Dedicated in loving memory of Aran Atwal, for his constant and unconditional love and support.
FOUNDER & EDITOR CO-EDITOR WRITERS & ASSISTANT DESIGNER Sanj Sahota Indie Nahal Alexander O’Connor, Alexandra Wigley, Cynthia Wee Miller, Natasha Cornall, Samantha Scott
A HUGE THANK YOU TO OUR CONTRIBUTORS: Ahou Koutchess, Alexis Day, Alisha Crutchfield, Andrew Martin, Anna, Caroline Salisbury, Chester Algernal, Charli Avery, Chris Jarvis, Emma Woolrych, Eve, Faye Héran, Francesca Aimée, Grant Thomas, Honey, Jason Campbell, Jesse Dreyfus, Kaman Lam, Kristyna Misovcova, Lily, Manu Valcarce, Marc Pritchard, Melinda Grant, Neil Gogoi, Niall de Barra, Peter Sheppard, Ronan Gallagher, Roni River, Roo Lewis, Rosie Williams, Saj Mack, Tereza Janáková, Ying Adam, Yvonne Heinemann.
ALSO, AN EVEN BIGGER THANK YOU TO OUR SUPPORTERS: Alice Luker, Andy Adam, Chloe Chudasama, Clea Broad, Emma Jacks, Erika Szostak, Hannah Pilbeam, Kate Myers, Mark Salmon, Niall Cowley, Roberto Guerra, Simon Keane, Steven Poxson, Tabasum Mohamed, Zoe Noble. The Quarterly: Censorship. First published June 2013 Printed in the UK by Cambrian Printers, Sprint Digital.
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Published by The Creative Book. All rights reserved. Reproduction in whole or in part is strictly prohibited. Apart from a two month exclusivity period required by The Quarterly, it is the responsibility of individual contributors to obtain relevant releases and the opinions expressed in The Quarterly are those of the respective contributor and not necessarily shared by The Quarterly. All work in The Quarterly is the property of the individual contributor. The Quarterly attempts to represent total accuracy wherever possible. Any inaccuracies should be brought to the attention of the Editor via email@example.com.
The journey it has taken to get this journal from concept to print and finally into your hands has been quite the adventure. One filled with laughs, frustrations, confusion, moments of abject terror at thinking I’ve bitten off more than I can chew, to moments of absolute clarity when things finally fell into place. Given the choice, I wouldn’t have done it any other way, mind you.
With regards to content, we didn’t want to restrict what our artists contributed, just as long as it responded to this issue’s theme of “Censorship”. Whether the piece was fashion-focused, photojournalism or a simple portrait and written explanation, we wanted everything to push their limits, to challenge themselves, to be inspired and inspire others in return in the true spirit of The Quarterly and its parent, the Creative Book Project. From the beginning, we’ve always been about fighting the good fight. The work may not be to everyone’s taste but we’ve always been happy to do things a little differently. I would like to say thank you to all the people who have been involved in The Quarterly. For all of your time and efforts, for your dedication, the countless conversations, the billion emails, all your words of encouragement, support and love have been greatly appreciated. I’d like to send out an extra special thank you to those who have contributed to this first issue, as without their belief in The Quarterly, none of this would have happened. We’ll have to arrange to get together for a pint or two and see where the night takes us. We always imagined The Quarterly as a journal that sits proudly on your shelf, a well-thumbed source of inspiration you can return to time and time again. This is our first issue, so please be gentle, whisper sweet nothings into our ears, spread the word and be generous with your time; we think you’ll be pleasantly surprised.
Sanj Sahota, Founder of The Creative Book
The Quarterly is about the importance of and supporting creative integrity. We want to challenge and change the way publishing currently works, inspiring people and embracing the awesome along the way. We’ve become disillusioned with how a lot of creative magazines run things. We don’t agree with the way that some publications make money through advertising and through selling copies without paying for the content creatives put their time and effort (and blood and sweat and tears and the odd bit of snot) into producing. From the very beginning, our goal has always been to do the right thing. The Quarterly is a social enterprise publication, a kind of fair trade for creativity. We have guts and integrity and high standards.
The journal is based on an ethical revenue share where the profit made from each issue will be split evenly amongst contributors. All of the creativity, none of the exploitation. That’s what we mean by social enterprise. We’re all about challenging preconceptions, provoking thought, championing talent and above all bringing value back to creatives and their work in our own bold way. It’s not a new idea but we kinda think it’s daring. No doubt we’ll ruffle a few feathers and put some noses out of joint. But since creative talent is often exploited and their real value goes unrecognised and under appreciated, we think it’s important to do the right thing. It’s high time integrity meant both the quality of the creative work and the way it’s produced.
56 THE BEST INTENTS
Emma Woolrych, Alexis Day, Francesca Aimée
60 EE EAP
(Hide & Seek) Ying Adam, Chris Jarvis, Faye Héran
An Exploration of Religion & Censorship Roni River
30 UNFILTERED THOUGHTS
Do we need censorship? Grant Holmes
82 NEW FACE
90 A TALE OF TWO CITIES
Marc Pritchard, Charli Avery, Rosie Williams Sven Bayerbach, Honey
45 THE HARD WAY
Neil Gogoi, Tereza Janáková,
100 HOW LOUD?
MATER GEMINORUM Photography by Emma Woolrych Styling by Francesca Aimée Hair & Make-up by Alexis Day using Nars cosmetics and Annabelle’s Wigs
Model Caroline Salisbury (models1) Words by Natasha Cornall, Alexis Day & Emma Woolrych
Mater Geminorum (Latin for ‘mother of twins’) features a model 27 weeks pregnant with twins, and tells a story about a pregnant warrior who is nurturing, shielding and protecting her unborn twins, preparing herself for their birth. The creative team behind the shoot are all women: we wanted to test public perception of womanhood, motherhood and religious views, of what visions of power, strength and expression should be. In many ways we feel that society is going backwards in regards to public expectation of individuality and expression. Society is so visually assaulted and financially constrained that it has forced the narrowing of our minds. This in turn has censored us.
