Women at War in Ukrainian Conflict – Photo Gallery

Women at War in Ukrainian Conflict

Topic:Situation in the South-East of Ukraine

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(1) Female fighters have been active members of both warring sides since the outbreak of the conflict. Women participating in the eastern Ukrainian conflict represent all walks of life and have different reasons to take up arms.

Above: A Ukrainian servicewoman stands in Horlivka, September 18, 2014.

(2) As of 2013, almost 10,000 women have completed military service in Ukraine’s Armed Forces as contract soldiers, with more than 1,600 positioned as officers.

Above: A Ukrainian servicewoman Stella, 33, poses for a picture in the village of Schastya, near the eastern Ukrainian town of Luhansk, September 26, 2014.

(3) A lot of DPR and LPR female freedom fighters are now seeking to retaliate after losing relatives in the conflict.

Above: A woman fighting for the self-proclaimed DPR, poses with her weapon in Donetsk, September 10, 2014.

(4) Some women are medical attendants or cooks, but others fight shoulder to shoulder with men.

Above: Members of Rus batallion’s female division during shooting drills.

(5) After undergoing military training, they join units, even serving in artillery sections.

Above: A DPR female soldier at a checkpoint on the outskirts of Horlivka.

(6) The freedom fighters remark that female soldiers are disciplined and surprisingly brave, calling them “true women”.

Above: A woman fighting on the side of the self-proclaimed DPR, Donetsk, September 8, 2014.

(7) A lot of women were forced to remain with their elderly parents who could not evacuate because of poor health and old age. Consequently their daughters decided to take up arms.

Above: A woman fighting for the self-proclaimed DPR in the town of Nizhnaya Krynka, eastern Ukraine, September 23, 2014.

(8) Some admit they are more fearful of sitting at home and enduring shelling than fighting an enemy face to face.

Above: A woman fighting on the side of the self-proclaimed DPR in Donetsk, eastern Ukraine, September 17, 2014.

(9) Women claim the freedom fighters treat them as equals.

Above: A woman fighting for the self-proclaimed LPR in Luhansk, eastern Ukraine, September 14, 2014.

(10) Before the outbreak of the conflict Irina was a croupier and never imagined herself waging a war. Now, her life is at stake…

Above: Irina, nicknamed Gaika, former croupier, turned to the artillery specialist at the DPR Army, Makiivka, eastern Ukraine, October 6, 2014.

(11) “So many people including children and women died on our side. I want no more ceasefire.”

Above: Alla, nicknamed Ryzhaya (the Red-haired), a independence fighter, poses during an interview in the town of Donetsk, eastern Ukraine, October 5, 2014.

(12) War turns everyone into a soldier. It is not surprising to see yesterday’s housewife in a bulletproof vest and helmet, holding a semi-automatic gun.

Above: Ukrainian servicewoman Nadie, 36, stands at the military camp in the village of Luhanska (near the town of Luhansk), eastern Ukraine September 24, 2014.

(13) Anyway, women are women, and a handgun often neighbors a make-up set on their tables.

Above: Irina, a petrol station employee, is now a member of a reconnaissance team of freedom fighters in the town of Makiivka, eastern Ukraine, October 6, 2014.

(14) Warring women say that they lack respect toward men who dodge fighting.

Above: A female freedom fighter gets ready to take position near the International Airport during fighting with Ukrainian government forces in the town of Donetsk, eastern Ukraine, October 4, 2014.


Behind the Filth and the Fury: Rarely Seen Sex Pistols Photos

Photographer Dennis Morris chronicled the U.K. punks amidst the chaos of 1977

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Photographer Dennis Morris first captured the attention of the Sex Pistols when Johnny Rotten saw some of the work he’d done with Bob Marley. The punk singer, a huge reggae fan, quickly brought Morris into the fold when the Pistols signed with Virgin in May 1977, and for the next seven months the photographer was constantly by their side, capturing incredibly intimate natural images during the absolute peak of their career. It was a time of madness, drug addiction, infighting and constantly canceled gigs, and Morris caught it all on film. The Bollocks, an exhibition of his work, opened at the Known Gallery in Los Angeles on August 9th and runs through the 23rd. 

