Popular music in Tajikistan and Estonia at cafebabel

The online magazine "cafebabel" featured a short article on the Tajik band "Shams". The article briefly discusses the band's history, style, market positioning and struggles to earn money emphasizing rampant music pirating. The article is a part of cafebabel's feature "The Chronicles of Homo Sovieticus" where I also found an interview from 2006 with the Estonian singer Vaïko Eplik. Eplik discusses his career, his fear of "selling out" and the Estonian recording business.

While both articles are superficial and popular, they do give a small glimpse into popular music in Tajikistan and Estonia - two underrepresented areas both in this blog and within the study of Post-Soviet popular music in general.

The Soviet Union in Soviet and Post Soviet popular music

Referring to ones native country is quite common when making music. But how are those references perceived - especially if that country no longer exists as with the Soviet Union? This post aims to examine some songs which either on a musical or a lyrical level have links to the Soviet Union. In the first part I will discuss reinterpreted versions of the Soviet anthem while the second part deals with two songs about being born in the SSSR. This is of course not an exhaustive discussion of songs with references to the Soviet Union - e.g. two songs I do not discuss are Liube's "Gymn Rossii" from the 2005 album "Rasseia" (while it is the current anthem of the Russian Federation, the melody still is based on the Soviet version) and Televizor's song "Syt po gorlo" which starts with an imitation of the Radio Moskva jingle which in turn is based on the beginning of "Pesnia o rodine" (from the 1936 movie "Tsirk") - an unofficial Soviet anthem (see Steinholt's discussion of "Syt po gorlo" in his book "Rock in the Reservation"). I hope to discuss some different approaches, however the main aim of this post is actually to start a discussion with you, the reader of this post, on these (and also other songs you think are relevant to the topic).

Using or referring to national anthems as inspiration has a long history within music (e.g. Chaikovskii's "1812 overture", the song duel between "Die Wacht am Rhein" and "La Marseillaise" in the movie "Casablanca" and Sex Pistols' version of "God save the Queen") and the Soviet Union is no exception. Igor' Ugol'nikov, a Russian/Soviet showman recorded the Soviet anthem around 1991 sung by the creme de la creme of Russian Estrada. The video clip shows both the different artists singing as well as footage from different achievements of the Soviet Union (e.g. space esploration, the TU-144, sport achievements and the Soviet Union's natural resources). It was released on a CD which according to Ugol'nikov's website is a compilation of musical parodies from his TV-show "Oba-na". Here is the youtube version (the clip can be downloaded from www.hymn.ru):

The lyrics are mostly taken from the 1977 version of the Soviet hymn, but one verse and one refrain is from the 1944 version of the hymn (the site hymn.ru has a good overview of the different versions). The phrasing, melody and accompaniment however sound like 1980s pop/rock music with a funky bass, far from official and the Red army choir's rendition.

The main question regarding the clip is, if it is serious, nostalgic or a parody. When I asked Russians they answered that it is probably stiob (a Russian version of making fun of somebody in a very subtle manner). Considering the context of the clip with the TV-show "Oba-na", the musical implementation (not very solemn, in a pop-rock idiom) and that the clip was created in the early 1990s I think that that is probably the case. It also seems a little early for Soviet nostalgia in the early 1990s.

Stiob is also probably what Leningrad had in mind in their song "Privet, Dzhimmi Khendriks!" taken from their 2002 album "Piraty XXI veka". It features a very distorted solo electric guitar playing / improvising over the Soviet Anthem (or actually also Russian anthem, since 2000 Glinka's patriotic song was replaced by the Soviet hymn as Russia's anthem - with new lyrics by Sergei Mikhalkov, who also wrote the lyrics for both versions of the Soviet hymn - for more information see Daughtry, J. Martin: "Russia's New Anthem and the Negotiation of National identity", Ethnomusicology 47:1 (2003), p. 42 - 67). The song is at the same time a reference to Jimi Hendrix's version of the US anthem at the Woodstock festival in 1969.

However, the Ukrainian group 5'Nizza's performance of the Soviet anthem (using the Soviet lyrics) live on RenTV shortly after midnight on January 1st, 2004 (see www.hymn.ru for the clip) is more complex. While my Russian partner interprets it as stiob - arguing an anthem is something which is sung in a serious setting, not with reggae accompaniment - I sense a feeling of nostalgia for the Soviet Union (or an imagined version of the Soviet Union, since most of the audience is too young to have experienced it) hanging over the performance. According both to other clips I have seen (see the one below from Riga 2006) and people I have spoken to, 5'Nizza apparently include the Soviet anthem at the end of their concerts. Hence, the use could also be a form of band branding, a characteristic of the group (the group "Queen" finished their concerts with the British anthem "God Save the Queen"). Since 5'Nizza is from the Ukraine, not Russia it could furthermore be a reference to a common heritage across the current national boarders. So while the first two examples seem to be more straightforward, 5'Nizza's use opens for several interpretations.