Editorial shoots featuring pregnant women are usually confined to mumsto-be magazines, or in celebrity weeklies as recreations of Demi Moore’s 1991 Vanity Fair cover. What was once seen as provocative has been censored: we haven’t advanced, pregnancy is still regarded as inappropriate, something which should be kept hidden. We are only able to say how a woman is ‘blossoming’ in her pregnancy, we can’t look past her bump. But the pregnant woman, the mother, is one of the strongest figures known to man: Mater Geminorum challenges ideas of what it is to be courageous, sexy, inspiring and beautiful. And the model is beautiful, but the focus is not solely on how she looks. A mother has to play a multi-faceted role: she is a creator, nurse, teacher, protector, warrior… Yes, we should give up our seat
A mother has to play a multi-faceted role: she is creator, nurse, teacher, protector, warrior… Things that are pure and real - the beauty and shape of the pregnant form - seem abstract and shocking, while violent video games and films seem normal. The styling in this shoot plays on this: does the model look like an ancient warrior or a figure from a comic book or computer game? We used lighting and styling which nods to the photographic giants of the 80s and 90s, to Helmut Newton and Richard Avedon. We wanted the model to appear in striking and statuesque poses, because pregnant women are not generally regarded as strong figures.
to her on the bus, not because she’s vulnerable or weak but the opposite because she is creating life, and that is a miracle. We shouldn’t be hiding her bump away, confining it to the pages of fluffy magazines, we should be putting her up on billboards and on TV screens and all aspects of the media and celebrating her. Mater Geminorum celebrates the female body at one of its most important stages. The shoot tests the ideas of censorship on many levels, while preserving the elegance and mystique of one of the most intriguing yet natural acts of humankind: the creation of another life.
PAGE 7: Tutu worn as dress – Grin – Aflex Palace Manchester Jewellery – Maria Lau
PAGE 9: Head piece – Stylist’s own Kaftan – Peter Twiss Bracelet – Maria Lau Shoes – Saint Laurent at Harvey Nichols Manchester
PAGE 10: Black Perspex Cuff – Maria Piana Black Perspex Visor – Francesca Marotta Veil – Stylist’s own Shoes – Saint Laurent at Harvey Nichols Manchester
PAGE 11: Shirt – Helmut Lang at Harvey Nichols Manchester
PAGE 13: Necklace (worn as headpiece) – Maria Piana Jokula Jacket – Peter Twiss
PAGE 14: Black scarf – James Hock
PAGE 15: Veil – Stylist’s own Necklace (worn as headpiece) – Maria Piana
LOST CHANCE Words by Ahou Koutchess
A missed train They left. Like birds, up high. Never looking down again, or behind.
Ripping the lungs out of their voices to hear a reaction. Closer together Weâ€™re wearing out like all colours on our clothes.
Washed are the rainbows in our heads In unison, we stand. Rotten tomatoes behind bars.
EDEN AN EXPLORATION OF RELIGION & CENSORSHIP
Photography by River Roni Words by River Roni & Grant Holmes
This series of photographs was created in response to a topic which I think contrasts well with the issues surrounding censorship. I wanted to convey the dark practices and at times painful experiences that some people put themselves through in the name of religion and worship of their god or gods. Some believe that suffering through pain and violence is a path to redemption in the eyes of their religion, a practice that bears more following than you might expect, given its prominence on the internet with a simple search of the term “religion and violence”. This led me to begin exploring what I see myself as, in a society of lost groups of people. People who have simply lost their way. The “modern” world is a capitalist machine chasing riches at the expense of millions worldwide. As a society we are chasing riches. Chasing a cancer that will lead to our own demise. Fame and fortune has contorted into an aspiration people spend their whole lives chasing and trying to achieve. They chase the dream, striving for the limelight, when what they actually strive for is love and attention. The most basic of human needs.
Love is a powerful tool that can be used to start revolutions and change the human spirit. In stark contrast to that, the majority of the population still belong to what we label “the third world”. These people are fed misguided truths and ways of life, when all they really need is love and to be loved. Love is a powerful tool that can be used to start revolutions and change the human spirit. Everything else is just creating chaos.This man made cancer is constantly attacking the human cells of the world in which we reside, until we destroy ourselves from within. Nothing will be left.
I got married a few months ago now. And as I think of one day starting a family I inevitably, as every mother does, think to the future. What world am I going to be raising them in? How do I teach my own children to find peace and spread love? I have no answers yet i’m afraid to say. How can I have the answers when I myself cannot seem to find the same peace and have yet to discover a place in all the chaos to call home.
As a characteristic, naivety is becoming extinct. Children today are raised to be shallow and as ego driven as well oiled politicians. You see it walking down the street, the cloud of ignorance that has consumed us. Twelve year old girls walk by in see-through leggings or shorts so high you can see inappropriate parts of them. All that while having no clue as to the reactions of people around them when they see it. And thats not to say you’re a paedophile for looking at them as they walk by. They
grow up to be women, with zero self esteem and no confidence to embrace all aspects of femininity and all its power and energy. Religion told us that sex was bad and dirty. That’s when it became taboo, leading people to become inhibited, self conscious and extremely scared and uncomfortable. That poisoned view of natural human behaviour has led to many becoming confused, leaving the path we think is wrong to travel dirt roads so we won’t be seen. In doing so, we become lost.
I inevitably, as every mother does, think to the future. What world am I going to be raising them in? How do I teach my own children to find peace and spread love?
I wanted to take my photographs back to a time when everything was good and everything was light. Full of love. Nothing was dirty or kinky, it just was what it was. All is acceptable, beautiful and above all, human. All cravings, lusts, needs, wants and desires are met with no inhibition or premeditated thought. A place where as long as we stay on that road of goodness and wellbeing within ourselves, sexually or not. We are loved and spread that love. Censorship is like a tree, bearing the forbidden fruit on its branches, but keeping them out of reach. You know it’s there, but you can’t taste it. People too insecure with their own existence made these rules for others to follow, giving reasons of god’s word and their interpretations of what it would want for humanity.
The halos featured above Jesus and angels in many renaissance paintings have been a particular inspiration for this series. For me they symbolise life, and this is reflected in my photos. The feeling of virtue in my photos tells a story of humanity being holy regardless of religion. In a glorious time where love between each other is not inhibited by religion. Being alive is a gift and the only thing sure about our existence is that it will end. We live our lives choosing to ignore that wonderful fact.
