21
" The first thing the President had done when he came to power in 2000 was to seize control of television. It was television through which the Kremlin decided which politicians it would ‘allow’ as its puppet opposition, what the country’s history and fears and consciousness should be. And the new Kremlin won’t make the same mistake the old Soviet Union did: it will never let TV become dull. The task is to synthesise Soviet control with Western entertainment. Twenty-first-century Ostankino mixes show business and propaganda, ratings with authoritarianism. And at the centre of the great show is the President himself, created from a no one, a grey fuzz via the power of television, so that he morphs as rapidly as a performance artist among his roles of soldier, lover, bare-chested hunter, businessman, spy, tsar, superman. ‘The news is the incense by which we bless Putin’s actions, make him the President,’ TV producers and political technologists liked to "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
24
" At 5 a.m. the clubs get going properly; the Forbeses stumble down from their loggias, grinning and swaying tipsily. They are all dressed the same, in expensive striped silk shirts tucked into designer jeans, all tanned and plump and glistening with money and self-satisfaction. They join the cattle on the dance floor. Everyone is wrecked by now and bounces around sweating, so fast it’s almost in slow motion. They exchange these sweet, simple glances of mutual recognition, as if the masks have come off and they’re all in on one big joke. And then you realise how equal the Forbeses and the girls really are. They all clambered out of one Soviet world. The oil geyser has shot them to different financial universes, but they still understand each other perfectly. And their sweet, simple glances seem to say how amusing this whole masquerade is, that yesterday we were all living in communal flats and singing Soviet anthems and thinking Levis and powdered milk were the height of luxury, and now we’re surrounded by luxury cars and jets and sticky Prosecco. And though many Westerners tell me they think Russians are obsessed with money, I think they’re wrong: the cash has come so fast, like glitter shaken in a snow globe, that it feels totally unreal, not something to hoard and save but to twirl and dance in like feathers in a pillow fight and cut like papier mâché into different, quickly changing masks. At 5 a.m. the music goes faster and faster, and in the throbbing, snowing night the cattle become Forbeses and the Forbeses cattle, moving so fast now they can see the traces of themselves caught in the strobe across the dance floor. The guys and girls look at themselves and think: ‘Did that really happen to me? Is that me there? With all the Maybachs and rapes and gangsters and mass graves and penthouses and sparkly dresses?’ A Hero for Our Times I am in a meeting at TNT when my phone goes off. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
26
" This is a new type of Kremlin propaganda, less about arguing against the West with a counter-model as in the Cold War, more about slipping inside its language to play and taunt it from inside. In the ad for Larry King’s show, keywords associated with the journalist flash up on screen: ‘reputation’, ‘intelligence’, ‘respect’, more and more of them until they merge into a fuzz, finishing with the jokey ‘suspenders’ (i.e. braces). Then King, sitting in a studio, turns to the camera and says: ‘I would rather ask questions to people in positions of power instead of speaking on their behalf. That’s why you can find my new show, Larry King Now, right here on RT. Question more. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
28
" How do you build a history based on ceaseless self-slaughter and betrayal? Do you deny it? Forget it? But then you are left orphaned. So history is rewritten to suit the present. As the President looks for a way to validate his own authoritarianism, Stalin is praised as a great leader who won the Soviet Union the war. On TV the first attempts to explore the past, the well-made dramas about Stalin’s Terror of the 1930s, are taken off screen and replaced with celebrations of World War II. (But while Stalin’s victory is celebrated publicly and loudly, invoking him also silently resurrects old fears: Stalin is back! Be very afraid!) The architecture reflects these agonies. The city writhes as twentyfirst-century Russia searches, runs away, returns, denies, and reinvents itself. “Moscow is the only city where old buildings are knocked down,” says Mozhayev, “and then rebuilt again as replicas of themselves with straight lines, Perspex, double glazing.” The Moskva Hotel opposite the Kremlin, a grim Stalin gravestone of a building, is first deconstructed, then after much debate about what should replace it, is eventually rebuilt as a slightly brighter-colored version of itself. And this will be the fate of Gnezdnikovsky, demolished and then rebuilt to house restaurants in the faux tsarist style, where waiters speak pre-revolutionary Russian, the menu features pelmeni with brains, and tourists are delighted at encountering the “real Russia.” And "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
