Template:Appendix 5

Introduction

Nothing Is True and Everything Is Possible: The Surreal Heart of the New Russia is a 2014 book by Peter Pomerantsev about the 2000's in Russia.

The author discusses prostitution. Read the book very carefully - Peter Pomerantsev is talking to prostitutes, as he is getting dressed.

• The author recounts his experiences in Russia when he worked there in the reality television field in the 2000s. Elder describes the work as "Part reportage and part memoir". The author also includes stories of various figures who succeeded or faced hardships in that time period.

• Pomerantsev only occasionally explicitly mentions the name of Vladimir Putin. Elder argued that this strategy "can be taken as a suggestion that we focus too much on him, that he’s so big he no longer requires discussion — or that we do not and cannot ever know who he truly is, so why even bother?"

• Tony Wood of The Guardian wrote that the book shows that the "roots" of the psychological order was "the tumult and delirium of the country’s post-Soviet transformations".

Peter Pomerantsev is an award-winning contributor to the London Review of Books. His writing has been published in the Financial Times, NewYorker.com, Wall Street Journal, Foreign Policy, Daily Beast, Newsweek, and Atlantic Monthly. He has also worked as a consultant for the EU and for think tanks on projects covering the former Soviet Union. He lives in London.

ISBN 978-1-61039-455-0 (hardcover) — ISBN 978-1-61039-456-7 (electronic)

ACT I Reality Show Russia

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Flying in at night over Moscow you can see how the shape of the city is a series of concentric ring roads with the small ring of the Kremlin at the center. At the end of the twentieth century the light from the rings glowed a dim, dirty yellow. Moscow was a sad satellite at the edge of Europe, emitting the dying embers of the Soviet Empire.

Then, in the twenty-first century, something happened: money.

Never had so much money flowed into so small a place in so short a time. The orbital system shifted. Up above the city the concentric rings began to shine with the lights of new skyscrapers, neon, and speeding Maybachs on the roads, swirling faster and faster in high-pitched, hypnotic fairground brilliance.

The Russians were the new jet set: the richest, the most energetic, the most dangerous. They had the most oil, the most beautiful women, the best parties. From being ready to sell anything, they became ready to buy anything: football clubs in London and basketball clubs in New York; art collections, English newspapers, and European energy companies. No one could understand them. They were both lewd and refined, cunning and naive. Only in Moscow did they make sense, a city living in fast-forward, changing so fast it breaks all sense of reality, where boys become billionaires in the blink of an eye.

“Performance” was the city’s buzzword, a world where gangsters become artists, gold diggers quote Pushkin, Hells Angels hallucinate themselves as saints. Russia had seen so many worlds flick through in such blistering progression—from communism to perestroika to shock therapy to penury to oligarchy to mafia state to mega-rich—that its new heroes were left with the sense that life is just one glittering masquerade, where every role and any position or belief is mutable. “I want to try on every persona the world has ever known,” Vladik Mamyshev-Monroe would tell me. He was a performance artist and the city’s mascot, the inevitable guest at parties attended by the inevitable tycoons and supermodels, arriving dressed as Gorbachev, a fakir, Tutankhamen, the Russian President. When I first landed in Moscow I thought these infinite transformations the expression of a country liberated, pulling on different costumes in a frenzy of freedom, pushing the limits of personality as far as it could possibly go to what the President’s vizier would call “the heights of creation.” It was only years later that I came to see these endless mutations not as freedom but as forms of delirium, in which scare-puppets and nightmare mystics become convinced they’re almost real and march toward what the President’s vizier would go on to call the “the fifth world war, the first non-linear war of all against all.” But I am getting ahead of myself.

I work in television. Factual television. Factual entertainment, to be exact. I was flying into Moscow in 2006 because the television industry, like everything else, was booming. I knew the country already: since 2001, the year after I graduated from university, I had been living there most of my time, jumping jobs between think tanks and as a very minor consultant on European Union projects meant to be aiding Russian “development,” then at film school, and lately as an assistant on documentaries for Western networks. My parents had emigrated from the Soviet Union to England in the 1970s as political exiles, and I grew up speaking some sort of demotic émigré Russian. But I had always been an observer looking in at Russia. I wanted to get closer: London seemed so measured, so predictable; the America the rest of my émigré family lived in seemed so content; while the real Russians seemed truly alive, had the sense that anything was possible. What I really wanted to do was film. To press “record” and just point and shoot. I took my camera, the battered metal Sony Z1 small enough to always drop in my bag, everywhere. A lot of the time I just filmed so as not to let this world escape; I shot blindly, knowing I would never have a cast like this again. And I was in demand in the new Moscow for the simple reason that I could say the magic words “I am from London.” They worked like “open sesame.” Russians are convinced Londoners know the alchemical secret of successful television, can distill the next hit reality or talent show. No matter that I had never been more than a third-rate assistant on other people’s projects; just by whispering “I come from London” could get me any meeting I wanted. I was a stowaway on the great armada of Western civilization, the bankers, lawyers, international development consultants, accountants, and architects who have sailed out to seek their fortune in the adventures of globalization.