UNFILTERED THOUGHTS Words by Sanj Sahota
These are the thoughts of an unfiltered, unrestricted and untamed mind. I have no idea where my thoughts will take me as I put these words to paper. I’m not even sure if there is a narrative to follow a journey to take you on or whether this will turn into a jumbled mass of opinions, beliefs, ideas and questions for you to pull apart, absorb or discard, but I felt the need to share these thoughts of a mind at this moment in time.. Recently, I’ve become more spiritual in nature. In the way I think and look at the world. Religion has never held much weight with me; I’ve always questioned it as an entity ever since I was a child. As I grow older and hopefully wiser, I question it more and more. I question whether it actually helps people, whether it’s just another form of control, to shackle ones thoughts, to keep the mind tamed and trained, to make people blind to everything around them, which in turn is making them helpless and unable to help themselves. I question all the things that people are worshipping. The
need to build and visit temples and raise altars to show their devotion to an omnipresent being. Surely you’re able to worship such a being without the need to do such things, when everything around you is created by him, her or it. I question whether people are just sending their prayers, wishes and all their hopes and fears on to empty figureheads, symbols, old scriptures. I believe that time has distorted the things we’ve been taught. That the knowledge we once had has been lost through religions and their leaders wanting to control mankind and limit its true potential. That the messages from prophets from long ago have been distorted, that what they represented and taught has been bastardised by people through time, hiding the truth.. and asserting their own agenda on to the masses. I don’t believe in God and I don’t believe in the Devil, I don’t believe in Heaven nor Hell. But at the same time, when unexplained things happen, the random goosebumps, the feeling of not being alone when no one is around you, to when things go bump in the night does make me
question some of my beliefs... Over the last few years, I’ve lost my father, grandfather and on the twelfth of June 2013 I learnt that my younger brother had passed away. Hence the darkness of my thoughts, the questioning of religion and its response and answers in regards to the way my younger brother, Aran passed on, calling it sinful. I disagree. I disagree strongly. I’m frustrated by the fact that I wasn’t around to help him. And without wanting to sound cheesy, I know that he’s gone to a better place. He embraced his death and did what he needed to do, he did what he set out to do and I dare anyone to tell me any different. Religious priests, the scriptures will tell me and others that it was wrong and that we need to save his soul and what not, but that’s because they spend their whole lives controlling you, making themselves feel important, making you fearful of what happens after. It makes people forget about what’s here, they lose sight of what they have in front of them and spend their whole lives in fear and preparing for
Be good. Be honest. Be humble. Be strong. Be helpful. Be there.
what’s going to happen next and I think that’s wrong. I don’t know what’s going to happen next, if there is an afterwards. Maybe there is, maybe there isn’t. I just know that you have to focus on the positive. To embrace life, make the most of it. Enjoy it whilst you have it and to embrace death when it comes, as when your time is done. It’s done. I don’t mean you need to seek it, but to respect it and accept it. My younger Brother Aran was the biggest supporter of The Creative Book. I never appreciated that or realised that mind you. I always thought I was here to help him in his time of need. But looking back, his love and respect, hopes and dreams and wishes for this project that I’ve been working on for so long now are the things that really made it happen, the things that kept me moving forwards. I’ll always regret never getting the chance to say thank you to him for his support, nor apologise for not knowing he needed help, and being there for him in his time of need. Would anything have changed, even if I did
know? I don’t know. Maybe one day I’ll get that answer. But right now I know I miss him dearly. For everything that happens in our lives there is a lesson to be learnt. The problem is that we don’t recognise that all the time… Ever wondered why the same things sometimes happens to us over and over again? It’s because we haven’t learnt anything from those moments and you can’t move on until you’ve understood why. I’m starting to believe that everything happens for a reason in life. Looking back at all the major events I’ve encountered there’s been some incredibly harsh lessons to learn, ones I wish I never had to encounter. But I’m able to pick out those moments and understand them more now.. This is probably why I’ve gone from a complete Atheist to someone more spiritual in nature. It’s weird and I’ve surprised myself on how it has come about. And I’m hoping I’ll be able to help others, either directly or indirectly, not to feed my ego, but because it’s the right thing to do.
We spend our whole lives censoring ourselves, keeping our mouths shut, not saying what’s on our mind, hiding our emotions. Letting our head rule over our hearts. Ignoring our gut instinct. I used to talk myself out of doing things all the time. I used to clam up, keep quiet and just let things build up inside and not do anything about it, even when I knew that it was wrong. One event, led to another, which led to a meeting, which led to some food for thought and ever since then I’ve always trusted my gut instinct. Without that I would never have started the Creative Book and nor would you have this journal in your hand.. I don’t know whether any of this is relevant for any of you and nor do I expect it to have some kind of profound effect on you. But it’s something I needed to do, to get these unfiltered thoughts out of my head. Remember to focus on the positive, ignore the negatives. Be good. Be honest. Be humble. Be strong. Be helpful. Be there.
We surround ourselves with twenty four hour visuals: TV screens, iPods, tablets, laptops, projectors, moving billboards and wall-sized displays. A never-ending source of distractions. Avoidance. How happy can we get? So we canâ€™t fail to be occupied? Boredom is the new 21st century sin. Without reasoning we lose control through the media. We relinquish it, stripped of our ability to daydream, to contemplate and to think. The media gives us no respite or pause - no revelations, just repetition and a necessary burning of literature. Is this our censorship? A gutting of libraries in the name of progress. Surrounded by images, are we heading to a place unable to speak over the hubbub and noise, in a twisted state of melancholia and happy pills? Fahrenheit 451 is the temperature at which paper burns.
FARENHEIT 451 Photography by Marc Pritchard Make-up by Charli Avery Hair Styling by Sven Bayerbach using Bumble&Bumble
Styling by Rosie Williams Model Honey (Elite)
Dress – Basharatyan V
Dress – Basharatyan V
Top – Topshop
Latex Stockings – Sasha Louise
Necklace – Kirsty Ward
Skirt – Stylist’sOwn
Gloves – Samsoe & Samsoe
Bracelet, Earrings & Ring – Bill Skinner
Bracelets, Earrings & Ring – Bill Skinner
Shoes – Rupert Sanderson Necklace – Stylist’s Own Bracelets & Earrings – Bill Skinner
PAGE 32: Top – Maison Scotch Necklace & Earrings – Bill Skinner
PAGE 33: Top – Maison Scotch Trousers – Basharatyan V Bracelets, Necklace & Earrings – Bill Skinner
LEFT: Dress – Elliot Joseph Rentz Jacket – Tramp In Disguise Necklace – Stylist’s Own Earrings – Bill Skinner
RIGHT: Top – Kirsty Ward Skirt – Jacob Birge Necklace & Earrings – Bill Skinner
PAGE 36: Dress – Basharatyan V Latex Dress (Worn underneath) – Sasha Louise Necklace – Stylist’sOwn Earrings & Ring (Right hand) – Bill Skinner Rings (Left hand, just seen) – Cardinal Of London
Dress – Bernard Chandran Latex Dress (Worn underneath) – Sasha Louise Shoes – Rupert Sanderson Necklace – Stylist’s Own Bracelets & Earrings – Bill Skinner Sunglasses – Emmanuel Katsaros
CENSO Due to some last minute changes and compromising situations, we are unable to use the final image that would bookend this feature.
