So, the Pussy Riot story is pretty beat right now: if you follow any news outlets, you know the deal: they performed in an orthodox church, were tried in a perfectly-legal Russian kangaroo court, and then…. that’s it. Right?

Wrong. Maria Alyokhina and Nadezhda Tolokonnikova have been sentenced; the deal’s done and they’re going to spend the rest of their two year term in “women’s prison camps” (read: gulags). The camps will be located in Perm and Mordavia (what a creepy name that second one is); several prisons in these regions once comprised the Soviet Union’s gulag labor-camp system. The third prominent member of the group, Yekaterina Samutsevich, was released earlier this month on a suspended sentence, which is essentially the same thing as probation.

The band announced their reaction to this decision via it’s Twitter account:

“These are the harshest camps of all the possible choices”

(Pretty dehumanizing, huh?)

What is interesting in this phenomenon is how quickly it grew: from a low-profile story making appearances only in minor news outlets and Russia Today, to a celebrity-endorsed full-fledged media frenzy, it seemed to skyrocket at one point. I suppose everyone soon figured out that there isn’t much they can do to actually help Pussy Riot apart from reposting masturbatory declarations of “solidarity” (and how solid is it if it only exists on the internet?).

Most major news outlets jumped on this meteoric feel-good bandwagon, quickly spaying it of any anarcha-feminist force it might have had by sexualizing the band members and turning the entire phenomenon into a cutsie Riot Grrrl display of rebelliousness. This couldn’t be helped: this is a resilient vestige of patriarchal oppression that informs the way in which women are portrayed in mass media: as objects devoid of volition and will; as centerpieces at best, to be looked at but never acknowledged much less understood.

In a show of solidarity, St. Petersburg artist Pyotr Pavlensky sewed his mouth shut 

Once they have been fetishized into caricatures of themselves and consumed by the public, radical feminist performance artists can only be thrown away, preferably to some remote Siberian penal colony none of us has ever heard of. This is the way in which the media sees groups like Pussy Riot and Femen, but this is also the way in which we see them: there are still articles coming out about their trial and incarceration, but they’re no longer trending and they’re no longer garnering such volumes of hits and likes. It is, after all, much easier to simplify their message and subscribe to an ideological kitsch than it is to play through a thought-experiment and imagine the breadth of oppression that leads to such acts of aesthetic revolt.

After all, there is a reason the members wore ski masks in their performances: not to avoid getting caught by the authorities, as they understood the risks, but to avoid getting caught in the cycle of objectification that would, inevitably, spay their radical feminist message and render it barren.

GOOSEBUMPS “SCARED TO SEE A DOCTOR” RECORD RELEASE SHOW AT 538 JOHNSON (FULL SETS FROM GOOSEBUMPS, AJAX, MERCENARY, LIBYANS, AND LA MISMA)

Like an episode of Jerry Springer, but with more fireworks.

FIGHT CLUB: THE BEST OF FRIDAY NIGHT THROWDOWN

Following the news of Throwdown’s return at SXSW this year with a Texas vs. NYC event, it seems only appropriate to take a look back at the history of Friday Night Throwdown, and the coverage we’ve had of it here on Superchief over the years. For the uninitiated; Friday Night Throwdown wasn’t just NYC’s best underground boxing event, it was NYC’s best underground party.

TEXAS VS. NYC: THROWDOWN RETURNS AT SXSW THIS YEAR

The organization that brought Ford models, Marines and Bloods together for New York’s best underground party is bringing their business to Austin, and bringing with them a Texas vs. NYC event…and Superchief will be covering the whole thing, from start to finish.

THIS APRIL: SUPERCHIEF GALLERY NYC PRESENTS JOHN FELIX ARNOLD III’S “EXCORRIGIA | THE SCOURGE”

From the world of UNSTOPPABLE TOMORROW, Superchief Gallery NYC returns this spring with John Felix Arnold III’s EXCORRIGIA | THE SCOURGE, an exhibition of new works in painting, drawing, mixed media, installation, and sound. The exhibition will run from April 3 through April 13, and there will be an opening reception on Thursday, April 3 from 6-10pm at CultureFix on 9 Clinton Street.