But in Russia, working in television is about more than being a camera, an observer. In a country covering nine time zones, one-ninth of the world’s land mass, stretching from the Pacific to the Baltic, from the Arctic to the Central Asian deserts, from near-medieval villages where people still draw water from wooden wells by hand, through single-factory towns and back to the blue glass and steel skyscrapers of the new Moscow—TV is the only force that can unify and rule and bind this country. It’s the central mechanism of a new type of authoritarianism, one far subtler than twentieth-century strains. And as a TV producer I would be directed right into the center of its workings.

My first meeting took me to the top floor of Ostankino, the television center the size of five football fields... On the top floor, down a series of matt-black corridors, is a long conference room. Here Moscow’s flashiest minds met for the weekly brainstorming session to decide what Ostankino would broadcast. I was taken along by a friendly Russian publisher.

Due to my Russian surname no one had yet noticed I was British; I kept my mouth shut. There were more than twenty of us in the room: tanned broadcasters in white silk shirts and politics professors with sweaty beards and heavy breath and ad execs in trainers. There were no women. Everyone was smoking. There was so much smoke it made my skin itch.

At the end of the table sat one of the country’s most famous political TV presenters. He is small and speaks fast, with a smoky voice: We all know there will be no real politics. But we still have to give our viewers the sense something is happening. They need to be kept entertained. So what should we play with? Shall we attack oligarchs? [He continued,] Who’s the enemy this week? Politics has got to feel like . . . like a movie!

...Sitting in that smoky room, I had the sense that reality was somehow malleable, that I was with Prosperos who could project any existence they wanted onto post-Soviet Russia...Ostankino’s strategies became ever more twisted, the need to incite panic and fear ever more urgent; rationality was tuned out, and ...cults and hate-mongers were put on prime time to keep the nation entranced, distracted, as ever more foreign hirelings would arrive to help ...spread its vision to the world.

But though my road would eventually lead back to Ostankino, my initial role in the vast scripted reality show of the new Russia was to help make it look and sound and feel Western. The network I initially worked with was TNT, which is housed in a new office center called Byzantium. On the ground floor is a spa done up in faux Roman style with Doric plaster columns and ruins, frequented by languid, leggy girls here to deepen already deep tans and have endless manicures and pedicures. The manicures are elaborate: rainbow-colored, multilayered, glitter-dusted designs of little hearts and flowers, so much brighter than the girls’ bored eyes, as if they pour all their utopias into the tiny spaces of their nails.

The network occupies several floors higher up in the building. When the elevator door opens you’re greeted by TNT’s logo, designed in blindingly bright, squealingly happy pinks, bright blues, and gold. Over the logo is written the network’s catchphrase, “Feel our Love!” This is the new, desperately happy Russia, and this is the image of Russia TNT projects: a youthful, bouncy, glossy country. The network sends a beam of hyperactive yellows and pinks into people’s darkling apartments. The offices are open plan, full of shiny, happy young things hurrying about, sprinkling their Russian with Anglicisms, whistling the tunes of Brit-pop hits. TNT makes hooligan television, and the young staff buzz with the excitement of cultural revolution. For them TNT is a piece of subversive pop art, a way to climb into the nation’s psyche and rewire it from inside. The network introduced the reality show to Russia: one raunchy show is—joy of TV producer joys—censured as immoral by aging Communists. TNT pioneered the Russian sitcom and the Russian trashy talk show à la Jerry Springer. The network gobbles up Western concepts one after the other, going through more formats in a year than the West can come up with in a decade. Many of the city’s brightest are defecting to entertainment channels and glossy magazines; here they won’t be forced to make propaganda, are encouraged to be rebellious. They just can’t do real politics here; it’s a news-free zone. Most are happy with the trade-off: complete freedom forcomplete silence.

“We want to find out what the new generation are really thinking. Piiitrrr.”

“What excites them, Piiitrrr.”

“We want to see real people on screen. The real heroes, Piiitrrr.”

“Piiitrrr.” That’s what the producers at TNT call me. Three women, all in their twenties. One raven haired, one curly haired, and one straight-haired, each picking up the ends of the other’s sentences.