If youâ€™d like to see the heavily censored version of this image, please refer to the front cover. To find out more you will have to ask one of the creatives behind the shoot.
Top – Kirsty Ward Earrings – Bill Skinner Ring – Cardinal Of London
THREE FIVE TWO Words by Charli Avery make-up artist for Farenheit 451
There is no doubt that today’s society is affected heavily by the strong influence of the media, where people adopt a false sense of reality from that of the real thing. There is a definite place for censorship within our society if you believe that it provides a framework of acceptable behaviour and moral boundaries, protecting the young and vulnerable from undue influence, particularly in the media and celebrity culture. Everyone has a right to express themselves in a different way and censorship can be seen as working against creativity. However, censorship can allude to withholding information and a way of hiding the truth of what is going on in the world. Even though I believe a degree of censorship is necessary in the media with regard to explicit films, removal of obscene materials and bad language, I believe it can stifle creativity from an artist’s point of view who wants the ability to express themselves openly and without fear of their work being edited or manipulated by someone else.
Based on the dystopian novel ‘Farenheit 451’ by Ray Bradbury, our shoot for The Quarterly touched on the idea of censorship and reaction set in a near-future society where books are banned. Censorship proves itself an integral theme of the novel where the control of mass media is used to influence society and suppress individualism through book burning. Ironically, the book itself was censored by its publishers who expurgated words deemed ‘offensive’. We also focused on exploring a second angle for the shoot, using iconography from our modern day culture. The (censored) sleeping pill overdose, which is featured in one of our final images, portrays this perfectly with the idolisation of censored materials. From a creative perspective, we wanted to keep the aesthetics almost surreal, the skin of the model was extremely matte with high shine lips to emulate a mannequin, thus blurring the effect of reality. Creating a strong visual image in this way can make an impact on the person viewing it and it gives the photographer the ability to express their views and ideas to provoke a reaction.
Everyone has a right to express themselves in a different way...
Censorship is about suppression. Itâ€™s about keeping information under cover. Itâ€™s about taking severe punitive measures against those that have spoken out with the intention of discouraging others. The 5 people I photographed for this story took the hard way out. They could have caved to the pressures around them and chosen a safer route. Instead, under the threat of injury, job loss, prison, or death these people did what they thought was right.
THE HARD WAY Photography & Words by Jason Campbell jasoncampbell.info
(The System) wants to intimidate the good guys. And thatâ€™s why itâ€™s so important to stand up and do the right thing.
In 1970 after years of reporting police misconduct to his superiors and seeing no action, a frustrated Frank Serpico became a source for a New York Times story about widespread corruption. He had long refused pressure by other officers to take bribes. He refused to look the other way when he witnessed venality. To say his actions made him extremely unpopular in the department would be an understatement. After being shot in the face with a .22 during a botched drug bust, other officers on the raid refused to come to his aid and left him bleeding on the ground. His life was saved when a neighbor in the building called emergency services and stayed with him until help arrived. He recovered and later testified before the Knapp Commission hearings on police malfeasance. He now lives in upstate New York and still speaks out against corruption. Over the years he has counselled other officers going through their own struggles with the department.
Our nation’s leaders pay lip service to the importance of whistleblowers.
Jesselyn Radack @jesselynradack
When “American Taliban” John Walker Lindh was captured by American Forces in Afghanistan, Jesselyn Radack was an ethics advisor in the US Justice Department. Radack reported to her superiors that he should be read his rights and should not be interrogated without his lawyer. Instead, the severely wounded Lindh was stripped, duct taped to a board, blindfolded and placed in a freezing shipping container. He was questioned by the FBI and signed a confession without ever seeing a lawyer. During the trial of Lindh, Radack disclosed that evidence of her advice had been destroyed and withheld from the court. In retaliation she was forced from her job, placed under criminal investigation, and placed on the “No-Fly” list. Radack is now the National Security and Human Rights Director for the Government Accountability Project and represents high profile whistleblowers from the intelligence communities. She has been a staunch supporter of Bradley Manning, Julian Assange, and Edward Snowden.
I feel that once I was labelled a controversial artist it was like I was typecast and put in a box. People expect controversy. And if it’s not controversial, they’re not impressed. So, even the people that hate the work for being too provocative and controversial, when it’s not that they ignore it. So it just makes me feel like some people just love to hate you for some reason or another. But I’ve never let this idea whether or not my work was controversial affect me in any way. Because I feel I need to do it. To me it doesn’t matter if it is controversial or not.
Andres Serrano’s 1987 photograph Immersion (Piss Christ) depicting a crucifix submerged in urine has literally been ripped off the walls of galleries. In 1997 it was attacked twice in two days during a retrospective exhibition at the National Gallery of Victoria in Melbourne, Australia. The attacks lead to the premature closure of the show. Most recently, a print of Piss Christ along with another image titled The Church were damaged beyond repair by Christian protestors in Avignon, France in 2011.
Is freedom worth it? Is liberty worth it? Is not living in a surveillance society worth it? If you donâ€™t want to live it, then you have to stand up and defend the rights and the freedoms that prevent that from actually happening.