Mr. Vicious: “I remember shooting this when we pulled the tour bus into a petrol station,” says Morris. “They had to make a phone call to find out about the next gig. Johnny kind of walked out of the shot. If you look at Sid’s jacket, it’s slightly open and you can see where he was cutting himself. He did that quite a lot.”

Sid & Nancy “This is from Brunel University,” says Morris. “It was the last gig they did on the SPOTS tour. I remember when they arrived they were excited since it was a massive venue, maybe 3,000 people. It was finally a chance to play a big gig and prove to people they were a great live band. Well, the show started and, to their horror, they realized it was a backline sound system. It sounded horrible and was possibly they worst gig they ever did. They were devastated. I took this shot of Sid Vicious and Nancy Spungen after the show. You can see where Courtney Love got her image from, and you can see who the boss was with the two of them. She was a very strong character. I remember her saying, ‘You could have done this! You could have done that!’ Sid would just mumble a response.”

The Great Rock and Roll Swindler “This is the only shot I ever got of [Sex Pistols manager] Malcolm McLaren,” says Morris. “He just detested getting his photo taken. I think this was taken in the lift of Brunel University. I just sneaked in a shot. I love how the sign says, ‘Load not to exceed 3,000 pounds.’ That was right in so many ways. You know, he thought it would be best if the band was never allowed to play. He wanted the shows to be shut down after a few songs so mayhem would break out and they’d get press attention. Nearly every place he booked them in was too small. Sometimes there was no stage and they’d play on the floor. One place I was at ran a rope in front of the stage. A rope! Everyone dove onto the stage, of course. It was chaos, which is just what Malcolm wanted.”

Pretty Vacant:  “This was shot backstage at the Marquee Club,” says Morris. “That’s where everyone played, including the Who, Jimi Hendrix, Led Zeppelin, the Rolling Stones… everybody. We were there for the video shoot for ‘Pretty Vacant’ and ‘God Save the Queen.’ The band decided they wanted to do a live gig, so they invited an audience in. The filmmaker wanted to do a playback, but the band refused and played live. If you look at the videos carefully you can see that they are out of sync. As usual, the show was utter chaos. This photo was taken backstage before or after they played.”

God Save the Queen’s Jubilee: “I shot this photo of Sid on the jubilee boat trip,” says Morris. “It’s one of my favorite shots of him. I love that it looks like he’s just sweeping through. We were all on this ferry going up and down the Thames, playing music really loudly during the Queen’s Jubilee. We were creating mayhem and eventually police boats pulled up to us. The band kept saying, ‘Fuck off! Fuck off!’ We were eventually pulled over onto the docks and God knows how many police were waiting for us. Malcolm made sure he got arrested and he made his statement about the oppression of the society and God knows what else.”

Pissed Off:  “These are fans in the bathroom of the Vortex, which was one of the main clubs in England where the Sex Pistols played,” says Morris. “One of the guys was having a piss in the toilet and another guy is pissing on him. That sort of sums it up. Most people don’t realize that fans back then didn’t have Mohicans. That came after the demise of the Pistols, around 1979. In 1976 and 1977 nobody had them. The main thing about punk back then was self creation. It was about buying an old jacket, writing words on it or whatever and making it your own. People used to show up at the clubs with plastic bags. They’d disappear into the toilet and come out looking glorious. They knew they couldn’t leave their homes like that.”

Paul Cook: “To me, the band would not have existed without Paul,” says Morris. “He was a brilliant, brilliant drummer. The same goes for Steve Jones on guitar. The sadness for these two is that their abilities have gone so unrecognized. They really crafted the sound of the band. John’s voice is on top of them, but all the sound is coming from them.”

