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vicemag: Meet the Girls Who Are Terrorizing Juggalos with Their Perfect Asses Passed Out Juggalos is a crew of girls in their underpants who terrorize the sleepy Faygo people at the Gathering of the Juggalos. When I first came across them I became aroused, then intrigued. I used to subscribe to the popular opinion that all Juggalos are extras from Deliverance, but these half-naked girls made me want to know more. I wanted to hear all about the POJ straight from their smirky, potty-mouthed faces, so I stalked these mad bitches all over the country. I discovered that most of them live in Sacramento. One is in Louisville. I’m now officially a weird and obsessive person with a collection of human heads, probably. There are five POJ regulars, making them kind of like the Spice Girls, if the Spice Girls were into paralytic clowns. The three I spoke to are: Killette (OCD germaphobe), Neveah (has a taint piercing), and Ryan (got a guy’s name). VICE: I get the impression that you girls might be strippers.Killette: I’m the only one who isn’t. The other girls are though, yeah.Nevaeh: I’m a stripper. It makes sense, I guess! Do any Juggalos ever come into your club, Nevaeh?Nevaeh: It has happened, but not very often. I’ve never been recognized on the street from POJ. I think it’s because my… face doesn’t really show a lot in the pictures. I do have some fans because of my pictures. Yeah. That’s what I’ve heard. “This guy’s just in love with you, that guy thinks you’re awesome…” I’m apparently a Twitter star because of my X-rated pictures. That’s enough for me. I really don’t care if people like point me out and say, “Oh shit, there’s the girl who shows her snatch all over POJ!” It’s whatever. Continue
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vicemag:

Meet the Girls Who Are Terrorizing Juggalos with Their Perfect Asses

Passed Out Juggalos is a crew of girls in their underpants who terrorize the sleepy Faygo people at the Gathering of the Juggalos. When I first came across them I became aroused, then intrigued. I used to subscribe to the popular opinion that all Juggalos are extras from Deliverance, but these half-naked girls made me want to know more. I wanted to hear all about the POJ straight from their smirky, potty-mouthed faces, so I stalked these mad bitches all over the country. I discovered that most of them live in Sacramento. One is in Louisville. I’m now officially a weird and obsessive person with a collection of human heads, probably. There are five POJ regulars, making them kind of like the Spice Girls, if the Spice Girls were into paralytic clowns. The three I spoke to are: Killette (OCD germaphobe), Neveah (has a taint piercing), and Ryan (got a guy’s name).

VICE: I get the impression that you girls might be strippers.
Killette: I’m the only one who isn’t. The other girls are though, yeah.
Nevaeh: I’m a stripper. It makes sense, I guess!


Do any Juggalos ever come into your club, Nevaeh?
Nevaeh: It has happened, but not very often. I’ve never been recognized on the street from POJ. I think it’s because my… face doesn’t really show a lot in the pictures. I do have some fans because of my pictures. Yeah. That’s what I’ve heard. “This guy’s just in love with you, that guy thinks you’re awesome…” I’m apparently a Twitter star because of my X-rated pictures. That’s enough for me. I really don’t care if people like point me out and say, “Oh shit, there’s the girl who shows her snatch all over POJ!” It’s whatever.

Continue

deadmanride: vicemag: I Used My Stockmarket Millions to Throw Raves and Sell Drugs Think of drug lords in America and it’s likely that you’ll think of emotionally erratic men with harems of coked-up mega babes on big yachts in Miami. Or, if you watch a lot of HBO box-sets, terminally ill chemistry teachers or Idris Elba. One cliche that probably won’t spring to mind is a polite, educated ex-stockbroker from the UK’s industrial Cheshire. Shaun “English Shaun” Attwood is an incredibly unlikely ecstasy kingpin. Growing up in Widnes, just outside of Liverpool, Shaun invested in the US stock market when he was young, made his millions, moved to Phoenix, Arizona, started throwing raves, and became a major drug supplier. While he wasn’t planning parties in the deserts of Arizona, he was working in direct competition with the Italian mafia and alongside the New Mexican Mafia to supply millions of dollars worth of ecstasy to the ravers of mid-90s Phoenix. His motivation for doing all this (besides the fact that partying for a living is a lot more fun than selling shares)? He wanted to introduce Americans to the British rave culture he’d grown up with. Unfortunately, as is often the way when you’re handling millions of dollars worth of narcotics, Shaun was caught and ended up being sent to Maricopa County Jail, widely regarded as America’s toughest prison. Shaun’s been out of jail for a few years, so I called him to see if he’s still so keen to spread the love to the Yanks. Shaun after being released from prison. Photo by Libbi Pedder. VICE: Hey Shaun. So you went from being a millionaire stockbroker to becoming a major drug dealer in Arizona. How did that happen?Shaun Attwood: The Manchester rave scene made such a big impression on me that I decided to transfer that scene to Phoenix, Arizona after moving over there. After becoming a millionaire as a young person, I had more money than common sense, so I didn’t see the law as an obstacle to my partying or a barrier to bringing tens of thousands of hits of ecstasy into America from Holland. That was for the mafia, right?Yeah, I was supplying ecstasy to the New Mexican Mafia. In the beginning, I didn’t know who they were, but it came about because I was a friend of a gang member’s brother. Years later, they were all arrested and the news headlines reported that they were the most powerful and violent mafia in Arizona at that time, committing murder for hire and executing witnesses. And you were in direct competition with the Italian mafia member Sammy “The Bull” Gravano—what’s the story with that? Yeah. Years later in prison, his son, Gerard Gravano, told me that he’d been dispatched as the head of an armed crew to kidnap me from a nightclub and take me out to the desert. I’d avoided him that night because my best friend Wild Man had got in a fight and we’d had to leave the club in a hurry. Continue Ferfi!
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deadmanride:

vicemag:

I Used My Stockmarket Millions to Throw Raves and Sell Drugs

Think of drug lords in America and it’s likely that you’ll think of emotionally erratic men with harems of coked-up mega babes on big yachts in Miami. Or, if you watch a lot of HBO box-sets, terminally ill chemistry teachers or Idris Elba. One cliche that probably won’t spring to mind is a polite, educated ex-stockbroker from the UK’s industrial Cheshire.

Shaun “English Shaun” Attwood is an incredibly unlikely ecstasy kingpin. Growing up in Widnes, just outside of Liverpool, Shaun invested in the US stock market when he was young, made his millions, moved to Phoenix, Arizona, started throwing raves, and became a major drug supplier. While he wasn’t planning parties in the deserts of Arizona, he was working in direct competition with the Italian mafia and alongside the New Mexican Mafia to supply millions of dollars worth of ecstasy to the ravers of mid-90s Phoenix.

His motivation for doing all this (besides the fact that partying for a living is a lot more fun than selling shares)? He wanted to introduce Americans to the British rave culture he’d grown up with. Unfortunately, as is often the way when you’re handling millions of dollars worth of narcotics, Shaun was caught and ended up being sent to Maricopa County Jail, widely regarded as America’s toughest prison. Shaun’s been out of jail for a few years, so I called him to see if he’s still so keen to spread the love to the Yanks.


Shaun after being released from prison. Photo by Libbi Pedder.

VICE: Hey Shaun. So you went from being a millionaire stockbroker to becoming a major drug dealer in Arizona. How did that happen?
Shaun Attwood: The Manchester rave scene made such a big impression on me that I decided to transfer that scene to Phoenix, Arizona after moving over there. After becoming a millionaire as a young person, I had more money than common sense, so I didn’t see the law as an obstacle to my partying or a barrier to bringing tens of thousands of hits of ecstasy into America from Holland.

That was for the mafia, right?
Yeah, I was supplying ecstasy to the New Mexican Mafia. In the beginning, I didn’t know who they were, but it came about because I was a friend of a gang member’s brother. Years later, they were all arrested and the news headlines reported that they were the most powerful and violent mafia in Arizona at that time, committing murder for hire and executing witnesses.

And you were in direct competition with the Italian mafia member Sammy “The Bull” Gravano—what’s the story with that? 
Yeah. Years later in prison, his son, Gerard Gravano, told me that he’d been dispatched as the head of an armed crew to kidnap me from a nightclub and take me out to the desert. I’d avoided him that night because my best friend Wild Man had got in a fight and we’d had to leave the club in a hurry.

Continue

Ferfi!

adsertoris: leslieseuffert: El Lissitzky reveal the absence: the un-built by g. mazars The proposal to establish a monument echoing the various works of El Lissitzky reveals a the notion of space and depth within three-dimensional structures. the system highlights emptiness, depth, projections - disclosing its physical absence.  The project consists of a 3D orthogonal grid conforming to the size of Wolkenbrugel. By subtracting, in the manner of molding, a reconstruction of the spatial presence manifests as an imaginary structure -which remains invisible but perceptible. From this imprint, the imagination of the visitor completes the virtual projection of the monument. at night, a light network reveals the virtual contours of the form -where bright spots distributed throughout the structure act as dynamic support for interventions of invited artists. haha
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adsertoris: leslieseuffert: El Lissitzky reveal the absence: the un-built by g. mazars The proposal to establish a monument echoing the various works of El Lissitzky reveals a the notion of space and depth within three-dimensional structures. the system highlights emptiness, depth, projections - disclosing its physical absence.  The project consists of a 3D orthogonal grid conforming to the size of Wolkenbrugel. By subtracting, in the manner of molding, a reconstruction of the spatial presence manifests as an imaginary structure -which remains invisible but perceptible. From this imprint, the imagination of the visitor completes the virtual projection of the monument. at night, a light network reveals the virtual contours of the form -where bright spots distributed throughout the structure act as dynamic support for interventions of invited artists. haha
Zoom
adsertoris: leslieseuffert: El Lissitzky reveal the absence: the un-built by g. mazars The proposal to establish a monument echoing the various works of El Lissitzky reveals a the notion of space and depth within three-dimensional structures. the system highlights emptiness, depth, projections - disclosing its physical absence.  The project consists of a 3D orthogonal grid conforming to the size of Wolkenbrugel. By subtracting, in the manner of molding, a reconstruction of the spatial presence manifests as an imaginary structure -which remains invisible but perceptible. From this imprint, the imagination of the visitor completes the virtual projection of the monument. at night, a light network reveals the virtual contours of the form -where bright spots distributed throughout the structure act as dynamic support for interventions of invited artists. haha
Zoom

adsertoris:

leslieseuffert:

El Lissitzky

reveal the absence: the un-built by g. mazars

The proposal to establish a monument echoing the various works of El Lissitzky reveals a the notion of space and depth within three-dimensional structures. the system highlights emptiness, depth, projections - disclosing its physical absence.  The project consists of a 3D orthogonal grid conforming to the size of Wolkenbrugel. By subtracting, in the manner of molding, a reconstruction of the spatial presence manifests as an imaginary structure -which remains invisible but perceptible. From this imprint, the imagination of the visitor completes the virtual projection of the monument. at night, a light network reveals the virtual contours of the form -where bright spots distributed throughout the structure act as dynamic support for interventions of invited artists.

haha

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