Thomas Drake @Thomas_Drake1
Thomas Drake is one of six government officials charged with the Espionage Act of 1917 by the Obama administration for leaks to the media. He faced up to 35 years in federal prison for revealing massive illegality, waste, fraud and abuse within the National Security Administration. The disclosures concerned a massive computer analysis program called Trailblazer. Since the advent of electronic communications, the NSA found it difficult to sift through the massive amounts of data collected daily from all over the world. Trailblazer was meant to sift through all the emails, texts, websites etc and pull out the important information for analysis. Not only did it not work as planned it was over budget by $1.2 billion dollars. More importantly the program did not have safeguards in place to encrypt illegally obtained information collected from American citizens without a warrant. Drake followed the internal protocols by trying to work within the system by taking his concerns to the leadership of the NSA, to the Department of Defense and to an NSA budget expert on the House Intelligence Committee. After getting no response from any of these parties, Drake became the source for a series of articles on waste and abuse in The Baltimore Sun newspaper. The articles lead to hearings before congress and the program was shut down. After an investigation into the leaks, armed FBI agents raided his home. He was later charged with three counts including the Espionage Act of 1917. The act was originally to be used against actual spies, but in the Obama administration it has been used 6 times against government officials for unauthorised leaks to media outlets. He lost his job, many of his friends that still work in the security industry, his pension and his security clearance (which made any further career in intelligence impossible). Luckily, just days before his trial prosecutors dropped all of the charges. In the plea deal Drake pleaded guilty to a misdemeanour and was sentenced to one year of probation and community service. Drake is a very vocal critic of the massive surveillance state that has built up after 9/11. He describes the United States intelligence apparatus as something the East German Stasi could have only imagined in their wildest dreams.
Andy Stepanian @sparrowmedia
Essentially Andy Stepanian was jailed for protesting against animal cruelty. He spent 3 years in federal prison for activities that should have been protected under the First Amendment of the U.S. Constitution. He was jailed for his involvement with Stop Huntingdon Animal Cruelty, an international animal rights group dedicated to shutting down Europe’s largest animal testing corporation, Huntingdon Life Sciences. HLS operated a facility in New Jersey that had been infiltrated by another activist. He released hidden video footage shot inside the facility showing brutal treatment of animals. SHAC encouraged secondary protests at the businesses and homes of investors and suppliers as a means to get them to stop dealing with HLS. Stepanian allegedly organised protests against two businesses with ties to HLS, Bank of New York and Deloitte and Touche. Both later severed ties with HLS. Stepanian and 5 others involved with SHAC were arrested and charged with conspiracy to violate the overly broad Animal Enterprise Protection Act. Under the statute, the prosecutors only had to prove that Stepanian’s actions caused more than $10,000 in damage. Although there was no evidence he took part in any illegal activity, he was convicted and sentenced to 3 years in federal prison for constitutionally protected Free Speech. He was further retaliated against whilst incarcerated. First by being placed in solitary confinement for 21 days at the start of his sentence for having a phone conversation with journalist Amy Goodman. Secondly, with six months left of his sentence, he was moved to a Communication Management Unit (CMU) that severely restricts the outside communications of inmates that are deemed of “inspirational signifigance” or inmates that are terrorists. Stepanian is now out of prison and back with his family. He now runs a grassroots public relations firm called Sparrow Media that he co-founded.
THE BEST INTENTS DO WE NEED CENSORSHIP?
By Grant Holmes
Censorship. Has become an accepted part of the day to day running of the modern world in which we live, whether you notice it or not. In a digital age, censorship has grown to become more than a simple black bar over naughty words. This powerful tool has grown to become an intrinsic part of modern media and developed into a covert operation that works silently behind closed doors and proudly proclaims to be for the benefit of society. The mere notion of it conjures up images of underground bunkers hidden away and nondescript office blocks where no one might think to look; a secretive group of men in black suits and sunglasses
So at what point does simply bad taste become bad full stop, and more importantly, who is to say which is which? Censorship is an issue that has long blighted creative outlets, from television to recording studios, painting to writing. All forms of creative expression have had their fair share of creative censorship throughout the years; but naturally, the print and digital media has borne the brunt of this practice.
to the good, the bad, and more than ever, the ugly. So much good bad and ugly in fact, that the government has had to set up a special branch to systematically check what we’re doing online. Which for the most part is fine. After all, grumpy cat never hurt anyone. Not to mention the countless paedophile rings that have been closed down thanks to the GCHQ, the government’s intelligence centre for professional eavesdropping.
In recent times there seems to have been a move to more “selective censorship”, the practice of selectively censoring some parts of or even a whole group yet leaving the rest untouched. The result? We’re usually unaware anything has
But there’s a darker shade to that picture.
A secretive group of men in black suits and sunglasses tipex-ing the evening news script….
Claims recently emerged that the same centre had been covertly gathering information about everyday internet usage in the UK from some of the world’s largest companies, aided in this JamesBond style reconnaissance by the American CIA. Which if you’re of the literary inclination is all a bit George Orwell Nineteen Eighty-Four.
tipex-ing the evening news script…. But increasingly, more and more stories are reported every year about censorship and its effects on audiences across the globe. People always talk about the line. You probably knew exactly what I meant when you read “the line” just now. So that gives us reason to believe we’ve been conditioned to a certain level on what we expect from the media we take in.
even been done. But occasionally there’s a break in the net, and that piece of information that someone somewhere in those underground bunkers and nondescript office blocks didn’t want to see the light of day gets into the public eye. In the digital age, selectively censoring is becoming a futile practice. The advent of social networking in the early noughties has left us with an online gateway
This summer’s violence in Turkey has been widely reported in the media but through the eyes of its government. A source inside Istanbul told me “One of the most absurd effects of mainstream media in Turkey going quiet has been that the foreign press reports have become a central source of information about what is going on here”.