Roxy Pistols:  “This was taken backstage in Sweden,” says Morris. “As you can see, Johnny was constantly changing his look. He was very into Brian Ferry, and I call this his Brian Ferry stage with the white jacket and tie. With Sid, he’s usually wearing the same thing in most of my photos. He basically just woke up, ran his fingers through his hair, put on a jacket, with or without a shirt, put on that chain and he looked amazing. John, however, really worked it.”

Wink: “Even though this looks like it was taken in a photo studio, I actually just snapped it one day in Sweden,” says Morris. “One morning I just decided to take some portrait shots. We opened the curtain, moved away some furniture and that was it. This shot with Sid winking is one of the most bootlegged shots of mine. It’s been ripped off so many times. It’s just unbelievable. People often tell me they thought it was public domain or they come up with some other excuse. One guy actually told me he had no memory of bootlegging it because he had Bird Flu! I had no sympathy for him. These people will come up with any excuse they can think of.”

Disco Punk:  “This was taken backstage at a club in Sweden,” says Morris. “It was another example of complete chaos. It was a disco club and they had to play on the floor. Again, there was no division between the crowd and the band. Just a rope. The gig was pulled after a few songs, just complete chaos. It was exactly what Malcolm wanted.”

The Rise of Sid:  “When you look at this image, which I think I took at the Marquee, you get a sense of life in the band,” says Morris. “Like in other bands, a time comes when one member becomes more of a focus than another. When I look at this picture, I see Sid becoming stronger within his presence in the band. John was an amazing frontman, one of the best I’ve ever seen, but Sid had huge potential. He just didn’t know what he had, but he slowly figured it out. You can see Sid coming forward in this photo and John kind of lurking back.”

Virgin Boys:  “This was taken right after they signed a contact with Virgin,” says Morris. “They were known as a hippie label at the time. Tubular Bells by Mike Oldfield was their best-selling album. Richard [Branson] had a real vision, and after they were dumped by a bunch of labels, he knew signing them was the best way to break out of the hippie thing. It was a very brave move, and it caused Virgin to just go through the roof. It allowed them to sign Human League, Culture Club and many others. Signing the Sex Pistols was the best move he ever made.”

Sid’s Fall:  “I shot this at the side of the stage during a gig in Penzance,” says Morris. “It was one of the best gigs they ever did. They had a proper stage and a functioning PA. The crowd was really up for it. Sid suffered from real stage fright. The adulation and hysteria was becoming too much for him. In that photo, he’s yelling ‘Shut up!’ John is looking at him like, ‘Oh shit.’ That was really Sid’s downfall, when he sank more into drugs.”

Tour Mac DeMarco’s Brooklyn Apartment

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Photos by Sacha Lecca
Interview by Simon Vozick-Levinson

1. Canadian singer-guitarist Mac DeMarco recently invited Rolling Stone to hang out at the Brooklyn apartment where he recorded this year’s excellently laid-back Salad Days. He made the album entirely on his own in a tiny bedroom (pictured) – often with his girlfriend sleeping in a loft bed above his head. “I record pretty quietly,” DeMarco, 24, explains with an easy grin. “Usually, it’s either me doing a guitar track over and over or, like, singing very softly. She probably thought I was a fucking weirdo.”

Read on for more candid snapshots from DeMarco’s place.

2.DeMarco moved to New York last year after stints in Montreal, Vancouver, and his native Edmonton. Recording the follow-up to 2012’s super-buzzed 2, his full-length debut under his own name, came with heavy expectations. “There’s that whole stigma where people are like, ‘You’re going to fuck up on the sophomore album!'” he says. “It drove me completely insane. You just kind of have to forget about it, or you’re just going to end up making this hunk of crap.”

3. DeMarco hangs with his friend and roommate Andy Boay, who’s joining his backing band.”Everybody who lives here is in bands,” DeMarco says of the multi-room space. “I think the other guys have lived here for, like, six years or something.”