DDT's song "Rozhdennyi v SSSR" (Born in the USSR) was released on the album "Rozhdennyi v SSSR" in 1997 with lyrics and music written and composed by Shevchuk (there are also other versions of this song, however this discussion is based on the recording from the 1997 album). The song's sound itself is rooted in a guitar slightly hard rock idiom using distorted electric guitars over a rock beat. The song's video clip shows both the band playing (in a sepia tint) as well as clips which are similar to amateur home videos with washed out colors or in black and white (i.a. two children playing around a lake, a girl dressed in a pioneer uniform, man walking by the ocean, young people dancing in a disko) - referring to a Soviet past:

The lyrics are very complex (especially compared to Gazmanov's which I will discuss next). Starting with biblical inspiration from the creation (Vnachale byl vecher, potom nastal ia, Vchera slovo da veter, segodnia zemlia - In the beginning there was evening, then I came, Yesterday a word and wind, today earth) the lyrics portray the empire Soviet Union in a decaying, disintegrating state (Ty chem dal'she, tem kruche. Ty pochti zakat - The further away you are, the worse/cooler. You are almost the sunset). Of course the release date of the album is important here. In 1997s Russia (and especially after the financial crisis of 1998) it serves as a nostalgic reminder of the past - an empire which does not exist anymore. The Soviet Union is, however, not portrayed as a glorified entity - more as a country to which the singer has an ambivalent relationship (Ni sekundy bez draki, verim v zhizn' i smert'. V glaza tvoei sobaki, nam ne strashno smotret'. - No second without a fight, we believe in life and death. In the eyes of your dog we are not afraid to look). The refrain "Rozhdennyi v SSSR - Born in the USSR" (with a plural ending, implying we are born in the USSR), however, is sung by the whole band - reflecting a pride in their country of origin (this is also reflected in the comments posted after the clip on youtube where the visitors write their date and place of birth adding "born in the USSR").

Thus the clip conveys a complex message. While the images from the clip, the comments posted on youtube and the refrain on the first look convey a sense of nostalgia back to the Soviet Union, the distorted guitar rock sound and the lyrics paint a darker picture of the decaying empire, a (failed?) historical entity which is related to the ancient Rus'.

As much as DDT's "Rozhdennyi v SSSR" is multi-layered, the last example of this post leaves no doubt of it's message: Performing in good stadium rock style with pyrotechnics and huge Russian flags flying in the audience, Oleg Gazmanov sings about that he was made in the USSR - straight forward and without stiob (as my partner put it, pure propaganda):

Embracing the idea of the Soviet empire Gazmanov refers to now sovereign countries like the Baltic states, Moldova, Kazakhstan, Ukraine and Belorussia as "his" country, in other words the Soviet Union. The lyrics go on mentioning great achievements of Russian and Soviet history (from harvesting machines and torpedoes to the KGB and ministry of interior) and ends with a plea to the former Soviet States (some which have introduced visa requirements for Russians) to reunite.

While the performance on the surface is similar to Bruce Springsteen's "Born in the U.S.A." (similar music style, almost same refrain), Springsteen's song is clearly critical - especially of the Vietnam war and how Vietnam veterans were treated. This is also underlined in the video clip of the song (which can be seen here at youtube.com/watch?v=yPudiBR15mk).

Looking at Gazmanov's clip from a Skandinavian/Western perspective national patriotic motives clearly prevail. However, within a Russian context, there is also clearly a feeling of nostalgia present. For Gazmanov's generation the Soviet Union was their home country and even though there were conflicts both between and inside the different Soviet republics a feeling of unity existed to some extent. The song also, as commented by "Russian Patriot" at the russophobe.blogspot.com (they have a very polemic discussion on Gazmanov's song), appeals to shared values which unite people from the former Soviet republics. Of course the younger generation, especially those who have spent most of their life in a post Soviet Russia have a different view of the song. My partner, who is Russian, sees it as pure propaganda as I just mentioned. More nationalist inclined Russians probably read the song as a statement that Russia finally needs to restore it's former glory (something which Putin's rhetoric also has indicated). Finally, I doubt that residents of the Ukraine and the Baltic states are too happy about the song - however, I doubt that they are the target group. Thus Gazmanov's song clearly has to be interpreted within the context it was created in.