Censorship has grown to become more than a simple black bar over naughty words
That sums up the general feeling toward censorship for me. Its absurd. How can you hope to monitor the masses for their own good, then use the same information against them, yet still expect them to be accepting of the practice in the first place. Every rose has its thorn as they say. Although this borders more on being asked to keep a neat garden, then being thrown in an overgrown rose bush and being told it has to stay as it is. The greater good. However, Turkey illustrates how the media is adapting to the overbearing nature of censorship. The sad reality of the world today is that censorship is part of a government’s arsenal when it comes to control over population, as well as self-protection. But given the state of online activity and an
increasingly connected world, is it time to drop the practice? Is there some revolution on the horizon that will give way to a golden media age where you can say what you want, watch what you want, hear who you like and instagram everything else? To be blunt. No. That dream of a world where we don’t need censorship is sadly about as practical as a square wheeled bike. Which gives rise to a deeper and increasingly chilling question. Who the hell is writing the book on censoring? Back in Turkey, my source told me that officially, one death had been reported in the Turkish state owned media. But a web search and a quick scan of social networking sites such as Tumblr revealed a catalogue of police brutality which had caused many more deaths as
well as countless injuries due to the actions of the government. State censorship had led to an increase in rioting, the government fuelling activity through its own actions in a kind of vicious circle that was being spun downhill by newspapers and CNN Türks. Who as it happened realised it looked absurd (there’s that word again) to give no mention to riots that were filling the capital city with tear gas. So is there even an alternative way of dealing with censoring at this stage? In an ideal world, free from the constrain of censors and blackouts, there would still be problems. We have to accept that in our society, we live among certain people who wish to cause violence, incite hatred and poison minds through their speech, writing and broadcasts. So the logic is simple. We have to have censors. And it seems to be because of one core reason.
For that ideal censor free world to work, there has to be trust between the audience and the watchdogs charged with monitoring the outlets of the media. Unfortunately, we happen to be a hell of a lot less trusting than we were back in the days of black and white television, where what the Beeb said was pretty much the only view of things you were going to get. That’s the flip side of the perfect world story. We have to look at the audience the media is trying to serve. As a whole, censorship tends to exist for the benefit of the people, even if it is a closed-door affair. So surely censorship aims to please the majority? Take the human form for example. A fine piece of machinery, crafted in god’s image (if that’s what you believe in) and mysterious to even our best scientific understanding.
Yet if you’re from Britain, then it is more than likely that the sight of a man completely naked on national television would make you stop and avert your eyes for fear of a “Raiders of the Lost Ark” style outcome should you continue to stare at the screen as you have for the last godonly-knows-how-many hours. But why? Why as a society have we come to disapprove of our own bodies? Renaissance art is deemed acceptable, but as the saying goes, there’s no accounting for taste. Strange then that the National Gallery contains some of the finest examples of portraiture in the world, many in the nude, yet if the same sort of thing were to air on network television, it would likely fall to the censors or the watershed. A nude photo may be considered lewd, yet a sketch is art. A lack of deeper arts education may be at fault here but on a whole, I would have to admit that being British seems to come
with the added trait of being easily offended. Thank God for censors. Bringing it back to the topic of selective censoring, I feel that given the state of the media and the pace of technological change we are experiencing today, the concept is slipping further and further into the obsolete end of media control. Censorship it would seem is a necessary part of modern living regardless of your views on precisely what they censor. Perhaps one day in a kinder more accepting world (don’t laugh it’s genuinely a possibility no matter how slim) we may be rid of it. But until then it’s black bars and tipex. Grant Holmes is a freelance writer and student at the University of Huddersfield, where he is studying for a degree in fashion communication and promotion.
EE EAP (HIDE & SEEK)
Creative Director / Hair & Make-up by Ying Adam Photography by Chris Jarvis Styling by Faye HĂŠran Model Yvonne Heinemann (Bookings Agency) Assistance by Melinda Grant, Peter Sheppard, & Indie Nahal Words by Alexandra Wigley, Ying Adam, Chris Jarvis & Faye HĂŠran Special thanks go to The King and I - Thai restaurant in Southampton for providing us with the beautiful Thai outfits. The Britannia Pub for allowing us to shoot on the premises.
Ying Adam Three years ago I decided to pack up my life and submerge myself into the ways of Western Civilisation, not realising that life in the motherland of the Spice Girls – my ALL time favourite pop stars, and yours too I presume?- would be quite so unexpected. Overwhelmed and more than a little enchanted by my new surroundings I found myself asking ‘How hard is it to live in another country? Another culture where everything seems unlike anything you’d previously known?’ The first thing I noticed was how everybody would just do their own thing, independent and unaware of what was going on around them. I can’t say I was surprised by this with the world we live in today, however, I wasn’t expecting the mass of ethnic diversity, the many races and cultures that lived side by side. A sort of homage to home that made me feel safe and a little less alien in a place that felt a lot like being on another planet. I was proud to tell people of my Thai roots and would often talk about my beautiful country and its wonderful cultures. Yet slowly the familiar cracks began to show, where people would look at me in a different way, just like before, I felt angry and disrespected like I couldn’t change all the thoughts of those small minded and ignorant few, instead, I changed myself. I adopted the do’s and don’ts of the British very quickly in the way I walked and talked, even mimicking the attitude to blend in and feel less judged to enjoy
my time here. It worked and I felt happy and enjoyed my way of living here, even when my friends would point out I was ‘too westernised’ I felt a little glee. Until one day a neighbour of mine introduced me to somebody that changed everything. A little Thai lady, who had been in Britain for years, invited me to a party where my heritage just flooded the room and I felt like I had been punched in the face. So many Thai people in one place brought me back down to earth with a thud making me realise that I had completely lost my Thai heritage, my wonderful culture and my beloved country all for the fake persona of somebody I did not recognise and who I didn’t really want to be. But became, because I wanted to be accepted. I have now managed to find the perfect balance between the two cultures that I love and have adapted a tighter bond to my culture and the way I now choose to live my life. I feel truly happy now, when I can tell people of my culture or even just offer my culinary skills when Thai takeout just won’t cut it! I feel very lucky and grateful to be fulfilling my dream as a freelance Make-up Artist while having the opportunity to embrace the western culture. I hid myself away from my own culture, away from who I am for too long and now, I enjoy learning more and more as my career progresses while I just get to sit back and enjoy the ride as a fully-fledged Brit loving Thai!
How hard is it to live in another country? Another culture where everything seems unlike anything you’d previously known?’
PAGE 59 - 60: Traditional Thai dress Sandals – Won Hundred
PAGE 61 - 63: Traditional Thai dress Sandals – Own the Runway
Chris Jarvis When I read the theme for The Quarterly my thoughts barely skimmed the surface of censorship with the typical connotations of sex and religion being the first things that came to mind. But Ying’s story, the basis of our shoot, made me think more about the idea of fitting in and realise how much we censor ourselves on a daily basis; and, from my lack of connection with my own Asian side, how much I’m guilty of censoring myself too. Being from a mixed background I have never really fully embraced my Asian side, I never learnt Tagalog; in fact I would correct my mum’s English as a child, and I don’t mix with anyone from the Philippines. The reality is that it’s all born from years of wanting to fit in. It is not until we are older that we relish being different and wear it with pride, instead, every child grows up wanting to fit in with the other kids - in my case this would mean hiding my Asian background and really chasing what makes me English.