HIGH ON HUNGER: JANE CHARDIET

“High on Hunger” is Jane Chardiet’s new zine, featuring personal essay, photography and interviews with 12 artists, including some of our favorites, about their 2013 and their artistic goals in the new year, along with photographs of each licking fire. It’s good stuff, so I asked Jane about her 2013, because turnabout’s fair play and that’s how the game works.

12 O’ CLOCK BOYS (BALTIMORE STREETBIKE REALNESS)

Whatever your city is doing, what the homies out in B-More are doing is 10x as crazy. 12 O’ Clock Boys is one of the hardest movies we’ve seen in a long time, hands down, exploring a city and a culture that just doesn’t give a fuck (and featuring Baltimore himies like Schwarz on the soundtrack) the film gets more done in it’s 75 minutes than most documentaries do in twice that.

TAPE BAG #1: I HAVEN’T GOTTEN OFF MY COUCH IN DAYS.

Talking shit on random tapes cuz I wanna. Round one: Mongrel, Skinny Puppy, Madonna, Gowanus Mutant Kommandos, Temple of the Dog and MORE.

R.I.P RICKY LUANDA OF CHAIN GANG

Ricky Luanda of the experimental NYC punk band Chain Gang, one of the coolest bands ever, passed away earlier this week from esophogeal cancer. Watch 10 minutes of the bands’ rare, legendary, batshit crazy 1980′s film “MONDO MANHATTAN” right here.

ALWAYS KEEP THE CAMERA RUNNING: MAKS SUSKI’S VIDEOS OF THE NYC MUSIC SCENE

Maks Suski has been hard at work documenting live music in NYC on video for the last 4 years; we asked him to compile a list of some of his favorite videos that he’s shot, a list that includes Japanther, Action Bronson, Death Grips, Culo, Crystal Castles, Limp Wrist, Black Pus and more.

THERE IS A TINY LEG A QUARTER OF AN INCH BELOW YOUR TENTH RIB.

“Although Tiny Leg’s sound owes much of it’s inspiration to the Oakland glucose and thumbtrack scenes of the mid-nineties, and has been called by HotFridge magazine ‘a thumbcore homage to the sound of Velvet Curtis and Taco’ and ‘a slick-stale, neo-juicy, post-hipster alchemy, somewhere in between gluke-wave and puke-base’ by PeckerwoodsToday, those sentences are too journalistic and not souague enough, if one may permit my french.”

DAWN OF HUMANS, HANK WOOD & THE HAMMERHEADS, AND PHARMAKON PLAYED PS1 SATURDAY NIGHT (FULL SETS)

PUNK NOT ART NOISE NOT MUSIC ACK ACK ACK ACK

TOD SEELIE’S “BRIGHT NIGHTS” BOOK RELEASE & PHOTO SHOW AT SUPERCHIEF GALLERY AT CULTUREFIX (VIDEO)

Tod Seelie’s book release and photo show at Superchief Gallery at CultureFix was a celebration of the last 15 years of New York’s underground, for sure; but it also kept an eye on the future.

FUCKED UP CLOSED OUT 285 KENT’S LAST SHOW (FULL SET)

285 Kent finished it’s run last Sunday night; check out full video of Fucked Up’s headlining set right here.

SUPERCHIEF GALLERY AT MIAMI ART BASEL 2013: WILL SMITH CAN SUCK IT.

Superchief Gallery’s showing at Select Fair 2013 is even bigger, better and more batshit crazy than our 2012 showing was – check out photos here, and for homies in Miami, we’ll be at the Catalina Hotel all this week!

STACY KRANITZ’S SKATOPIA (50+ Photos From a Burnout’s Paradise)

Photographer Stacy Kranitz recently journeyed to Skatopia, a famed 88 acre skate park/commune in Ohio which was founded in 1995, documented in the 2010 film of the same name, and once described by writer Kevin Duffel as “a demented mess that meets halfway between an anarchistic Mad Maxian Thunderdome and a utopian skateboard society.” Goddamn if it isn’t one of the best things we’ve ever seen.