Rounding off this post I just want to add that these are possible interpretations. Both Sergio and I are however interested in your opinions and what you think, so let the discussion begin! ;-)

commenting with open id

just a short administrative note that you can leave comments at this blog with open id. that means you can use a single web identity on multiple platforms (to find out how to get an open id check out openid.net/get - you already have one if you are a livejournal, aol or wordpress user).

on a personal note, you might have noticed that the posting frequency has dropped a little - this only means that sergio and i have been more than usually swamped in work. but don't worry, posts are on the way. ;-)

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Комментируя с open id

(русская версия – адаптирована Sergio Mazzanti

Просто краткое административное замечание о том, что вы можете оставить комментарии в этом блоге с open id. Это значит, что вы можете пользоваться одной сетевой личностью на мультиплатформах (для того, чтобы узнать как получить open id посмотрите openid.net/get – у вас уже есть если вы пользователь livejournal, aol либо wordpress).

Может быть вы заметили, что частота постов несколько уменьшилась – это только значит, что мы с Серджо были более завалены работой чем обычно. Но не волнуйтесь, посты впереди. ;-)

Two right wing attacks at ska/punk concerts

Even after the second anniversary of Timur Kacharava's cold blooded murder by neonazis, right wing attacks on ska/punk concerts remain: On October 13th 2007 a bomb planted at the festival "Music of the Streets" (where i.a. Spitfire performed) at the St. Petersburg club "Roks club" failed to detonate (see xeno.sova-center.ru for more information). Furthermore, on November 27th, 2007 visitors coming from a punk festival in Samara were attacked by neonazis (see xeno.sova-center.ru for more information).

For more information on the murder of Timur Kacharava, the lead guitarist in the St. Petersburg hardcore punk band Sandinista!, see ru.indymedia.org/newswire/display/13960/index.php (in english) or ru.indymedia.org/newswire/display/13961/index.php (in esperanto).

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Два нападения правых группировок на ска-панк концерты

(русская версия - адаптирована Sergio Mazzanti)

Даже после второй годовщины хладнокровного убийства Тимура Качарава неонацистами, остаются нападения правых группировок: 13-го октября 2007 года бомба поставлена на фестивале «Music of the Streets» (где м.и. выступал Spitfire) на Санкт-петербургском клубе «Roks club» не взорвалась (см. xeno.sova-center.ru для большей информации). К тому же, 27-го ноября 2007 года на посетителей выходящих из панк-фестиваля в Самаре напали неонацисты (см. xeno.sova-center.ru для большей информации).

Для большей информации об убийстве Тимура Качарава, главного гитариста в Санкт-петербургской хардкор-панк группе Sandinista!, см. ru.indymedia.org/newswire/display/13960/index.php (по-английски) или ru.indymedia.org/newswire/display/13961

Third volume of Burlaka´s encyclopedia published

As I mentioned and discussed in an earlier post the St. Petersburg Rock critic Andrei Burlaka compiled a three volume encyclopedia on popular music in St. Petersburg from 1965 to 2005 titled "Rok Entsiklopediia - Populiarnaia muzyka v Leningrade-Peterburge 1965-2005". The third volume was finally published by Amfora in November: www.amphora.ru/book.php?id=1355.

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Вышел третий том Энциклопедии Бурлаки

русская версия – адаптирована Sergio Mazzanti

Как я напомнил и обсудил в предыдущем посте, Санкт-петербургский рок-критик Андрей Бурлака составил трехтомную энциклопедию о популярной музыке в Санкт-Петербурге с 1965-го по 2005 год под названием «Рок-энциклопедия – Популярная музыка в Ленинграде-Петербурге 1965-2005». Третий том наконец-то был опубликован Амфорой в ноябре: www.amphora.ru/book.php?id=1355.

izvestiia-interview with grebenshchikov

The Russian newspaper Izvestiia published an interesting interview with Boris Grebenshchikov November 13th. The highlight is that Grebenshchikov thinks that things in Russia have gotten better and that the current government is on the right track ("И вот сейчас я вижу, как к концу его восьмилетнего срока Россия начинает чуть-чуть выправляться." He defines "его" more precisely as "линию, которую наше правительство ведет."). He has gathered this information through conversations with people he has met in connection with his tours in Russia (he says that he does not watch television or read newspapers). Grebenshchikov also downplays the role of his group saying that Akvarium never was a mass group ("'Аквариум' никогда не был массовой группой")...

St. Petersburg Times' Sergei Chernov has a nice critique of the interview in his weekly column.

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Известия-интервью с Гребенщиковым

(русская версия – адаптирована Sergio Mazzanti

Русская газета Известия опубликовала интересный интервью с Борисом Гребенщиковым, 13-го ноября. Сильное впечатление производит то, что Гребенщиков думает, что положение в России стало лучше и что нынешнее правительство на верном пути ("И вот сейчас я вижу, как к концу его восьмилетнего срока Россия начинает чуть-чуть выправляться." Гребенщиков уточнит "его" как "линию, которую наше правительство ведет"). Он получил эту информацию от людей, которых он встречал в связи с его гастролями в России (Гребенщиков сказал, что он не смотрит телевизор и не читает газеты). Гребенщиков преуменьшает роль своей группы, говоря будто «Аквариум никогда не был массовой группой»...