I wanted to get across the idea of being watched as essentially that is why we censor ourselves; because we’re all aware of being looked at
This has been a great theme to work to and has definitely made me more aware of censorship with regards to personal identity. It was great watching Ying bring her story and background to life with this shoot with the amazing outfits and accessories we had to work with that echoed her culture. I tried to push that colour through in the final shots with
extra saturation to highlight the influences that truly inspired and captured the essence of our shoot. I wanted to get across the idea of being watched - as essentially that is why we censor ourselves; because we’re all aware of being looked at - and not wanting to be looked at differently. So the model was disconnected from the camera and we only used natural light to portray the reality of the false situation. It was great to see how much of a stir the model caused in her full Thai dress compared to when Faye evolved the outfit in a more western style. No one batted an eyelid later on. Though I embrace my Asian side a lot more now, I still censor myself every day. I’ll delete a tweet that I’ve written that I think is hilarious but in hindsight might offend someone who follows me, I un-tag pictures of myself on Facebook and delete things from my timeline so my profile shows me how I want people to see me, and just this morning I flicked on the ‘private session’ on Spotify so I don’t publicise what I am listening to - god forbid anyone notices I’ve just listened to Taylor Swift. By adopting a ‘selective censorship’ approach to my life I have learnt to control how I, personally would like to be perceived, while letting the world in with one inoffensive tweet at a time.
Crop top – David Longshaw Ring – Ottoman Hands
Dress â€“ Baron Oh
Faye Héran Identity is a complex subject. Human nature is to want to belong I have a real belief that fashion is an art form which sits on the knife edge between absolute expression and suppression. I express myself truly and absolutely through my clothes, but I also recognise fashion’s ability to single out and divide people. From religious dress, to military uniform, through to the ever expansive world of trends – there is a tribal instinct to getting dressed that can make the individual sometimes feel the need to hide their identity, change the way they look to fit in, or at the very worst be targeted for the way they dress. For me one of the most symbolic experiences I have had in my life, when considering identity, was when I visited Auschwitz concentration camp in Poland. Alongside understanding the horror which had occurred there it was seeing personal belongings - shoes, suitcases with address labels on them - which really impacted me. Each person’s identity had inhumanely been stripped from them when entering there. It was an utterly heartbreaking sight. That moment has stayed with me, and among other experiences, has set me on the path to want to not only style beautiful editorials but to utilise fashion as a true platform to express opinions and powerful messages– and in the case of this editorial to break down conventions about identity and censorship. Ying’s passionate desire to keep her Thai heritage alive and also tell her story of how she felt she had to censor her identity on arrival in the UK touched me immensely. I feel it is the most important thing to be able to celebrate one’s culture. I grew up in West London and I was in an unusual position to go to a school which had no uniform and also celebrated the fact that the students spoke a total of 70 first languages – I am also a dual national, with a father who grew up in France and came to the UK speaking little English many moons ago – that sense of feeling like you need to fit in has surrounded me throughout my life. I hope I can use my experience and knowledge and express it through my work and use fashion as a positive vehicle for ideas. But I also understand that identity is a complex subject. Human nature is to want to belong, whereever you are, and censorship is rift. As visiting Auschwitz taught me – however you are censored in the world, your personal identity should not be suppressed. You are you and being able to express that is the ultimate freedom.
PAGE 70: Dress - NeoBotanic Fashion Handbag - Palestyle Necklace – Mona Mara Cuff – Julia Burness Jewellery Ring - Ottoman Hands
THIS PAGE: Dress – Forever Unique Sandals - Won Hundred
PROPDEP Photography by Roo Lewis Words by Roo Lewis & Sammy Scott
No longer is talent lost due to lack of opportunity or resources, rather the challenge is rising above the cacophony.
PropDep is a series which explores selfcensorship and the impact it has on our own personal development. Each image features a young artist who is trying to establish their work but is ultimately held back by the need to earn a living in London. I asked each artist to bring two or three items which they love, find inspirational and without which they cannot satisfy their passion. Each subject was then photographed at their place of work where I then placed their favourite pieces in the frame. These items are clues to the nature of their passion which censors their true selves yet manage to be kept well within their professional environment. The subjects were all found through friends of friends. It was important that these people were trying to achieve their ‘real self’ rather than just liking the idea of being a part of the creative industry.
The nature of this project lends itself to be shot in a documentary style. I wanted the subject to be shown at work with no make up artist or stylist - straight up real as they are. I shot it in a voyeuristic way to give the image interest; like it’s a snap shot of someone we meet at work but know their secret. I really like old government records, you see a lot of material surface under the Freedom of Information Act with these photographs and typewritten documents (much of which has been censored). Everything about the photo is uncensored and unaltered apart from the individuality of the subject (their face). The struggling artist is well documented in history - the cafés of London are full of resting actors and illustrators working on their portfolios. However, with the explosion of the digital age there comes a whole set of new challenges. No longer is talent lost due to lack of opportunity or resources, rather the challenge is rising above the cacophony.
AMY Waitress Stylist
NAEEM Cook Writer
CAT Childrenâ€™s Party Entertainer Actress
Living in the capital you are in the heart of the creative industry. I meet people every day who are doing something brilliant that I want to learn more about. Itâ€™s these people around me that inspired this project and I truly hope they all succeed at what they want to do. I, too, have been in the situation where we work in a job to pay the rent but you want to do something else. You think you can do it on the weekends and at night but it ends up becoming a chore. You end up not being yourself at home and being someone else at work. It takes courage to break free and determination to do both and I have a lot of respect for the guys that do it.
MATT Gardener Musician
BECKY Shop Assistant Illustrator
LISA Customer Services Advisor Jewellery Designer
MILLY Green Grocer Session Musician
NEW FACE Creative Director & Hair by Neil Gogoi For Privé Products
Photography by Tereza Janáková Make-up by Kaman Lam & Saj Mack for MAC Cosmetics
Styling by Alisha Crutchfield & Chester Algernal Nails by Kristyna Misovcova Models Lily, Anna (Muse Model Management NYC) and Eve (Major Model Management NYC) Words by Laura Thomas
Full disclosure, I work in the beauty industry. I spend a good deal of time thinking about global beauty paradigms, learning about groundbreaking medical research, monitoring emerging trends and markets and attempting to uncover what makes us care about (and spend money on) beauty. In September 2012 a story set the beauty industry all into a frenzy by exposing that South Korean men represent the world’s largest group of skin care consumers (roughly 21 percent of all global sales). Whilst their northern counterparts are widely discussed for dabbling in nuclear weaponry and preparing for war. The South Korean men seem are a stark contrast to the South Korean cultural phenomenon known as ‘kkonminam’ or ‘flower men’ - a group of dandified, local male celebrities known for a highly cosmetic look. This led me to think about the role of androgyny in today’s world. Androgyny used to be a trend that emerged every ten years or so and now it seems like the constant state of things. I considered how gender was a heated topic much like race. While the subject of race is still handled like a hot coal in society, collectively we’ve loosened up about gender. This line of thought came back to
me as I recently read “Grace: A Memoir” by Grace Coddington. She was recalling when Jean Paul Gaultier introduced a controversial runway collection inspired by the traditional dress of Hasidic Jews in 1993. Coddington explained that many people were deeply offended by the collection; they felt caricatured a serious religion and people. But she explained that once you got up close to the actual collection and deconstructed it, it was ‘undeniably beautiful with jet embroideries and caviar beading on black silks and gray satins.’ From what I’ve seen of the collection upon further inspection, it seems to convey a deep respect for this very serious spiritual group. . A Giselelike supermodel in full Hasidic garb including payot may be unsettling, but is it wrong if it encourages the viewer to consider the subject and why it may startle them? I think what it comes down to is the line between admiring a race and its decorative history or sensibility versus mocking it. Many Asians undergo surgery to widen their eyes and use products to whiten their skin. Latinas and Americans spend hefty sums to have their hair permanently straightened. I know many an Irish girl who has paid a lot to have someone spray their skin a deep brown. My own dad had something that looked suspiciously like a perm in the
seventies to achieve the afro look of the moment. Me, I’m incredibly interested in applying henna to my lips for a semi-permanent stain as they do in India. The takeaway from all this cultural and racial borrowing is that each group, each person has something beautiful for eyes of other beholders. Accepting these beauty dialects from others keeps the world an aesthetically interesting place. We call it people watching, but it’s really people thinking. We think someone with tattoos is tough. We think someone with green hair is artistic. We think a man who wears makeup is gay. It’s evolutionary for us to size people up, measure their worth or danger and stick them in a box. But when that guy with tattoos ends up being a NASA scientist, the gal with green hair a lawyer and the dude wearing foundation has four kids and a wife of 12 years, we’re intrigued. We want to learn more. (And if you don’t, I feel terrible for you and your flat existence.) As Charles Darwin famously said: “It is not the strongest of the species that survives, nor the most intelligent, but the one most adaptable to change.” Change is key to our survival. Change our gender one day. Change our ethnicity the next. Change the way we and others experience the world. It may just save the whole race.
A TALE OF TWO CITIES Photography by Manu Valcarce Words by Manu Valcarce, Indie Nahal & Alexandra Wigley
The orthodox Jewish community in Stamford Hill, London, is the biggest Hasidic community in Europe and I was instantly captivated by it. How can we understand the process of being part of a close knit traditional orthodox community, from a contemporary western point of view? Would it be possible to keep and protect such complex traditions and unique cultural modes without this separation, in a place like London in the 21st century? Do individuals experience a form of personal censorship when asked to adhere to, in their everyday life, a complex set of 4000 year old biblical commandments? For a long time I wanted to produce a piece about this community, yet I was put off by the obvious difficulties that would arise. When the opportunity with The Quarterly came along, I decided to go ahead. For a traditional society, to live by the rules which are the translation of that which is sacred is not a form of censorship, it is the act of embracing what is meaningful above all else. But how is this understood within a secular society? If I had come to London to immerse myself in its intense multiculturalism, and literally taste all the flavours it could offer, and experience all the hues of its palette, these individuals were actually somehow acting in the opposite way. Western values, and lifestyles, have been exported over the years to most parts of the world mainly by means of political and economical influence over other communities. Is this a natural process of hybridization or a form of cultural invasion? In the case of the Hasidic Jewish community, the hybrid that results from having mixed traditional orthodox modes of life and some aspects of the contemporary world has generated something entirely unique and surprising.
I felt a strong wish to remain ‘separate’ and soon I started asking myself whether I was doing the right thing or not.
From the start, photography became an opportunity to access groups of people and individuals that I would have had no contact with otherwise. Each time I embark on a new documentary I see myself learning about an entirely different way of living. These other ideas and traditions eventually bring me back to reflecting upon my own ideas and values. To be respectful of the individuals’ wish to remain ‘separate’ I made a general portrait of the community in which faces are not shown. This is my own attempt at understanding their presence without wanting to invade their daily reality. Respecting a decision, to be within a set of values and traditions that is not the same as mine. Unfortunately, the time frame collided with inevitable difficulties where the contact with single individuals was tough on such a short span. The possibility to get ‘into’ the community vanished in front of me. From each “no” I got, I felt a strong wish to remain ‘separate’ and soon I started asking myself whether I was doing the right thing or not. The result for me was to question how I, as a westerner, was approaching people who held such different values and such a different approach to be represented and photographed. This is in broad contrast to our society where children are trained from early ages to be familiar and even show enthusiasm, when it comes to being photographed. It took me time to become accustomed with it, and make sense of it in my own terms. Ultimately right at the core of one of the biggest and most evolving capitals of the world is a community whose values translate in a set of rules. These rules often go in a direction that is entirely other to that of western culture. Yet it is a way of life that exists within western culture. This experience was incredibly significant to me, it is one thing to see a traditional way of life within exotic backdrops of faraway countries, and it’s another to see it right in the middle of one’s own familiar everyday reality.
..Right at the core of one of the biggest and most evolving capitals of the world is a community whose values translate in a set of rules. These rules often go in a direction that is entirely other to that of western culture.
HOW LOUD? Words by Ahou Koutchess
Voices, they hear none. Raucous room rumbling like horses. Or mad cow disease.
You shout to pray for And cry to play part
In the future.