4. DeMarco moved to New York last year after stints in Montreal, Vancouver, and his native Edmonton. Recording the follow-up to 2012’s super-buzzed 2, his full-length debut under his own name, came with heavy expectations. “There’s that whole stigma where people are like, ‘You’re going to fuck up on the sophomore album!'” he says. “It drove me completely insane. You just kind of have to forget about it, or you’re just going to end up making this hunk of crap.”

5. DeMarco got into music as a kid in Edmonton, where he briefly entertained dreams of technical guitar wizardry. “My teacher was like, ‘We’re going to turn you into a Joe Satriani, Steve Vai guy,’ and I was like, ‘Uh, OK,'” he recalls. By his teens, he had given up on that and started jamming with his buddies in a series of goofy joke bands. “We were like, ‘It doesn’t matter if we’re good or bad, let’s just get as drunk as possible and go play.'”

6. By the time he turned 20, DeMarco was gigging around Canada and the U.S. to support his early releases under the stage name Makeout Videotape. In 2012, he toured tirelessly to promote his EP Rock and Roll Nightclub and, later, 2. “After we got some good reviews, the shows all of a sudden got way bigger,” he says. “I was like, ‘What the fuck is going on?'”

7. By the time he turned 20, DeMarco was gigging around Canada and the U.S. to support his early releases under the stage name Makeout Videotape. In 2012, he toured tirelessly to promote his EP Rock and Roll Nightclub and, later, 2. “After we got some good reviews, the shows all of a sudden got way bigger,” he says. “I was like, ‘What the fuck is going on?'”

8. “Lately we’ve been getting a lot of bras thrown on stage,” DeMarco says. “Kids just love to crowd surf all of the time. They’ll come up on stage and step all over our shit. It’s crazy, because my music is not punk music or anything. It’s not, like, hardcore. It’s not conducive to mosh pits. But they go insane!”

9. “To me, it’s flattering,” he adds of fans going wild at his shows. “As long as people are having fun. And if ‘having fun’ means starting a circle pit on a really slow, acoustic song, I’m like, ‘Hey, I don’t understand, but that’s cool.'”

10. Salad Days’ easygoing sound has earned many a classic rock comparison – and DeMarco couldn’t be happier. “One thing I hear a lot is, ‘Dude, my mom loves your record,’ or ‘I got it for my dad for Christmas,'” he says. “I’m essentially doing dad rock. Which is great, because I love Steely Dan, you know? Nothing wrong with dad rock!”

Homeless in New York: A Public Art Project Goes Underground

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Like any city, New York is covered in advertisements. Bright, flashy banners on every corner tout goods and services that, to the average city dweller, range from daily necessities to luxuries. But another visual element of urban life is just as familiar, and just as often overlooked: the homeless.

Andres Serrano, a life-long New Yorker and artist who has tackled intractable controversies over the course of his career, unveiled a new project last week that combines these two constant visual features of city life. Residents of New York, a series of large format portraits of the homeless, has taken over the spaces typically occupied by advertisements at the West 4th Street subway station in New York’s West Village and at other locations in the bustling Manhattan neighborhood.

Read more: Homeless in New York: A Public Art Project Goes Underground.

Trailer for Andres Serrano: Residents of New York. This site specific public art installation, produced by More Art, opens on May 19th, 2014.

The Art and Music of Mother Nature: Starlings’ Dazzling Airshow Photos by Matthew Taylor/REX

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The Art and Music of Nature

Although starlings can look beautiful the noise they make can be a nuisance to some people. Their high-pitched chirping and whistling combined with the sound of thousands of the birds’ wings moving as one can mean the murmuration can be heard hundreds of metres away.

At this time of the year, starlings migrate from colder to milder climate in groups of thousands birds. But do you know that they could create amazing airshows in the sky?

Please take a look at these amazing photos by Matthew Taylor.