У Сергея Чернова из St. Petersburg times есть хороший обзор интервью в своей еженедельной странице.

Publications on (post) Soviet popular music

*** This page is no longer updated – for an updated list please

visit David-Emil's blog. ***

We thought it might be useful to compile a list of academic publications on (post) Soviet popular music. This, of course, does not mean that we share the views and conclusions of all the mentioned authors. We will update this list continuously, so if you know of some missing publications, please let us know (last updated: 30.06.2010).

Мы подумали, что было бы полезно составить список академических изданий о (пост) Советской популярной музыке. Это, конечно, не значит, что мы разделяем все мнения и выводы цитированных авторов. Мы будем постоянно обновлять список, так что если знаете какие-нибудь отсутсвующие публикации, сообщите пожалуйста нам.

Books / Книги

• Barrett, Søren; Hansen, Nikolaj: "Den russiske rocks historie", Musikvidenskabeligt Institut, Århus University, Århus 1993


• Cushman, Thomas: "Notes from Underground: Rock Music Counterculture in Russia", State University of New York Press 1995


• Доманский, Юрий В.: "Русская рок-поэзия: текст и контекст", Intrada (Москва) 2010


• Drake, Trey Donovan: "The Historical Political Development of Soviet Rock Music", www.powerhat.com/tusovka/titlepage.html


• MacFadyen, David: "Red Stars: Personality and the Soviet Popular Song, 1955-1991", McGill-Queen's University Press 2001


• MacFadyen, David: "Estrada: Grand Narratives and the Philosophy of the Russian Popular Song Since Perestroika", McGill-Queen's University Press 2002


• MacFadyen, David: "Songs for Fat People: Affect, Emotion, and Celebrity in the Russian Popular Song, 1900-1955", McGill-Queen's University Press 2003


• Pilkington, Hilary: "Russia's youth and its culture: a nation's constructors and constructed", Routledge (London) 1994


• Pilkington, Hilary et al. (eds.): "Looking West? Cultural globalization and Russian youth cultures", Pennsylvania State University Press 2002


• Radke, Evelyn: "Rock in Russland - Zur Spezifik der Liedtexte einer Subkultur in der späten Sowjetzeit", VDM Verlag Dr. Müller 2008


• Ryback, Timothy: "Rock around the bloc: A history of rock music in Eastern Europe and the Soviet Union", Oxford University Press 1990


• Steinholt, Yngvar: "Rock in the Reservation: Songs from the Leningrad Rock Club 1981-1986", The Mass Media Music Scholars Press 2005 - pdf version


• Survilla, Maria Paula: "Of Mermaids and Rock Singers - Placing the Self and Constructing the Nation Through Belarusan Contemporary Music", New York (Routledge) 2002


• Urban, Michael E.; Evdokimov, Andrei: "Russia Gets the Blues: Music, Culture, and Community in Unsettled Times", Cornell University Press 2004


• Yoffe, Mark: "Russian hippie slang, rock-‘n’-roll poetry and stylistics: The creativity of Soviet youth counterculture", UMI Dissertation Services (Ann Arbor) 1991


• Yurchak, Alexei: "Everything Was Forever, Until It Was No More - The Last Soviet Generation", Princeton University Press (Princeton, Oxford) 2006


• Zhuk, Sergei I.: "Rock and Roll in the Rocket City: The West, Identity, and Ideology in Soviet Dniepropetrovsk, 1960-1985" Woodrow Wilson Center and Johns Hopkins University Press 2010

Anthologies / Сборники статей

• Eichwede, Wolfgang (ed.): "Städtische Jugendkulturen und Wertewandel in Russland", Kultura 2 (2005) - www.forschungsstelle.uni-bremen.de/images/stories/pdf/kultura/kultura_2.pdf


• Gabowitsch, Mischa (ed.): "Populäre Musik in Russland", Kultura 5 (2006) - www.forschungsstelle.uni-bremen.de/images/stories/pdf/kultura/kultura_5_2006.pdf


• Steinholt, Yngvar B.; Wickström, David-Emil (guest eds.): "Popular Music in the Post-Soviet Space: Trends, Movements, and Social Contexts", Popular Music and Society 32:3 (2009)


• Доманский Ю.В.; Ивлева Т.Г.; Козицкая Е.А.; Суворова Е.И. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 1, Тверь 1998 - poetics.nm.ru/


• Доманский Ю.В. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 2, Тверь 1999 - poetics.nm.ru/


• Доманский Ю.В. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 3, Тверь 2000 - poetics.nm.ru/


• Доманский Ю.В.; Ивлева Т.Г. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 4, Тверь 2000 - poetics.nm.ru/