They could call me by the Russian version of my name, “Piotr.” But they prefer Piiitrrr, which makes me sound more English. I am their window-dressing westerner, helping them create a pretend Western society. And I, in turn, pretend to be a much greater producer than I am. We start by launching TNT’s first documentary strand. It takes me just thirty minutes to get my first commission: How to Marry a Millionaire (A Gold Digger’s Guide). I reckon I could have got three films if I had made the effort. In London or New York you would spend months trying to get a project off the ground. But TNT is sponsored by the world’s largest gas company. Actually, scratch that; it’s the world’s largest company, full stop.

NO COMPLEXES

“Business theory teaches us one important lesson,” says the female instructor. “Always thoroughly research the desires of the consumer. Apply this principle when you search for a rich man. On a first date there’s one key rule: never talk about yourself. Listen to him. Find him fascinating. Find out his desires. Study his hobbies; then change yourself accordingly.”

Gold Digger Academy. A pool of serious blonde girls taking careful notes. Finding a sugar daddy is a craft, a profession. The academy has faux-marble halls, long mirrors, and gold-color-painted details. Next door is a spa and beauty salon. You go for your gold-digger lessons, then you go get waxed and tanned. The teacher is a forty-something redhead with a psychology degree, an MBA, and a shrill smile, her voice high and prim, a Miss Jean Brodie in short skirts: “Never wear jewelry on a first date, the man should think you’re poor. Make him want to buy you jewelry. Arrive in a broken-down car: make him want to buy you a smarter one.”

The students take notes in neat writing. They have paid a thousand dollars for each week of the course. There are dozens of such “academies” in Moscow and St. Petersburg, with names such as “Geisha School” or “How to Be a Real Woman.”

“Go to an expensive area of town,” continues the instructress. “Stand with a map and pretend you are lost. A wealthy man might approach to help.”

“I want a man who can stand strong on [his] own two feet. Who will make me feel as safe as behind a wall of stone,” says Oliona, a recent graduate, employing the parallel language of the gold digger (what she means is she wants a man with money). Usually Oliona wouldn’t even think of talking to me, one of those impossible-to-access girls who would bat me away with a flick of her eyelashes. But I’m going to put her on television, and that changes everything. The show is going to be called How to Marry a Millionaire. I had thought it would be tough to get Oliona to talk, that she would be shy about her life.

Quite the opposite: she can’t wait to tell the world; the way of the gold digger has become one of the country’s favorite myths. Bookstores are stocked with self-help books telling girls how to bag a millionaire. A roly-poly pimp, Peter Listerman, is a TV celebrity. He doesn’t call himself a pimp (that would be illegal), but a “matchmaker.” Girls pay him to introduce them to rich men. Rich men pay him to introduce them to girls. His agents, gay teenage boys, search at the train stations, looking for longlegged, lithe young things who have come to Moscow for some sort of life. Listerman calls the girls his “chickens”; he poses for photos with kebab sticks of grilled poussins: “Come to me if you’re after chicken,” his advertisements say. Oliona lives in a small, sparkly new apartment with her nervous little dog. The apartment is on one of the main roads that leads to billionaire’s row, Rublevka. Rich men put their mistresses there so they can nip in and visit them on the way home. She firstcame to Moscow from Donbas, a Ukrainian mining region taken over by mafia bosses in the 1990s. Her mother was a hairdresser. Oliona studied the same profession, but her mother’s little boutique went bust. Oliona came to Moscow with next to nothing when she was twenty and started as a stripper at one of the casinos, Golden Girls. She danced well, which is how she met her sugar daddy. Now she earns the basic Moscow mistress rate: the apartment, $4,000 a month, a car, and a weeklong holiday in Turkey or Egypt twice a year. In return the sugar daddy gets her supple and tanned body any time he wants, day or night, always rainbow happy, always ready to perform.

“You should see the eyes of the girls back home. They’re deadly jealous,” says Oliona. “‘Oh, so your accent’s changed, you speak like a Muscovite now,’ they say. Well, fuck them: that just makes me proud.”

“Could you ever go back there?”

“Never. That would mean I’d failed. Gone back to mummy.”

But her sugar daddy promised her a new car three months ago, and he still hasn’t delivered; she’s worried he’s going off her.

“Everything you see in this flat is his; I don’t own anything,” says Oliona, peering at her own apartment as if it’s just a stage set, as if it’s someone else who lives there.

And the minute the sugar daddy gets bored with her, she’s out. Back on the street with her nervous little dog and a dozen sequined dresses. So Oliona’s looking for a new sugar daddy (they’re not called “sugar daddies” here but “sponsors”). Thus the Gold Digger Academy, a sort of adult education.

“But how can you meet with others guys?” I ask. “Doesn’t your present sponsor keep tabs on you?”

“Oh yeah, I have to be careful; he has one of his bodyguards check up on me. But he does it in a nice way; the bodyguard turns up with shopping. But I know he’s checking there’ve been no guys here. He tries to be subtle. I think that’s sweet. Other girls have it much worse. Cameras. Private eyes.”

Oliona’s playing fields are a constellation of clubs and restaurants designed almost exclusively for the purpose of sponsors looking for girls and girls looking for sponsors. The guys are known as “Forbeses” (as in Forbes rich list); the girls as “tiolki,” cattle. It’s a buyer’s market: there are dozens, no, hundreds, of “cattle” for every “Forbes.”

We start the evening at Galeria. Opposite is a red-brick monastery leaning like an ocean liner in the snow. Outside the restaurant black cars are quadruple parked up the narrow pavement and onto the boulevard; scowling, smoking bodyguards wait for their masters, who sit inside. Galeria was created by Arkady Novikov: his restaurants are the place to go in Moscow (he also does the Kremlin’s catering). Each restaurant has a new theme: the Middle East, Asia. Not so much imitative pastiche as knowing hints at someone else’s style. Galeria is a collage of quotations: columns, chrome black tables, panels with English paisley fabric. The tables are lit up with cinema spotlights. The seating plan is such that you can see people in other corners. And the main subjects on display are women. They sit by the bar, careful to just order Voss water and thus provoke a Forbes to invite them for a drink.

“Ha, they’re so naïve,” says Oliona. “Everyone knows that trick by now.” She orders a cocktail and sushi: “I always pretend I don’t need anything from a man. That gets them in.”

At midnight Oliona heads for the latest club. Worming cavalcades of black (always black), bulletproof Bentleys and Mercedeses move slowly toward the entrance. Near the door thousands of stilettos slide and shuffle on black ice, somehow always keeping their immaculate balance. (Oh nation of ballet dancers!) Thousands of platinum-blonde manes brush against bare, perma-tanned backs moist with snow. The winter air is rent with cries from thousands of puffed up lips, begging to be let in. This is not about fashion, about cool; this is about work. Tonight is the one chance for the girls to dance and glance their way over the usually impossible barriers of money, private armies, security fences. For one evening a week the most divided city in the northern hemisphere, where the mega-rich live fenced off in a separate, silky civilization, opens a little, narrow sluice into paradise. And the girls pile and push and crawl into that little sluice, knowing full well that it will be open for one night only before it shuts them back out in a mean Moscow.

Oliona walks lightly to the front of the line. She’s on the VIP list. At the beginning of every year she pays the bouncer several thousand dollars to make sure she can always be let in, a necessary tax for her profession.

Inside, the club is built like a baroque theater, with a dance floor in the center and rows of loggias up the walls. The Forbeses sit in the darkened loggias (they pay tens of thousands for the pleasure), while Oliona and hundreds of other girls dance below, throwing practiced glances up at the loggias, hoping to be invited up. The loggias are in darkness. The girls have no idea who exactly is sitting there; they’re flirting with shadows.

“So many eighteen-year-old girls,” says Oliona, “breathing down my neck.” She’s only twenty-two, but that’s already near the end of a Moscow mistress’s career. “I know I’ll have to start lowering my standards soon,” she tells me, amused rather than appalled. Now that Oliona has taken me into her confidence, I find that she’s nothing like I thought she would be. Not hard, but soft-drink bubbly.

Everything’s just play with her. This must be the secret to her success: the room feels fizzier when she’s there. “Of course I’m still hoping for a real Forbes,” she says, “but if the worst comes to the worst I’ll settle for some millionaire dunce who’s come up from the provinces, or one of those dull ex-pats. Orsome vile old man.” But no one knows what a gold digger’s future really holds; this is the first generation to have treated this sort of life as a career. Oliona has a mafia mining town behind her and god-knows-what in front of her; she’s giggling and dancing over an abyss...

EXTRA READING

The biography of Surkov was informed by Zoya Svetova’s “Who Is Mr. Surkov?” in New Times Magazine (December 26, 2011).

Alena Ledeneva’s Can Russia Modernise? (Cambridge University Press, 2013) provides context for the battles among various Russian security agencies and “reiding.”

Yana Yakovleva published her book of prison letters, Неэлектронные Письма (Праксис, 2008). A detailed account of architectural destruction in Moscow can be found in “Moscow Heritage at Crisis Point,” updated edition (SAVE Europe’s Heritage, Moscow Architectural Preservation Society, 2009).

Vitaly Djomochka’s latest novel is Газовый Кризис 2 (Gas Crisis 2) (Зебра Е, 2010).