31
" At 5:00 a.m. the clubs get going properly; the Forbes stumble down from their loggias, grinning and swaying tipsily. They are all dressed the same, in expensive striped silk shirts tucked into designer jeans, all tanned and plump and glistening with money and self-satisfaction. They join the cattle on the dance floor. Everyone is wrecked by now and bounces around sweating, so fast it’s almost in slow motion. They exchange these sweet, simple glances of mutual recognition, as if the masks have come off and they’re all in on one big joke. And then you realize how equal the Forbes and the girls really are. They all clambered out of one Soviet world. The oil geyser has shot them to different financial universes, but they still understand each other perfectly. And their sweet, simple glances seem to say how amusing this whole masquerade is, that yesterday we were all living in communal flats and singing Soviet anthems and thinking Levis and powdered milk were the height of luxury, and now we’re surrounded by luxury cars and jets and sticky Prosecco. And though many westerners tell me they think Russians are obsessed with money, I think they’re wrong: the cash has come so fast, like glitter shaken in a snow globe, that it feels totally unreal, not something to hoard and save but to twirl and dance in like feathers in a pillow fight and cut like papier-mâché into different, quickly changing masks. At 5:00 a.m. the music goes faster and faster, and in the throbbing, snowing night the cattle become Forbeses and the Forbeses cattle, moving so fast now they can see the traces of themselves caught in the strobe across the dance floor. The guys and girls look at themselves and think: “Did that really happen to me? Is that me there? With all the Maybachs and rapes and gangsters and mass graves and penthouses and sparkly dresses? "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
32
" With the meal there was karaoke. As the Chinese waiters brought the food, everyone at the restaurant sang “shanson,” the gravelly, syrupy gangster ballads that have become some of Russia’s favorite pop music. Shanson reflect the gangsters’ journeys to the center of Russian culture. These used to be underground, prison songs, full of gangster slang, tales of Siberian labor camps and missing your mother. Now every taxi driver and grocery plays them. “Vladimirsky Tsentral” is a wedding classic. Tipsy brides across the country in cream-puff wedding dresses and high, thin heels slow-dance with their drunker grooms: “The thaw is thinning underneath the bars of my cell / but the Spring of my life has passed so fast.” At the Chinese restaurant Miami Stas sang along too, but he seemed too meek, too obliging to be a gangster. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
33
" Whenever I ask my Russian bosses, the older TV producers and media types who run the system, what it was like growing up in the late Soviet Union, whether they believed in the communist ideology that surrounded them, they always laugh at me. ‘Don’t be silly,’ most answer. ‘But you sang the songs? Were good members of the Komsomol?’ ‘Of course we did, and we felt good when we sang them. And then straight after we would listen to Deep Purple and the BBC.’ ‘So you were dissidents? You believed in finishing the USSR?’ ‘No. It’s not like that. You just speak several languages at the same time, all the time. There’s like several “you”s.’ Seen from this perspective, the great drama of Russia is not the ‘transition’ between communism and capitalism, between one fervently held set of beliefs and another, but that during the final decades of the USSR no one believed in communism and yet carried on living as if they did, and now they can only create a society of simulations. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
36
" As former deputy head of the presidential administration, later deputy prime minister and then assistant to the President on foreign affairs, Surkov has directed Russian society like one great reality show. He claps once and a new political party appears. He claps again and creates Nashi, the Russian equivalent of the Hitler Youth, who are trained for street battles with potential prodemocracy supporters and burn books by unpatriotic writers on Red Square. As deputy head of the administration he would meet once a week with the heads of the television channels in his Kremlin office, instructing them on whom to attack and whom to defend, who is allowed on TV and who is banned, how the President is to be presented, and the very language and categories the country thinks and feels in. The Ostankino TV presenters, instructed by Surkov, pluck a theme (oligarchs, America, the Middle East) and speak for twenty minutes, hinting, nudging, winking, insinuating though rarely ever saying anything directly, repeating words like “them” and “the enemy” endlessly until they are imprinted on the mind. They repeat the great mantras of the era: the President is the President of “stability,” the antithesis to the era of “confusion and twilight” in the 1990s. “Stability”—the word is repeated again and again in a myriad seemingly irrelevant contexts until it