitchen table before I went to work—which would be gone by the time I came home.

We quickly warm to strangers when it's convenient. We get into their cars to save on taxi fare, trust them with our house keys to pay for our vacations, and sleep in the room next to them to make rent.

I had no idea that my roommate suffered from psychotic episodes until social workers showed up at my door to take him to the hospital on a Monday. The episode had started on the Friday before.

That Friday, I had noticed that he was singing and being a lot louder than usual. But I, a habitual round-the-house singer, attributed it to a new level of intimacy. Although he didn't seem sick, he told me to stay away from him because he had a bad flu. He had given himself a pretty rough haircut—mostly shaved, but with some stray patches of hair here and there.

On Saturday he was playing trap music on an endless loop while techno two-stepping around the apartment in a robe. But since this was Berlin, I just assumed he had dropped acid and had some dancing to take care of. I stuck to that story even when he was yelling unintelligible things throughout the night.

His ex-girlfriend's Scottish Fold cats ran into my room on Sunday morning. They had been at the apartment for two months during the summer, so we had become good friends. He asked me if I'd take care of them for a while, and announced he was going on a trip.

Later that day, I walked into the bathroom and saw his goldfish swimming in the bath, but I assumed he was just cleaning out the fish tank.

There was an attempt at homemade wet cat food in the blender, consisting of vitamin C tablets, cat treats, and the goldfish from the bathtub.

That night, his yelling was so loud and persistent that the cats were afraid to leave my side. That's when I realized something was wrong, but I had no idea what to do about it. I stayed the night, bracing myself every time I heard him pace past my door.

I woke up to the doorbell. It was a man and woman who said that they were with the Amtsartzt—a German version of social services—and that they were there to see my roommate. They wanted to inspect the house, which had turned into a wasteland overnight. The neighbors had apparently called in to report his psychotic episode.

When I went to look for him, he was gone. The social workers left, asking me to call if he reappeared.

Shortly afterwards another visitor appeared: his ex-girlfriend. She told me she had brought the cats over earlier to calm him down, and was now here to take him to a hospital. He'd probably be away for a month or two. We waited together until he finally came home and calmly left with her.

Dumbstruck, I kept myself busy and cleaned up the mess. There were dead fish in every vase, there was yellow paint on the floor and walls and he had smashed a guitar and a bass guitar. There was an attempt at homemade wet cat food in the blender, consisting of vitamin C tablets, cat treats, and the goldfish from the bathtub. With two pints of vinegar and some elbow grease I managed to rid my apartment of the stale smell of aquarium.

I decided to leave the house and process it all at a coffee shop, where I received a call from the ex, asking me to let her in to grab some clothes and books to hold him over during his time in hospital.

As we went up the stairs, we found him barefoot in front of the door. He had checked himself out and greeted us with a chipper, "Hi, thanks for letting me in." Sensing the need for privacy given the ensuing fight, I left to finish my coffee. When I came back, the contents of our living room were scattered across the courtyard and my roommate was being dragged out of the building by ten policemen. He had thrown two iMacs, a chair, some paintings, house plants, and a bunch of letters out the fourth floor window.

I told the police that I was his roommate and they asked if I could clean up the courtyard—which I did. Afterwards I made my way upstairs and again spent hours cleaning the freshly trashed apartment. Bookshelves were knocked over, coin jars were emptied on the floor, and flower petals picked off of every plant.

My roommate has bipolar disorder, which means that he can go for long periods of time, even years, feeling normal, before he slips into weeks of depression balanced by weeks of manic chaos. While it can be treated with medication and therapy, certain triggers can send him into a hyperactive delusional state where he can become a very real danger to himself.

According to his ex, this was the fourth time it had happened and it was what happens if he ever touches drugs or alcohol. She was careful to add that I wasn't in any danger. After some time in treatment and some meds, he would be fine. I decided that I wasn't going to let his illness change our relationship and believed that when he'd come back, things would return to the way they were.

Related: Watch 'Maisie'

Over the next couple of weeks his ex dropped by to grab hygiene products and his current girlfriend came over to bring some clothes and books. The current girlfriend was your average Berlin club-girl—undercut, septum piercing, and bumbag full of fun pills. During the breakdown she had been unavailable due to the fact that she was partying for four days straight.

My heart dropped every time one of them opened the door, scared that he had come home early. The current girlfriend had become a little too comfortable with the apartment keys and tried to bring guys home from clubs on the weekends.

Two weeks after the police took him away, my roommate sent me a message on Facebook saying that he was coming back. I welcomed him home, assuming that the medical professionals treating him wouldn't let him go unless he was better. He wasn't.

It quickly started all over again. He un-potted all of the mini cactuses and put them in a pitcher, tried to make coffee by putting beans in a hot water kettle and left the stove on. He nearly flooded the bathroom and spent every night screaming over industrial techno. It was a nightmare, but I wasn't asleep.

I stayed in my room all night listening to him scream while the neighbors banged on the ceiling and ringed the doorbell. I was both hoping and dreading that someone would call the police. I didn't call them because I didn't know exactly what to say—and I was scared of his reaction if he'd hear me do it.

I strung myself together with caffeine and cigarettes the next morning and went to work. When I came home he seemed to have relaxed a bit. The apartment was still a disaster, but he was just in his room watching TV, like he used to do. I thought that the medication must have kicked in and that things would finally go back to normal.

At 2 AM, he was manic again.

I briefly and gratefully fell asleep at 8 AM, but when I woke an hour later, the front door was wide open and he was gone. The girlfriend had not been by to return his keys, so he was locked out when I left for work.

Around 4 PM, social services called at work to tell me they had found him inside the apartment. He had scratched away at the front door with his nails until he could open the latch. Once inside, he had put seashells and the fish tank's air pump in the sink, and filled up the bathtub with clothes and bleach.

"We are taking him back to hospital," they told me. "But you should probably come home because the apartment no longer locks and the door is open."

I went home, cleaned up, and called my parents to tell them that I was flying back home to the United States for a week. My name had been scratched off the buzzer, door, and mailbox, and I had found all my swimsuits scattered around the house with the busts cut out.

Even knowing that he was locked away I jumped every time I heard someone coming up the stairs. My neighbors told me that they had denied him knives to get inside while he was locked out—he had gotten aggressive with them and muttered things about me.

During my time away, his parents tried to take him back home to Spain, but he was too much for them to handle and stayed in the institution. He sent me messages saying that the police had searched our place on suspicions of terrorism. That was the moment I decided that I couldn't live there anymore.

I arrived back in Berlin at noon, picked up the keys to a temporary apartment at one, and had my things packed and moved by five.

There is a part of me that feels guilty for leaving him, but there's another that feels like a naive narcissist for even thinking that I could help when those closest to him couldn't. I was the last to know about his condition, the last to know when he was coming home, and the first who these changes affected.

A psychotic episode really is the worst time to get to know the person you live with.

If you are concerned about the mental health of you or someone you know, contact theNational Alliance on Mental Illness at1-800-950-NAMI.



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The Real Fresh Prince of Bel-Air Had a Father in Prison

The younger Benny Medina, who inspired Will Smith's character in the 90s sitcom, in 2013. Photo via Wikimedia Commons

This story was co-published with the Marshall Project.

Nearly every television viewer of a certain generation can deliver the rap that opened the 90s sitcom Fresh Prince of Bel-Air, featuring a young Will Smith sent by his mother to live with his wealthy aunt's family. It's a show about family, but for almost four seasons, one character remained a mystery: Smith's father.

We finally meet "Lou Smith" in an episode titled "Papa's Got a Brand New Excuse," when he shows up at the cafe where Smith works. We learn that he disappeared when Smith was a baby because he "just wasn't ready to be a father," but they bond quickly. He promises to take his son along on a cross-country trucking gig. Then he reneges, and Smith is crushed. "I had 14 great birthdays without him," Smith shouts. "He never even sent me a damn card. To hell with him!" He collapses in tears on Uncle Phil's shoulder.

Smith's character was based on producer and manager Benny Medina, who was not "West Philadelphia born and raised" as the opening rap goes, but instead drifted between foster homes and his aunt's house in the Los Angeles neighborhood of Watts, where he sold drugs. "My upbringing didn't have much comedy in it," he once told the Los Angeles Times. In a 1991 profile of the "Real-Life Fresh Prince," Medina told Ebony magazine that when he was nine years old, his mother died of cancer and his father abandoned him.

But there is another, unreported facet to the story: Benny Medina's real father, also named Benny Medina, was in and out of prison in Texas and California for dealing and using drugs for much of his son's early life. And like his son (and like Will Smith), he is also in the music business—as a jazz drummer.

In 1972, while the elder Medina was serving time at the Wynne Unit in Huntsville, Texas, which he refers to as "the Mecca for the cream-of-the-crop musicians," he played on an album of country songs written, performed, and recorded by prisoners, called "Behind the Walls." For much of the 1970s and 80s, these albums were sold as souvenirs at the yearly prison rodeo, in which inmates from around the state rode horses and dodged angry bulls, but also performed for massive crowds.

"I had 5,000 inmates in the music program," Harley Rex, a music professor employed by the Texas Department of Corrections*, says. "Most of them were college students in jail for marijuana... Every year we had a different band since a lot of guys came and went." The tradition died off as the state underwent a massive prison building spree.

On the record's back cover, Medina sits behind a bass drum featuring the band's name: The Outlaws.

The elder Benny Medina (on drums) on the back cover of the 1972 album "Behind the Walls." Photo courtesy Texas Department of Criminal Justice

Medina was born in a small town near Dallas and hitchhiked to Los Angeles as a teenager. His childhood sweetheart joined him, and they had five kids, including Benny. He got into drugs, "which went from marijuana and an occasional Benzedrine, and a little speed, graduated into heroin." At 21, he went to prison, where he practiced his drumming on books and stools in his cell.

After he got out, the mother of his children died of cancer. According to Medina, he didn't abandon the kids because of a fear of parenting, as Will Smith's father did on the show, but rather due to his lifestyle. "I kept all five of my kids the best I could," he told me, "but I was involved with a cartel dealing drugs, so I could supply myself with money for a babysitter and drive a nice car and have drums."

When he wasn't locked up, he played drums behind major jazz figures of the the time, including Dexter Gordon and Sonny Stitt. "I had the honor and privilege of sharing the bandstand with some heavyweight cats," he says. He's 78 now and still performs in Dallas.

While Medina was in prison and on the road, his son was living the experiences that would form the basis for Fresh Prince. At a community arts center in Los Angeles, he met a white television composer named Jack Elliott, who took an interest in him and let him move in with his family in Beverly Hills. At Beverly Hills High School, Medina met the sons of Motown Records founder, Berry Gordy, Jr., and after high school, Medina moved into their Bel-Air home (a record executive character on Fresh Prince is named Gordy Berry).

"The Fresh Prince is literally an amalgamation of him going to the Elliotts, then coming to my family, and also another black family in Beverly Hills," says Gordy's son, Kerry Gordy, who became Medina's best friend and part of the inspiration for the character of Will Smith's cousin, Carlton.

Under Berry Gordy's guidance, Medina became an entertainment mogul and went on to produce films and television shows, and manage performers, including Jennifer Lopez.

"Benny from the beginning really felt abandoned by his father," Kerry Gordy says, but "I remember he used to say, 'My father is a great drummer.'" The younger Medina did not respond to a request for an interview.

"I'm in touch with my other kids and they keep informed on what he's doing," the elder Medina says, "and his constant resentment for me." The show made him a trucker and an archetypal absent father, but Will Smith's tearful monologue gestures towards a real story of estrangement.

*The state prison system was renamed the Texas Department of Criminal Justice, Institutional Division, in 1989, though many still refer to it by the old acronym "T.D.C."

This article was originally published by the Marshall Project, a nonprofit news organization that covers the US criminal justice system. Sign up for the newsletter, or follow the Marshall Project on Facebook or Twitter.



