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MUSIC BRAIDS
ARTS TROY COULTERMAN
PHOTO SPREAD 2 ACROSS THE TRACKS
Words Sadeeq Hudda
Words Glen Leavitt
Photo Pedersen
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MUSIC WILD NOTHING
MUSIC TEEN DAZE
CARES Pussy Riot
Words Brandon Webber
Words Ella Weatherilt
Words Ella Weatherilt
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MUSIC CHARLES BRADLEY
PHOTO SPREAD 1 FOREVER YOUNG
Words Omar Reyes
Photo Zachary Ayotte
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ON THE COVER Charles Bradley PHOTO PEDERSEN
georgie ISSUE 13 - NOVEMBER 2013 PUBLISHER Georgie Magazine Inc. CREATIVE/EDITORIAL DIRECTOR Nathan Marshall WRITERS Sadeeq Hudda, Glen Leavitt, Omar Reyes, Brandon Webber, Ella Weatherilt PHOTOGRAPHERS & DESIGNERS Zachary Ayotte, Neil Mota, Aaron Pedersen, Landon Speers, Kane Tchir, Mathew Smith GUEST FASHION EDITOR Michael Meneghetti COPY EDITOR Jude Zuppiger SALES & MARKETING Jessica Clark INQUIRIES info@heygeogie.com ADVERTISING jessica@heygeorgie.com VISIT US www.heygeorgie.com FOLLOW US twitter.com/georgiemagazine instagram.com/georgiemagazine facebook.com/georgiemagazine
Copyright Š 2013 Georgie Magazine Inc. All rights reserved. Printed in Canada. --------------------------------------------------------------The views expressed in these pages are not necessarily shared by the publishers.
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I T H I N K W H A T H A P P E N E D I S J U S T M A T U R I N G, A N D P L A Y I N G M O R E M U S I C , A N D F E E L I N G M O R E W I S E W I T H I N I T.
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I T ’ S S U C H A W I L D P L AC E ; IT’S AFFECTED US P O S I T I V E L Y. T H E R E ’ S A LOT THAT IS UNHINGED AND NOT CONTROLLED. WE HAVE A LOT OF FUN THERE.
While watching Braids perform most of their new album, Flourish // Perish, at their recent Edmonton show, I couldn’t help but feel overcome with a kind of hypnotized, droning two-step. Just enough swing between ground-shaking bass hits gave the whole set a certain swagger you might not expect to hear coming from three rockers from Calgary. Sitting down with multi-instrumentalist and vocalist Raphaelle Standell-Preston, I asked about the band’s new direction and if people were dancing at their shows. “Not that I can tell! I think they’re bobbing their heads but we’re not exactly a dance band – I think because we have so much restraint.”
An obsession with electronic and club music has taken hold of this band. The mark of this influence can be heard in obvious places – the hyper-enthusiastic knob turning, triggering and chopping coming from bandmate Taylor Smith’s carefully customized synth/controller rig sounds more like a Berlin club at 2 a.m. than an “art-rock” show. Playing back and forth between triggering drums and his acoustic set, drummer Austin Tufts’ spastically exact technique displays a wide array of influences, settling somewhere amidst four-on-the-floor techno, UK garage and jungle, and Braids’ previous post-rock tendencies. “It doesn’t explode as much,” says Raphaelle of their new album when compared to their debut album, Native Speaker. “I think what happened is just maturing, and playing more music, and feeling more wise within it. I just started feeling really cheap exploding all the time and pulling out my loud voice. It started feeling very rehearsed.” She notes that some of her personal electronic music interests stem from her sideproject collaboration on Blue Hawaii with former boyfriend and Montreal-based musician, Alex Cowan. At a time where the inner workings of electronic music can disappear behind laptop screens and automation, the thing that stands out about Braids is what launched them into success with Native Speaker: their musicianship. Attentively listening to a carefully crafted album like Flourish // Perish
and the band’s collaborations in 2011 with electronic musician Max Cooper, one is left with a distinct impression of their obsessive production values. Watching these tense songs be produced live and played perfectly, climaxing in a very controlled way into bursts of musical catharsis, puts into perspective the concept of watching electronic music recreated in a live setting. “We are using computers, but more as generators. We’re still playing everything live.” Since their relocation from Calgary to Montreal, it’s obvious Braids has been hard at work. Having lost a member before the creation of the new album, the remaining trio secluded themselves in a windowless space to record an album with a significant change in sound, and taught themselves to create with new tools. The comparatively low cost of living in Montreal has removed the burden of keeping a full-time job for a growing number of artists. Together, these artists have created a community that is thriving and accumulating international recognition. Joining a growing roster of Montreal-based musicians and artists on the Arbutus Records label (Grimes, ex-Majical Cloudz), Raphaelle talked with mixed feelings about living in Montreal. “I think it’s because it’s such a wild place, it’s affected us positively. There’s a lot that is unhinged and not controlled. We have a lot of fun there.” Amidst criticisms of government corruption and the proposed Quebec Charter of Values, she says: “I respect [Montreal’s] devotion to art and culture, and I think that’s one of the reasons why it’s such an amazing place.… But in terms of the way the city is run, I’m pretty disgusted by it. When I’m driving the roads I’ll hit a pothole and my wheel will almost come off. I pay 14% in [sales] taxes, but I also get a lot of funding for arts living there, so it’s a strange relationship.” Make no mistake: through all the changes and evolutions of the band, they’re still Braids. The dynamic songwriting and musicianship that endeared so many to Native Speaker just grew up and moved out.
