LITMIR.BIZ

      CONTENTS

      Title Page

      INTRODUCTION By Andy Capper and Jesse Pearson

      THE STATE WE’RE IN

      DISPATCHES FROM A WORLD OF VICE

      VBS, OR THE REVOLUTION WILL BE TELEVISED (JUST NOT ON TELEVISION)

      (DON’T) TRY THIS AT HOME

      PHOTOJOURNALISM

      INTERROGATIONS

      Acknowledgements

      Copyright

       INTRODUCTION

      THIS IS A CONVERSATION BETWEEN ANDY CAPPER, BRITISH EDITOR OF VICE, AND JESSE PEARSON, THE EDITOR IN CHIEF OF VICE GLOBAL, WHO IS AMERICAN.

      Andy Capper: Jesse, we have to do a thing where we talk about the last eight years of Vice magazine being in Britain.

      Jesse Pearson: Why?

      AC: We’re doing a book with Canongate that’s apparently going to open us up to a “whole new audience”. I’m very excited about that.

      JP: Hmm.

      AC: Please?

      JP: What is it that you want to say?

      AC: Well, this book is for a Brit audience and we are here to talk about yours and my experience of how the British Vice started and how the special relationship worked and survived against the ridiculous odds; and I guess how the start of British Vice and then Vice EU coincided with the start of both our careers as editors here.

      JP: So this is for the kind of audience that likes Ant and Dec…

      AC: Yes, that is correct. You seem to have your finger on the pulse of Britain.

      JP: I like British people. I think they have the best sense of humour in the world, apart from New York City Jewish people. Russians come third. But I think Brits are too fond of making lists and doing weird awards things. Like the whole Christmas number one thing—to me that’s insane.

      AC: You should have been there when it was East 17 vs Oasis. It was one of the cultural highpoints of the last 100 years of Britain.

      JP: I also like the way British people get weepy and have sing-alongs while drunk, because I do that too and I also like their attitude with regards to partying, which is pretty much Friday from 5 PM until Sunday, or rather Monday, at 4 AM, going for it.

      AC: It’s more like Thursday from noon. One of the first stories we did together was when I was sent to Paris for the weekend to meet the sapeurs. I wrote the article and people seemed to like it but I was not actually sure if I found any sapeurs.

      JP: There was also a grime article pretty much every month.

      AC: We were the only people who wrote about it in such detail aside from Grime Monthly or whatever. We did those articles ’cos that scene at the time was like a young, black version of Eastenders, with all the gossip and chit-chat and “incidents”, which were turned from people quarrelling violently at pirate radio stations to shootings, stabbings and jail sentences. And now, some of those kids from that scene are Britain’s biggest pop stars—Dizzee, Tinchy, Wiley. It’s nuts.

      Let’s give people some more history. What was Vice like eight years ago, before the British office opened and you and I became the editors?

      JP: People liked it in the main because of the DOs & DON’Ts, I mean, it was great because it was like nothing else. The focus of the magazine was more on retardation in general, but that’s what attracted me to it.

      AC: It started as a reaction against the tail end of the 90s, which was a time when a lot of people were being overly pious about things, I feel.

      JP: It was the funniest magazine around. And, yes, coming out of the liberal arts education prison I had been in for five years before, it was very refreshing. My college was one big, long take-back-the-night rally. I had to constantly be getting talked to about how insensitive I was, so Vice appealed to me for sure.

      AC: Those sensitive types are like the self-proclaimed “socialists” who’ve never had to be poor or work a hard job but have rehearsed polemics about workers’ rights. Not that workers shouldn’t have rights, but essentially the people who yell about them the loudest generally have no idea what the fuck they are talking about.

      JP: It’s easy to say you dig blue-collar people if your family is not blue-collar. But I have to admit I mostly read the D&Ds and the guides to funny shit. I was into more sophisticated things such as i-D and Sleazenation, you know, timeless things like that.

      AC: Where I grew up in Southport, which borders on being a hick town, I honestly didn’t know what i-D was about. As a kid, I didn’t understand the concept of “fashion magazine”.

      JP: Oh, well, re: i-D et al, to be honest, I started looking at them for tits because there was no “alt porn” back then. Those were the best places to see the nude boobs of the sorts of girls I liked.

      AC: We shouldn’t talk about other people, it’s a bad vibe. Looking back over the glorious career you’ve had as the main editor, and from which period most of this book comes from, which would you say were your favourite issues?

      JP: My second issue was the Special Issue. It was the first time the majority of an issue was given over to one group of people.

      AC: What was the thinking behind that—giving over the issue to a small group of people rather than “check out the world through our gay magazine lens” like a lot of other people do?

      JP: It started to become clear to me that to do themes like we were doing, we needed to go all the way and get every single page of the magazine in line with the theme, and so we had a run of issues where every single page was dedicated to one theme.

      AC: That’s kind of where that “immersionism journalism” started that I always talk about when other people

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