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One of England's Greatest Poets Talks Mysticism, Spirituality, and Salvation


Aidan Dun. All photos by Luke Montgomery

These days, England doesn't much care for its poets, tending to prefer them safely dead and serviceable as colorful subjects for the heritage industry. The one I'm meeting lives more or less in typical obscurity, beyond a small band of loyal believers. But he's the real deal. And they never invite him on Radio 4.

Aidan Dun has more going against him than most: an idiosyncratic exponent of what Aldous Huxley called "the perennial philosophy," the mystical traditions he feels most at home with are the Celtic Church and Rastafarianism. Not the kind of figure the liberal, secular gate-keepers of the arts are very comfortable with.

When we meet in a cafe in north London, the first warm sun of the year is shining over Pentonville Road. It's Friday and the evening rush is starting around the Angel subway station. Aidan enters with an unhurried stride. He's a presence. Tall, intense eyes, chiseled good-looks still intact. Palpably tuned to a different frequency. These days, he's eligible for a "Freedom Pass" on London transport, free travel to London residents over the age of 60, but it's impossible to guess his age.

The coldness of London's elite has become a mode of existence. You sign up for it, and in a biblical sense it's transgressive. It's satanic. Let's not mince words: it's satanic.

The night before we meet, he'd performed at an event organized in opposition to the proposed £800 million . For Dun, it epitomizes the nihilism and arrogance of today's London elite: "Their coldness has become a mode of existence," he says. "You sign up for it, and in a biblical sense it's transgressive. It's satanic. Let's not mince words: it's satanic."

Dun is known as "The Voice of King's Cross." He believes this patch of London—dominated by three railway stations—has a "mystical geography." This idea weaves together his own experiences of mental breakdown and recovery while living there in a squat in the 1970s; the presence of a pre-Christian Celtic shrine on the site of St. Pancras Old Church, thought to be the first Christian church in Britain; and the extraordinary pantheon of visionary poets that have lived, worked, or written about the area. These include William Blake, Thomas Chatterton, Percy Shelley, and Arthur Rimbaud. For Dun, these elements combine to make King's Cross a sacred place, "set aside for an experiment in human consciousness."

Dun's work found critical acclaim in the mid-1990s after the publication of Vale Royal, a 700-verse poem, written over the course of two decades, that articulates this unlikely vision of an area that in the later stages of the 20th century became synonymous with post-industrial decline, drug-dealing, and prostitution. It was launched at a major event at the Royal Albert Hall in 1995. Allen Ginsberg flew in from New York and anointed Dun as a natural heir to the Beats. Peter Ackroyd called him "a divining-rod for history."

Since then he's produced poetry that has traveled the globe in its settings and subject matter, reflecting a childhood growing up in Trinidad and youthful travels across Europe, the Middle East, India, and north Africa. This week, he'll publish parts two and three of his most recent work, Unholyland, a verse-novel set among the Israel-Palestine conflict. There's also an album with his wife Lucie, a professional pianist, coming out on an American jazz label later in the year. But King's Cross is still his lodestar. "If I deviated I would be doomed to success," he says. "As it is, I live with this glorious failure."

He talks about his obsession with the area with a combination of messianic intensity and scholarly erudition. "First I had to go mad in London," he says. In his youth, he'd trained as a classical guitarist. But a serious injury to his tendons ended his playing career in his early twenties. "My ego had to get thrown to the floor and the portal, the gateway, opened to King's Cross."

In a state of desolation, a series of chance encounters over the winter of 1972 led him to a squat on Charrington Street, not far from St. Pancras station. This stately Georgian terrace, where two-bedroom maisonettes now change hands for three-quarters of a million pounds, was then a vast, dilapidated warren of squats. Several hundred counter-cultural drop-outs, visionaries, and acid casualties called it home.

Rimbaud was standing beside me saying, 'Aidan, go down into the hell of King's Cross and you will see the earthly paradise, you will see the site of our hope.'

On the roof of his squat one evening, Dun says he had a vision of Arthur Rimbaud, the blazing teenager of French poetry who came to London with his older lover, the poet Paul Verlaine, in 1872. They lived together in a house on Royal College Street, yards from where Dun was at that moment standing, with Rimbaud's poem "Promontoire" in his hands.

"I looked up from the page and there was Rimbaud's text in the skyline. And I looked back to the text and there was the skyline of King's Cross. And Rimbaud was standing beside me saying, 'Aidan, go down into the hell of King's Cross and you will see the earthly paradise, you will see the site of our hope.'"

And so, he did.

The "vale" in Vale Royal is the valley of the river Fleet, a lost waterway which begins in the hills of north London, runs through King's Cross, past St. Pancras Old Church and into the Thames. Once a significant feature in the life of the city (its course was dotted with wells believed to have healing qualities), by the 18th century it had become a stinking, disease-ridden ditch. It was eventually bricked-up into underground tunnels, through which it still runs 20 ft under street level.

The running water of the Fleet is a central image of the poem, hidden beneath the modern city of material abundance and spiritual aridity. The saint that gives St. Pancras Old Church its name was a child martyr, beheaded by the Roman Emperor Constantine at the age of 14 for his conversion to Christianity, and he inspires the poem's central character, "The Sunchild," an archetype that also represents the poets who, Dun tells me, were "spiritually breathed upon by this part of London."

Swirling round their stories are elements of Arthurian myth and the Grail Legend. There are pre-Christian Druids on Primrose Hill and Freemasons maneuvering for political control in 18th century Shoreditch. Struggling forces play out over a mythological metropolis. Running through it all is a quest for spiritual illumination and inner peace. With the victory of the Sunchild, King's Cross becomes "a geographical vessel, a symbolic container of the quiet mind, a perfect place to realize the vision of oneness."

At times Vale Royal can seem like the worst of New Age bunkum: the occultist's need to impose spurious meaning on the chaos of history. To many, it, and Dun himself, will simply appear deranged—which is probably the view of the art establishment that has shunned him. But there is an incantatory power to his work. His elegant lyrical verse has integrity because it has been hard won. He makes the unfathomable immensity of London's human history bearable.

"When I walk up Primrose Hill with my eyes closed, I'm in the Dreamtime," he says. "With the Druids, with the Sunchild, with Pancras, with Chatterton."

King's Cross has changed a lot in the last decade. At the end of Vale Royal,Dun prophesises that it will be the site of London's spiritual transformation, and when the developers actually turned up at the start of the century to "regenerate" the former railway yards, he wasn't shy in telling them what should be done—in his words, "harassing them, hammering them, badgering them, lecturing them." Some of the recent developments in the area are welcome—he sees the arrival of St. Martins art school and the arts venue King's Place as broadly sympathetic to his vision of Kings Cross—unlike newcomers Google and biomedical research lab, the Francis Crick Institute, which he thinks are manifestations of top-down corporatism.

The developers inscribed a verse of his in stone in the main piazza, Granary Square: "King's Cross, dense with angels and histories, there are cites beneath your pavements, cities behind your skies. Let me see!" It runs through a line of lime trees, next to fountains—the long-envisaged running water in Vale Royal finally come to this inner-city wasteland: "I'm proud of my words but I'm more conscious of the feeling of success from my mission when I look at the fountains and the kids from Caledonian Road dancing through them," he tells me. It gives him faith to carry on as this genius loci, a step out of time in the frenzied permanent-present of modern urban life.

"It is for the quiet mind that I advocate," he says. "At the heart of the city. That's what it means to be the voice of Kings Cross."

And with that he's out the door. The last bard of London. Looking for real gold in the money-laundering capital of the world. A dirty job, but someone's got to do it.

Follow Joe Banks on Twitter.

Aidan will read from his new work Unholyland at London's P21 Gallery on Wednesday June 1.



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Daily VICE: The Activist Who Stole Over Half a Million Dollars to Fund a New Anti-Capitalist Movement

On this episode of Daily VICE, we track down Enric Duran, a Spanish activist known as "Robin Bank," who took out roughly $700,000 in loans to fund a new anti-capitalist economic movement. Duran, now living in hiding in Italy, opens up about his life underground and the goals of his new cryptocurrency system.

Watch Daily VICE in the VICE channel on go90. Head to go90.com to learn more and download the app.



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