echoes and tolls like a great bell and seems to mean everything good; anyone who opposes the President is an enemy of the great God of “stability.” “Effective manager,” a term quarried from Western corporate speak, is transmuted into a term to venerate the President as the most “effective manager” of all. “Effective” becomes the raison d’être for everything: Stalin was an “effective manager” who had to make sacrifices for the sake of being “effective.” The words trickle into the streets: “Our relationship is not effective” lovers tell each other when they break up. “Effective,” “stability”: no one can quite define what they actually mean, and as the city transforms and surges, everyone senses things are the very opposite of stable, and certainly nothing is “effective,” but the way Surkov and his puppets use them the words have taken on a life of their own and act like falling axes over anyone who is in any way disloyal. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
37
" This is the genius of the system: even if you manage to avoid the draft, you, your mother, and your family become part of the network of bribes and fears and simulations; you learn to become an actor playing out his different roles in his relationship with the state, knowing already that the state is the great colonizer you fear and want to avoid or cheat or buy off. Already you are semilegal, a transgressor. And that’s fine for the system: as long as you’re a simulator you will never do anything real, you will always look for your compromise with the state, which in turn makes you feel just the right amount of discomfort. Whichever way, you’re hooked. Indeed, it could be said that if a year in the army is the overt process that molds young Russians, a far more powerful bond with the system is created by the rituals of avoiding military service. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
38
" There are no Western-style property rights in this system, only gradations of proximity to the Kremlin, rituals of bribes and toadying, casual violence. And as the trial wears on, as court assistants wheel in six-foot-high stacks of binders with testimony and witness statements until they fill up all the aisles between the desks, as historians are called by both sides to explain the meanings of “krysha” (“protection”) and “kydalo” (a “backstabber in business”), it becomes apparent just how unsuited the language and rational categories of English law are to evaluate the liquid mass of networks, corruption, and evasion—elusive yet instantly recognizable to members—that orders Russia. And as I observe the trial from my cramped corner among the public seats, it takes on a dimly epic feel: not just a squabble between two men, but a judgment on the era. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
39
" Past the bouncers outside and the girls smoking long, skinny cigarettes, past the tinted glass doors and the jade stone Novikov has put in near the entrance for good luck. Inside, Novikov opens up so anyone can see everyone in almost every corner at any moment, the same theatrical seating as in his Moscow places. But the London Novikov is so much bigger. There are three floors. One floor is “Asian,” all black walls and plates. Another floor is “Italian,” with off-white tiled floors and trees and classic paintings. Downstairs is the bar-cum-club, in the style of a library in an English country house, with wooden bookshelves and rows of hardcover books. It’s a Moscow Novikov restaurant cubed: a series of quotes, of references wrapped in a tinted window void, shorn of their original memories and meanings (but so much colder and more distant than the accessible, colorful pastiche of somewhere like Las Vegas). This had always been the style and mood in the “elite,” “VIP” places in Moscow, all along the Rublevka and in the Garden Ring, where the just-made rich exist in a great void where they can buy anything, but nothing means anything because all the old orders of meaning are gone. Here objects become unconnected to any binding force. Old Masters and English boarding schools and Fabergé eggs all floating, suspended in a culture of zero gravity. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
40
" Browder told a Russian lawyer, Sergey Magnitsky, who worked for a Moscow-based law firm called Firestone and Duncan, to follow the trail. It turned out the investment companies were being illegally signed over by the cops to petty criminals, who would then ask for tax rebates on the companies worth hundreds of millions of dollars, which were then granted by corrupt tax officials, signed off on by the same cops who had taken the documents in the first place, and wired to two banks owned by a convicted fraudster, an old friend of the aforementioned cops and tax officials. Officially the tax officials and cops only earned a few thousand a year, but they had property worth hundreds of thousands, drove Porsches, and went on shopping trips to Harrods in London. And this was happening year after year. The biggest tax fraud scheme in history. Magnitsky thought he had caught a few bad apples. "
― Peter Pomerantsev , Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia