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WILD TEXT BRANDON WEBBER PHOTOGRAPHY NEIL MOTA L AYO U T N A T H A N M A R S H A L L
As a listener — or consumer — of music, it seems that things have never been better. Anything and everything musical is accessible and immediate. The music comes in the form of a constant stream and musicians are closer to their fans than ever before. While it’s never been better for us, the opposite could perhaps be said for musicians. There are an extraordinary number of talented musicians that fight to be heard — or to be paid. Part of the fallout in this new landscape is the exhausting promotional treadmill that musicians must maintain to stay top-of-mind for listeners. Sometimes this seems to be more important than the music itself. Once you’ve caught a bit of the wave, just work your ass off to stay on the wave for as long as possible. It’s refreshing, then, to hear from someone who knows enough about himself that he doesn’t just know what to do, he also knows why he’s doing it. Jack Tatum of Wild Nothing seems to be one of those people. He’s out on the road with Wild Nothing right now, and what is he looking forward to most? Not doing Wild Nothing. “[After
touring] I’m gonna bake more. I’ll probably get roped into a juice cleanse by my girlfriend. Visit my family for the holidays. Not think about Wild Nothing for a while.” Now granted, he is on tour, and I’m sure that most musicians have a love/hate relationship with touring, but this sounds different. I get the sense from our brief email conversation that Tatum isn’t pinning his long-term success on Wild Nothing. “It’s hard for me to see it as anything in particular. I want to continue changing. I don’t want it to be something that gets stale on me. It’s gotten a bit stale on me. I want it to remain an outlet. I don’t really care much about conventional success for this band at this point in time. We’ve been playing so many shows and working towards an imagined point and the music starts to lose its meaning. I definitely want to retain meaning in what I do.” I get the stale bit. When you get known for something as an artist, there’s a tension between staying familiar and showing progression. Everything you put out is judged
NOTHING
against what you’ve done before. That can get I’ve realized that I really like un-dynamic music. old fast. But Tatum is pragmatic. “The inclination I think it’s why I was initially so drawn to shoegaze to fight habits is a good one. I think I always music. The rise and fall doesn’t do much for me, if know that ultimately I’m going to end up with that makes sense. I like getting lost.” something that makes sense for me, or makes sense for Wild Nothing, but the desire to fuck For now, Wild Nothing is something that is still with what feels safe is what will take you to the an outlet for Tatum’s creativity. At some point, it next step. It doesn’t always have to be drastic. may not be, and he’s okay with that. “Eventually I think I’ll transition In fact I think it’s better to into engineering and build slowly. If you’re not production. I like writing building in some way music and having then what’s the point? It’d people hear my music be like becoming a wellbut I’ve become fairly known artist for painting uncomfortable having pictures of dogs and then attention focused on me only painting dogs for at shows or whatever it the rest of your life. Draw The inclination might be. I’m not an overa cat or something.” sharer. So many people to fight habits is We’ve all known people do that shit these days who draw way too many and it bugs me. I think a good one...the dogs, when we’d love to I come across as safe d e s i re t o m e s s see what they could do or even boring to some people because I don’t with a cat. with what feels care to show them my So what is the point? For business. It feels like to safe is what will Wild Nothing right now, it get news these days in seems that it’s still about music you have to tweet t a k e yo u t o t h e doing what he set out every clever thought n ex t s t e p. to do with the project: you have and do or say making noises that work ridiculous shit in the public forum. That’s not well together, putting for me.” together some lyrics that perhaps speak some sort of universal truth and to play those songs in front of audiences that appreciate it. None of those things is simple or straightforward — so maybe that’s what keeps Wild Nothing worth doing for Tatum. After three major releases, what’s the most important thing to keep, right? “I still find that getting a sense of environment is most important. I like the wash.
For most, when you ask what’s next, you hear about plans for the new album, or an extended tour, etc. etc. Not Tatum. What’s next for Wild Nothing? Not much. “It’s hibernation time. It’ll come back when it’s ready. There are no plans to tour or record for a while. No plans are the best plans.” Great words to end on. In some ways you’ll be happiest when you know exactly what you like: getting lost.
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tears resting on his wrinkled face revealed a man still humbled by the opportunities he’s had ever since he was discovered by Daptone Records during one of his James Brown sets.
I’ve been doing James B row n s i n c e I wa s 1 4 . N o w, I ’ m g o i n g t o d o C h a r l e s B r a d l e y.
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here’s a story in the Bible about a man who, while walking through a field, serendipitously stumbles onto something that would forever alter his life. What lay at his feet at that auspicious moment was nothing more than a vast amount of undiscovered treasure. One moment he’s walking, minding his own business, and the next, he’s staring at riches beyond his imagination. What’s his next move? Simple. Without hesitating, he sells all of his belongings in order to purchase that field. In other words, he trades his past for a better future.
At 64 years of age, Charles Bradley has crossed the chasm from obscurity to public recognition in less than three years. He has released two LP’s (No Time For Dreaming in 2011 and Victim Of Love in 2013), toured the world, received critical acclaim and has had a documentary (Soul of America) about his life screened across theatres in North America. For someone so late in the game, this sort of transition within the music industry is rare. So I ask Charles how he’s adapted to the fame he’s experienced over the last few years. Without pausing to think, he answers: “Even though I’m a performer, going all over the world, I’m still the same person. I haven’t changed. You know, like my Uncle always said. He’s 90-years-old. He says, ‘Son, go out in this world and express to the world who you are. Not only as an artist but as a person … Stand on your rock and keep going. Take God in your heart wherever you go.’ So, I’m not greater than anybody else on this planet. I’m just a person that’s living within my morals and loving and respecting everyone.” Before I ask him the next question, Charles interrupts me to add something else his 90-year-old Uncle advised him on, “He also said to me, ‘Charles, go out and make money. But never let money make you. If you let money make you, then you have lost. Keep that quality in your mind and God will always shine through you.’ ”
Like that man, Charles Bradley knows all too well what it takes to seize the opportunity of a lifetime. The documentary Soul of America begins with shots of Charles Bradley getting ready for his gig as a James Brown impersonator known in New York as “Black Velvet”. The narration transposed over these scenes is a triumphant Bradley declaring in his raspy voice, “I’ve been doing James Brown since I was 14. Now, I’m going to do Charles Bradley.”
Whether it’s struggling to survive on his own since he left home at 14, or managing a demanding schedule while financially providing for his 89-year-old mother, Charles remains hopefilled. I ask him what the source to such optimism is. Without sounding one bit religious he answers with conviction: “Stay humble to God’s word. That’s what keeps my faith. I remember they told me, ‘Charles, if you ever feel that you’re lost, remember one thing in your life and live it.’ It’s the Ten Commandments. That’s what I do. I follow [God’s] rules. Like, nowadays it’s so easy to go astray from that. But I am 64-years-old and I ain’t gone astray yet. Every day is a new day.”
When I sat down to interview Charles, who was in Edmonton for the first time as a main stage performer at this year’s Folk Fest, I was caught off guard by his willingness to share his heart with me. In the first few minutes, he admitted he was emotional from the encouragement he received from the previous journalist. The
For Charles, some days he’s singing in front of thousands with his signature, emotionally-charged raw voice that transports you to what soul music was in the 1960’s. Other days, he’s home, escaping the demands of an unknown world. Yet, despite all the good that he’s experienced, there are still scars from his past
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w a n t t o re a c h t h e l e a d e rs w h o a re c o n t ro l l i n g t h i s w o r l d . I w a n t t o re a c h t h e m m o re c l o s e l y, t o l o o k a t w h a t t h e y a re d o i n g t o t h e m i d d l e c l a s s , t o p o o r p e o p l e . that keep him cautious about the future. He’s still not able to shake the memories of being racially profiled by authorities when he lived on the streets. With sadness he confesses, “I don’t want to be abused or be picked on by police or State Troopers anymore. That’s why I stay in the house. If I’m not doing music, I’m still afraid to go outside.” There’s also pain in his eyes when he tells me how some of his friends no longer respond to him because of his success.
of power. Determined, he states, “I want to reach the leaders who are controlling this world. I want to reach them more closely, to look at what they are doing to the middle class, to poor people.”
It is both the heartache and his unquenchable joy channeled into every song he writes and every lyric he wails from the depth of his soul that connects with listeners in a way that is not only honest, but disarmingly inspiring. He has his eyes set on more than just admiration though; he aims to take his message of love, righteousness and freedom to the corridors
“So you’re a Mama’s boy!” I quip. He beams with happiness as he shares with me the love his mother showers on him. It’s then when you realize that for Charles, the treasure in his life is the restored relationship he gets to enjoy with his aging mother. The tours, the record deal and the accolades are just an added bonus to an already blessed life.
As our interview drew to a close, he admitted that after everything is said and done, the biggest highlight of his life is, “I still see my Mama.”
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WORDS GLEN LEAVITT LAYOUT KANE TCHIR
roy Coulterman’s sculptures begin life as sketches. “I am constantly drawing ideas down in a sketchbook and all my sculptures start with several sketches. I always keep the original concept sketch next to my desk. This is so I can keep the quality of my sketch in a sculpture.” It’s an appropriate starting point for a sculptor whose work evokes in three dimensions images we often associate with cartoons, comics and graphic novels. Coulterman, currently based in Regina, sculpts vividly coloured figures in distressed and surreal states that take their cue from the emotional high drama and visual directness of comic book panels. The physical features of Coulterman’s subjects are
realistic, but nothing is ever real. Blobs of unidentified goo are constantly threatening to rain down upon and absorb Coulterman’s subjects, who can only stand around looking helpless. It’s a funny thing. Despite the strangeness of his work, Coulterman is inspired by the world around him. “There is an absurdity to everyday life. Swearing at a red light or kicking a chair in anger. I find humour in moments like these and I always set out to find ways to portray this balance in my work.” Much of the pathos in Coulterman’s work arises from the fact that while the punishments his subjects endure are bizarre, their responses are recognizably human.
THE ARTIST’S S T U D I O WA S T H I S MYSTERIOUS P L AC E T O M E T H AT H E L D TRADE SECRETS AND WHERE ALL THE MAGIC H A P P E N E D.
V E R Y R A R E LY DOES MY WO R K T U R N O U T E X AC T LY A S I P L A N. Coulterman works primarily in resin, which gives his sculptures a gleaming, mass-market manufactured quality. “I like using resins and plastics because of their immediacy and durability. After sculpting in clay and moulding the sculptures it is nice to just pour in a liquid and pull out a hard copy ready to finish. I have experimented with casting paper and other materials, but I think resins and plastics are the way to go.” Coulterman’s sculptures balance the coldness of their materials with the humanity of their subject matter in a way which is again reminiscent of graphic illustration. It is as though a cleanly drafted and colour-blocked cartoon has stepped off the page into three-dimensional space. Although material and subject matter merge neatly in his work, Coulterman suggests financial limitations play a role in his choice of medium. “During university I spent my summers as an apprentice creating bronze sculptures in an art casting foundry and later worked in other foundries in Ontario and Scotland. I really enjoy working in metal and it would be great to make some bronze sculptures. But, that is costly to produce and would not be financially feasible right now. Perhaps in the future if the opportunity arises.” Coulterman is never certain how his work will turn out. He begins with his sketches and his choice of material, but the finished product hides from view. “Very rarely does my work turn out exactly as I plan. I find that through the process of creating a sculpture I get the most inspiration. This is when things start to change and when I start to gain a better understanding of what is happening in the work. No matter how hard I try, things constantly change and it is not
till I put paint on the surface of the sculpture when I know exactly how things are going to really look, and I am always surprised by the outcome.” Coulterman relishes uncertainty, both at the level of the finished product, and in the process of creation. Although his work is clearly realized, he prefers that its meaning is more ambiguous. “When there is an ambiguity and an absurdity to what I am creating I feel like I am on the right track. If I can see other interpretations of what is happening in a work beyond my own that is a good indicator that I am doing something right.” Some artists might fear being misinterpreted, but Coulterman loves the unexpected ways in which his art is received by audiences. It’s one of the rewards of creation, and an opportunity for him to reacquaint himself with work he thought he knew inside out. “I am always surprised to hear other people’s interpretations as to what is happening in my work. It is one of the most exciting parts after a work is finished. There is a sense of control I have creating the work, but when I send it out of the studio it takes on a life of its own. I start a work with my own interpretations, my own narratives that the sculpture inhabits. Seeing what aspects of the work resonate with others makes the sculpture fresh to me.” In general, Coulterman has an unusually healthy relationship with his audience. While some artists guard their methods jealously, Coulterman is generous with his creative processes. He keeps a blog documenting with photos and text his activities in the studio, and he is active on social media. This is less about self-promotion and more about pulling the curtain back on the magic show for the benefit of the audience. “When I was younger and started to become interested in sculpture, I searched out any documentation I could find of the artist working in the studio. I would try and find out what materials they used, their tools, how they set up their work space or even how they made moulds. The artist’s studio was this mysterious place to me that held trade secrets and where all the magic happened. When I finally had my own space I felt the need to share what I was doing in the studio. It comes out of my own obsession for being a voyeur into another’s creative space and it is an attempt to pique the interest or inspire others.”
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music
een Daze is the moniker of Jamison, a Vancouver native whose ambient sounds
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recognition both online and on tour. Jamison utilizes the electronic indie genre to paint soundscapes projecting the objects of his inspiration. Moving through utopian dreams and idyllic retreats, the latest EP by Teen Daze, Glacier, paints a complete audio illustration of a nature scene, as he draws inspiration from his surrounding environment and attempts to physically engage a new Enoesque ambient presence. Like his predecessors, Jamison illustrates his music with ideas, accompanying his online releases with detailed literary descriptions as to the intent behind the music. In doing so, it is clear that Teen Daze stands as a “thinking man’s” electronic. In early October of this year, Jamison released Glacier under Lefse Records. Unlike his previous releases, Glacier has more of a traditionally ambient sound, perhaps owing to its inspiration: autumn in BC. Jamison recently returned to Vancouver to cap off his most recent tour with a few local performances. In a Q&A for Georgie, Teen Daze offers a glimpse into his current and past influences, and discusses his humble low-tech beginnings. Through this short glimpse into his process, Jamison touches on the thoughts behind his various works, what it’s like to perform for the new electronic audience and what it takes to keep an artist grounded while immersing themselves in their inspiration.
WO R D S E L L A W E AT H E R I L T PHOTO MATHEW SMITH L A YO U T N A T H A N M A R S H A L L
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Where are you now as we kick off this interview? I’m currently in a hotel room that we spent too much money on. Last night was our last night “on the road” (we still have two more shows, but they’re in the Vancouver area, so we’ll be sleeping in our own beds). I figured we could spring for a nice hotel for the last night of the tour, but it’s a little underwhelming. It seems just as nice as the Super 8 we stayed in the night before.
When and how did you start creating music? I started producing electronic music on some very archaic software called “MTV Music Generator”, a relic of the early 2000s. It was totally loop based, and had like no functionality. But I remember making an album out of the loops, and then never showing it to anyone. Electronic music wasn’t very cool in small-town-Canada in 2001. From there I started learning guitar, writing emo and folk songs (again, early 2000s). In 2005, a friend introduced me to Reason, a piece of software I still use today, and I began trying to emulate some of my favourite electronic artists of the time: Aphex Twin, Squarepusher, the Album Leaf, Sigur Ros. I always wanted to bridge the gap between complex drum programming and ambient soundscapes.
What are some of the different styles of electronic music people can find in Teen Daze’s sound? Well, throughout my discography I feel like I’ve touched on a few different sounds: the first few EPs were much more downtempo, taking influence from producers like Washed Out and Toro Y Moi. Now, my sound has much more of an ambient/post-rock feel, which comes from my fascination with artists like Brian Eno, Sigur Ros and most recently, Nils Frahm.
Do you make music for yourself or is there a particular audience in mind when writing? It’s hard to not let outside influences/pressures affect my creative output, but at the end of the day, I’m really trying to make something that I enjoy. It wouldn’t be an honest exercise if I created something for an audience, and I didn’t like it myself, and the whole point of creating it to do something honest.
You have been touring a lot this summer, what little things do you do to keep from burning out? Skyping with my wife is always a great way to stay connected to the real world. I tend to read more news articles/keep up on Reddit when I can. It’s good to try to remember that the world keeps moving when you’re on tour. It can be a pretty selfish endeavour, and it’s good to be reminded that you’re not the center of the world.
When you are on stage do you feel like you take on another persona? Quite the opposite actually, I find that I go further into myself when I’m on stage. I tend to forget there’s even an audience there that I’m performing for.
What are your plans post tour? Sleep, cook with my wife, get caught up on New Girl, make preparations to hibernate/start work on LP4.
It’s getting close to the end of 2013, and everyone will be starting their best of lists.What are 3 songs you put on your list? BRAIDS, “In Kind” Boards Of Canada, “Jacquard Causeway” Nils Frahm, “Says”
When doing a DJ set is there anything that you play that would surprise a Teen Daze fan or are the sets pretty true to the influences found in the Teen Daze sound? I do REALLY love DJ’ing French House music. It’s not too far outside of the realm of my influence, but it sure doesn’t sound anything like the stuff I’ve been making as of late.
If you weren’t doing music what would be your creative outlet? I like shooting film, which I don’t do enough of. It would be nice to take a break from music and see what my other creative options are.
FOREVER YOUNG P H O T O G R A P H Y Z a c h e r y Ay o t t e ART DIRECTION Michael Meneghetti STYLING Sam Moukhaiber M O D E L S N i c N e i m a n , K j e l l P e t t e r s e n , H a y l e y To m i c h & Kearan Meagher (Mode Models) HAIR Amy Laing(P + H) ELSA
MAKEUP Stephanie Strazza
DRESS BCBG MAX NECKLACE M AAzria K E| U P A S (Natalia S I S TBrilli) I NGravity G MPope a i s| yRING MStylist’s c C l Own ure
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KJELL Duffle Coat | Junya Watanabe (Simons)
HAYLEY Top | Dries Van Noten (Simons) Skirt | Ivan Grundahl (Gravity Pope)
KEARAN Cardigan | Isabel Benanto (Gravity Pope) Cardigan | Creatures of Comfort (Gravity Pope) Dress | Malorie Urbanovitch
KEARAN Dress + Jacket | G.V.G.V., Smythe (Coup Garment Boutique)
NIC Dress | Veronique Branquinho (Gravity Pope) Plaid | Angelique Chmielewski (Coup)
KEARAN Sweater + Skirt | Isabel Benanto, Stephan Schneider (Gravity Pope)
KJELL Coat + Shirt | Marc Jacobs, Versace (Simons)
HAYLEY Coat | Dries Van Noten (Simons) Jeans | Model’s Own
KJELL Sweater | Paul Smith (Simons) Jacket | AMI Alexandre Mattiussi (The Helm)
NIC Sweater | Dries Van Noten (Simons) Dress | Malorie Urbanovitch KJELL Sweater | Dries Van Noten (Simons)
HAYLEY Sweater Dress | Veronique Branquinho (Gravity Pope)
NIC Dress + Top | Heirloom Vintage, Suka (Bamboo Ballroom) pants | Dries Van Noten (Simons)
Cardigan + Shoes| Creatures of Comfort, Alexander Wang (Gravity Pope)
ACROSS THE TRACKS PHOTO PEDERSEN ART DIRECTION MICHAEL MENEGHETTI MODELS LAUREN KOEHN & SARAH DHALIWAL (MODE MODELS) MAKEUP KATIE MATSON HAIR LAUREN HUGHES (MOUSY BROWNS) STYLING CASSY MEIER
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Jewelry | Saraswati Vest + Bra | White Crow, Premonition (Bamboo Ballroom)
Jewelry | Kiko Dress | Premonition (Simons)
Jewelry | Bang Bang Bijoux Bra | Dim (Simons)
Jewelry | Karma Victoria Top | Ya (Bamboo Ballroom)
Jewelry | Cloud & Lolly Bra + Top | Champion, Camilla & Marc (Simons)
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citivists. Criminals. Political radicals. Feminists. Over the last two years the Russian punk band Pussy Riot has been called all of the above. First drawing the attention of international headlines in 2012 through their 30-second protest performance, entitled “A Punk Prayer – Mother of God, Chase Putin Away!”, the band has once again resurfaced in international headlines. On March 3, 2012, a week and a half after their performance of “A Punk Prayer”, two of the band’s members, Nadezhda Tolokonnikova and Maria Alyokhina, were arrested and charged with “hooliganism motivated by religious hatred”. A third member, Yekaterina Samutsevich, was arrested nearly two weeks later and charged with the same offence. The latter part of their crime, presumably, was in reference to their choice of venue – the Cathedral of Christ the Saviour in Moscow. Through the course of their trial it became evident that these three women were to be made an example of. This fact was supported by the ambiguity of the charges and the severity of the sentence that ensued. On August 17, 2012, after five months in custody, the three women were convicted and sentenced to two years imprisonment. Samutsevich was subsequently released on probation on October 10th, 2012, while the other two band members were sent to remote prison camps to serve the remainder of their sentences. After a year, Pussy Riot has once again piqued the interest of international media through an open letter published by Tolokonnikova, explaining and preempting her hunger strike. The letter contains details of the conditions of Mordovia’s Penal Colony 14, where Tolokonnikova currently resides. The words “slave labour” dominate the letter, as she details the harsh conditions under which she and her fellow inmates are overworked, underfed, and continuously humiliated at the hands of prison officials. Tolokonnikova often cites the labour code against the various infractions of the colony. These include an array of “unofficial punishments”: prisoners are denied food and the use of hygiene facilities, and are forced to spend long periods standing in the open air – regardless of the season. A strong support network has formed around the women of Pussy Riot in response to the incarceration of two of the band’s members. Among their international supporters is The Voice Project, a New York based nonprofit organization that, as described on their website, attempts to “utilize the power of music to affect positive
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social change, alleviate suffering, and promote human rights around the globe.” In regards to their work with Pussy Riot, the organization has created a support fund to provide assistance with legal fees, as well as to support Tolokonnikova, Alyokhina and their children. Hunter Heaney, Executive Director of The Voice Project, was kind enough to offer some insight into Tolokonnikova’s recent hunger strike. “What we’ve seen with this case is a large group of very dedicated supporters from around the world who simply refuse to let the issue go. I think it’s something very personal… people really want to stand by these incredibly inspirational women to the end.” On September 23, 2013, Tolokonnikova’s nine day hunger strike was suspended. She was moved to the prison’s hospital four days prior and her husband, Pyptr Verzilov, confirmed that the strike had been discontinued due to medical reasons. Tolokonnikova, however, made clear that she would resume her strike if the conditions for reform outlined in her letter were not met. These conditions included a full-scale investigation of Penal Colony 14, which was recently completed by the Russian Presidential Human Rights Council. The investigation confirmed many of Tolokonnikova’s claims. Although the investigation prompted by Tolokonnikova’s letter encourages some optimism, the information blockade set up since her hospitalization is causing significant worry among her supporters. When asked if the organization had received an update on her physical condition, Heaney responded: “We don’t and that’s the scariest thing. She has been hospitalized and family, lawyers, the whole team have been cut off from access to her for [more than] a week now on the disgustingly disingenuous grounds that she’s too weak to see anybody or take calls.” Heaney then went on to confirm the first fear that comes to mind: “Everyone is very worried about reprisals for her exposing the abuses at the camp and let’s face it, people, especially dissidents, often die in these camps under mysterious circumstances.” It is unclear as to whether or not the public focus on Penal Colony 14 will be enough to protect Tolokonnikova. In the meantime, Heaney had these suggestions as to how best to show support for Tolokonnikova and Alyokhina: “Make noise and donate. Demonstrations, tweets, using your own newsfeed to shine a spotlight … keeping the eyes of the world on these women is a tactic to try and help keep them safe.” Donations can be made on The Voice Project’s website at http:// voiceproject.org/pussyriot/. It remains to be seen, however, whether social media will be enough to protect Tolokonnikova from Penal Colony 14.
PUSSY RIOT
WO R D S E L L A W E AT H E R I L T