• Доманский Ю.В.; Козицкая Е.А. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 5, Тверь 2001 - poetics.nm.ru/


• Доманский Ю.В.; Козицкая Е.А. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 6, Тверь 2002 - poetics.nm.ru/


• Доманский Ю.В. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 7, Тверь 2003 - poetics.nm.ru/


• Доманский Ю.В. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 8, Тверь 2005 - poetics.nm.ru/


• Ворошилова, М.; Доманский, Ю.; Чудинов, А. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 9, Екатеринбург 2007


• Ворошилова, М.; Доманский, Ю.; Чудинов, А. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 10, Екатеринбург 2008


• Борошилова, М.Б.; Доманский, Ю.В.; Никитина, Е.Э.; Никитина, О.Э.; Чудинов, А.П. (eds.): "Русская Рок-поэзия: Текст и Контекст", Выпуск 11, Екатеринбург 2010

Articles / Статьи

• Amico, Stephen: "Visible Difference, Audible Difference: Female Singers and Gay Male Fans in Russian Popular Music", Popular Music and Society 32:3 (2009), p. 351 – 370


• Bahry, Romana: "Rock Culture and Rock Music in Ukraine". In: Ramet, Sabrina Petra (ed.): "Rocking the State - Rock Music and Politics in Eastern Europe and Russia", Westview Press (Boulder, San Francisco, Oxford) 1994, p. 243-296


• Bottà, Giacomo: "Interculturalism and New Russians in Berlin". In: CLCWeb: Comparative Literature and Culture 2006 - clcwebjournal.lib.purdue.edu/clcweb06-2/botta06.html


• Brauckhoff, Maria: "Boris Grebenščikov – Kult, Gott der Gegenkultur oder nationales Kulturgut?", Junges Forum Slavistische Literaturwissenschaft 2005 - jfsl.de/publikationen/2005/brauckhoff.htm


• Crescente, Joseph: "Performing Post-Sovietness: Verka Serdiuchka and the Hybridization of Post-Soviet Identity in Ukraine", Ab Imperio nr. 2 “The Politics of Comparison” (2007), p. 405-430?


• Daughtry, J. Martin: "Russia's New Anthem and the Negotiation of National Identity", Ethnomusicology 47:1 (2003), 42-67


• Dobrotvorskaja, Ekaterina: "Soviet Teens of the 1970s: Rock Generation, Rock Refusal, Rock Context", The Journal of Popular Culture 26:3 (1992), p. 145-150


• Easton, Paul: "The rock music community". In: Riordan, James (ed.): "Soviet youth culture", Macmillan 1989


• Friedman, Julia P.; Weiner, Adam: "Between a Rock and a Hard Place: Holy Rus' and Its Alternatives in Russian Rock Music". In: Barker, Adele Marie (ed.): "Consuming Russia - Popular Culture, Sex, and Society since Gorbachev", Duke University Press (Durham, London) 1999, p. 110-137


• Gembe, Holger: "Ruslana - Interkulturelles Marketing aus den Karpaten", Osteuropa 57:5 (2007), p. 137-149


• Helbig, Adriana: "The Cyberpolitics of Music in Ukraine's 2004 Orange Revolution", Current Musicology 82 (2006), p. 81-101


• Heller, Dana: "t.A.T.u. You! Russia, the global politics of Eurovision, and lesbian pop", Popular Music 26:2 (2007), pp 195-210


• Heller, Dana: "'Russian body and soul': t.A.T.u. performs at Eurovision 2003". In:Raykoff, Ivan; Tobin, Robert (eds.): "A Song for Europe: Popular Music and Politics in the Eurovision Song Contest", Ashgate (Aldershot) 2007, p. 111-122


• Hufen, Uli: "Rock in der Sowjetunion - Von der Perestroika in die Bedeutungslosigkeit". In: Holert, Tom; Terkessidis, Mark (eds.): "Mainstream der Minderheiten. Pop in der Kontrollgesellschaft", Berlin 1996, p. 72–85


• Johnson, Danette Ifert: “Music Videos and National Identity in Post-Soviet Kazakhstan”, Qualitative Research Reports in Communication 7:1 (2006), p. 9-14


• Kerton, Sarah: "Too Much, Tatu Young - Queering Politics in the World of Tatu". In: Whiteley, Sheila; Rycenga, Jennifer (eds.): "Queering the Popular Pitch", Routledge (New York, Oxon) 2006, p. 155-167


• Klid, Bohdan: "Rock, Pop and Politics in Ukraine's 2004 Presidential Campaign and Orange Revolution", Journal of Communist Studies and Transition Politics 23:1 (2007), p. 118-137


• Laing, Dave: "Ukraine". In: Shepherd, John; Horn, David; Laing, Dave (eds.): "Continuum Encyclopedia of Popular Music of the World", Volume VII "Europe", Continuum 2005, p. 72-73


• Lecke, Mirja: "Exportschlager! Die russische Mädchenband t.A.T.u.", Osteuropa 57:5 (2007), p. 125-135


• Lyrvall, Björn: "Anteckningar från et källarhål: Möten i Leningrads kulturella underjord", Nordisk Øst-forum 1:3 (1987), p. 23-40


• Mazzanti, Sergio: "Il concetto di 'russkij rok' tra storia e mito". In: "Percorsi della memoria (testo arti metodologia ricerca)", Roma 2007, p. 281-300 - http://web.lettere.uniroma2.it/apache2-default/informazioni/index.php?option=com_docman&task=doc_download&gid=280


• MacFadyen, David: "Anatomizing Russian Pop and Rock", TOL, 06.02.2007 - www.tol.cz/look/TOL/article_single.tpl?IdLanguage=1&IdPublication=4&NrIssue=204&NrSection=3&NrArticle=18285&ST1=ad&ST_T1=job&ST_PS1=1&ST_AS1=1&ST2=body&ST_T2=letter&ST_PS2=1&ST_AS2=1&ST3=text&ST_T3=aatol&ST_PS3=1&ST_AS3=1&ST_max=3


• McMichael, Polly: "'After all, you're a rock and roll star (at least, that's what they say)’: Roksi and the Creation of the Soviet Rock Musician", The Slavonic and East European Review 83:4 (2005), p. 664-684


• McMichael, Polly: "Prehistories and Afterlives: The Packaging and Re-packaging of Soviet Rock", Popular Music and Society 32:3 (2009), p. 331 – 350


• Merchant, Tanya: “Identity and Exoticism in Sevara Nazarkhan’s Yol Bo’lsin”, Image and Narrative 11 (2005) - www.imageandnarrative.be/worldmusicb_advertising/tanyamerchant.htm


• Merchant, Tanya: "Popping Tradition: Performing Maqom and Uzbek “National” Estrada in the 21st Century", Popular Music and Society 32:3 (2009), p. 371 – 386


• Ninoshvili, Lauren: "The Poetics of Pop Polyphony: Translating Georgian Song for the World", Popular Music and Society 32:3 (2009), p. 407 – 424
  


• Pavlyshyn, Marko: “Envisioning Europe: Ruslana’s Rhetoric of Identity” Slavic and East European Journal 50:3 (2006), p. 469-485


• Ramet, Pedro: "Rock counterculture in Eastern Europe and the Soviet Union", Survey 29:2 (1985), p. 150-171


• Ramet, Pedro; Zamashchikov, Sergei: "The Soviet rock scene", Journal of Popular Culture 24:3 (1990), p. 149-174


• Ramet, Sabrina Petra; Zamascikov, Sergei; Bird, Robert: "The Soviet Rock Scene". In: Ramet, Sabrina Petra (ed.): "Rocking the State - Rock Music and Politics in Eastern Europe and Russia", Westview Press (Boulder, San Francisco, Oxford) 1994, p. 181-218


• Rancier, Megan: "Resurrecting the Nomads: Historical Nostalgia and Modern Nationalism in Contemporary Kazakh Popular Music Videos", Popular Music and Society 32:3 (2009), p. 387 – 405


• Rutten, Ellen: "Tanz um den roten Stern - Russendisko zwischen Ostalgie und SozArt", Osteuropa 57:5 (2007), p. 109-124


• Schlott, Wolfgang: "Musikalischer und sozialer Zündstoff: Rockmusik im Spiegel der neuen sowjetischen Kulturpolitik", Osteuropa 39:2-3 (1989), p. 191-198


• Schlott, Wolfgang: "Der Zerfall eines widerständigen Symbolsystems: russische Rockmusik während und nach der Perestrojka". In: Eimermacher, Karl; Kretzschmar, Dirk; Waschik, Klaus (eds.): "Russland, wohin eilst Du? Perestrojka und Kultur", Vol. 2, Dortmund 1996, p. 637-655


• Six, Irina: "Born in the USSR: Searching High and Low for Post-Soviet Identity", Ulbandus 11 (2008), p. 232-251


• Spinetti, Federico: "Open Borders. Tradition and Tajik Popular Music: Questions of Aesthetics, Identity and Political Economy", Ethnomusicology Forum 14:2 (2005), p. 185 - 211


• Steinholt, Yngvar: "You can't rid a song of its words: notes on the hegemony of lyrics in Russian rock songs", Popular Music 22:1 (2003), p. 89-108


• Steinholt, Yngvar B.; Wickström, David-Emil: "Ensretting, segmentering og unnvikende strategier: Tendenser i det 'nye' Russlands populærkultur", Den Jyske Historiker 117-118 (2008), p. 120-138


• Steinholt, Yngvar B.: "Michail Borzykins credo: Ekstrem individualisme fra sovjetisk til postsovjetisk kulturkontekst". In: Lunde, Ingunn; Witt, Susanna (eds.): "Terminal Øst: Totalitære og posttotalitære diskurser", Spartacus/Scandinavian Academic Press (Oslo) 2008, p. 268-285


• Survilla, Maria Paula: "Rock Music in Belarus". In: Ramet, Sabrina Petra (ed.): "Rocking the State - Rock Music and Politics in Eastern Europe and Russia", Westview Press (Boulder, San Francisco, Oxford) 1994, p. 219-242


• Steinholt, Yngvar B.; Wickström, David-Emil: "Introduction", Popular Music and Society 32:3 (2009), p. 307 – 311


• Survilla, Maria Paula: "'Ordinary Words' : Sound, Symbolism, and Meaning in Belarusan-Language Rock Music". In: Berger, Harris M.; Carroll, Michael Thomas: "Global Pop, Local Language", University Press of Mississippi (Jackson) 2003, p. 187-206


• Tsitsishvili, Nino: "The Embryo of Change: Heavy Rock, Gender Relationships and Traditional Music-Culture in Georgia", Proceedings of The Second International Symposium on Traditional Polyphony, 23-27. September 2004, Tbilisi State Conservatory, Tbilisi, p. 505-515 (Georgian version p. 498-504)


• Utegalieva, Saule: “Razvitie Pop-Muzyki v Kazakhstane (na rubezhe XX-XXI v.v.)”. In: Zhumabekova, D.; Begalinova, G. (eds.): "Muzyka Kazakhstana: Proizvedenye i Ispolnitel", KazNIIKI (Almaty) 2000, p. 168-174


• Wanner, Adrian: "Wladimir Kaminer: A Russian Picaro Conquers Germany", The Russian Review 64 (2005), p. 590–604


• Wanner, Catherine: "Nationalism on Stage: Music and Change in Soviet Ukraine". In: Slobin, Mark (ed.): "Retuning Culture - Musical Changes in Central and Eastern Europe", Duke University Press (Durham, London) 1996, p. 136-155


• Wickström, David-Emil: "Marusia visits Berlin. Cultural flows surrounding the Russendisko", Musik & Forskning 31 (2007), p. 65-84 - cms.ku.dk//upload/application/pdf/6f740c91/Musik%20og%20Forskning%2031_2008_Wickstrom.pdf


• Wickström, David-Emil: "'Drive-ethno-Dance' and 'Hutzul Punk': Ukrainian-associated Popular music and (geo)Politics in a Post-soviet context"", Yearbook for Traditional Music 40 (2008), p. 60-88


• Wickström, David-Emil; Steinholt, Yngvar B.: "Visions of the (Holy) Motherland in Contemporary Russian Popular Music: Nostalgia, Patriotism, Religion and Russkii Rok", Popular Music and Society 32:3 (2009), p. 313 – 330


• Wickström, David-Emil: “The Russendisko and Music from and of the Post-Soviet Diaspora”. In: Fernandez, Jane (ed.): “Diasporas: Critical and Inter-Disciplinary Perspectives”, Inter-Disciplinary Press (Oxford) 2009, p. 65-74 - www.inter-disciplinary.net/publishing/id-press/ebooks/diasporas/


• Wickström, David-Emil: "My reggery – Reggae, Ska and Ska-punk in St. Petersburg", Norient (2010) – norient.com/academic/wickstroem2010


• Yoffe, Mark: "Back [Into the] Underground: Russian Rock'n'Roll Community in Search of New Adversaries and Identities", East European Meetings in Ethnomusicology 7 (2000), p. 105-112


• Yoffe, Mark, Laing, Dave: "Russia". In: Shepherd, John; Horn, David; Laing, Dave (eds.): "Continuum Encyclopedia of Popular Music of the World", Volume VII "Europe", Continuum 2005, p. 57-72


• Yurchak, Alexei: "Gagarin and the Rave Kids: Transforming Power, Identity, and Aesthetics in Post-Soviet Nightlife". In: Barker, Adele Marie (ed.): "Consuming Russia - Popular Culture, Sex, and Society since Gorbachev", Duke University Press (Durham, London) 1999, p. 76-109


• Yurchak, Alexei: "Soviet Hegemony of Form: Everything Was Forever,
  Until It Was No More", Comparative Studies in Society and History 45:3 (2003), p. 480—510 - blc.berkeley.edu/Yurchak__Hegemony_of_form.pdf


• Дайс, Екатерина: "Русский рок и кризис современной отечественной культуры", Нева 1 (2005), p. 201-230 - magazines.russ.ru/neva/2005/1/dais11.html


• Дайс Екатерина: "Поиски Софии в русском роке: Майк и БГ", Нева 8 (2007), p. 196-226 - magazines.russ.ru/neva/2007/8/da15.html


• Дурново, Григорий: "Ориентация в пластилиновой вселенной: (не)советский рок 1990 года", НЛО - Независимый филологический журнал 83 (2007) - magazines.russ.ru/nlo/2007/83/du41.html

Unpublished graduate papers, master thesises and dissertations

• Davoli, Dushan: "Il Rock sovietico: potere alla parola", Verona 2000


• Hoffman, Lorenz: "Der russische Rock als kulturelles Phänomen des sowjetischen Undergrounds. Darstellung seiner Entwicklung im politischen und kulturellen Kontext. Einblick in Leben und Werk der wichtigsten Vertreter der sowjetischen Rockkultur der achtziger Jahre und Analyse exemplarischer Songtexte", Magisterarbeit, Leipzig 2000


• LaFontana, Dave: "You Say You Want a Velvet Revolution? John Lennon and the Fall of the Soviet Union" Grad Paper, Harvard University (Massachusetts) 2003 - beatles.ncf.ca/dave_lafontana.html


• Oehler, Thomas: "Русский рок - Identitätskonstruktionen in den Songtexten aktueller Russischer Rockbands", Lizentiatsarbeit im Fach Russische Philologie am Slavischen Seminar der Universität Basel, Basel 2006


• Radke, Evelyn: "Russische Rockmusik: Zur Funktion einer Subkultur in den 70er und 80er Jahren", Magisterarbeit im Fach Slavistik/Literaturwissenschaft, Technischen Universität Dresden, Dresden 2002


• Steinholt, Yngvar: "Saftutpresseren: Russisk rock i politisk brytningstid", University of Tromsø, Tromsø 1996


• Weingartz, Daniela: "Die Deutung des Akvarium-Songs Poezd v ogne als
  Perestroika-Hymne", Seminararbeit "Boris Grebenščikov –
  Popstar, Dichter und Kultfigur der 80er Jahre", Ruhr-Universität Bochum, Seminar für Slavistik, Sommersemester 2003 - www.hausarbeiten.de/faecher/vorschau/53081.html


• Wickström, David-Emil: “Okna otkroi! – Open the windows! Scenes, transcultural flows, and identity politics in popular music from Post-Soviet St. Petersburg”, PhD-thesis, Københavns Universitet, Copenhagen 2009

Documentaries / Документальное кино

• Bachmann, Christine (Producer & Director): "Good Bye, Leningrad!", Cultiv - Gesellschaft für internationale Kulturprojekte e.V, Germany/Russia 2006 - www.cultiv.net/cultiv/index.php?id=623

Other material / Другие материалы

• Kaminer, Wladimir: "Russendisko", Manhattan/Wilhelm Goldmann Verlag (München) 2000


• Troitsky, Artemy: "Back in the USSR - The True Story of Rock in Russia", Faber and Faber (Boston, London) 1988 (1987)


• Адамович, Антон; Бабенко, Сергей; Колбасов, Игорь: "Русский Рок - Энциклопедия", Антон Трофимов Издательство 2003


• Бурлака Андрей: "Звездные мгновения рока - Рок-блиц", Советский композитор (Москва), 1990


• Бурлака Андрей, Запесоцкий А.: "В ритме эпохи - Очерк истории музыки 'рок'", Санкт-Петербург 1994


• Бурлака, Андрей: "Рок Энциклопедия - Популярная Музыка в Лениниграде-Петербурге 1965-2005", Т. 1-2, Амфора (Санкт-Перетбург) 2007


• Голубева Т.: "Песня в общении молодежи (на материале советских рок- групп)", Новое в жизни, науке, технике №. 9, Знание (Москва) 1988


• Добрюха Н.: "Рок из первых рук", Молодая гвардия (Москва) 1992


• Дряпіка В.: "Розкриваючи світ джазу, рок- і поп-музики", Трелакс (Київ–Кіровоград) 1997


• Житинский, Александр: "Путешествие рок-дилетанта", Лениздат (Ленинград) 1990
  


• Кормильцев, Илья: "Великое рок-н-ролльное надувательство-2", Агентство Политических Новостей 2006 - Часть первая, Часть вторая, Часть третья


• "Кто есть кто в советском роке. Иллюстрированная энциклопедия отечественной рок-музыки", МП Останкино (Москва) 1991


• Кушнир, Александр: "100 магнитоальбомов советского рока 1977-1991: 15 лет подпольной звукозаписи", Аграф (Москва) 1999


• Кушнир, Александр: "Золотое подполье. Полная иллюстрированная энциклопедия рок-самиздата. 1967-1994", Деком (Н. Новгород) 1994


• Марочкин, Владимир: "Повседневная жизнь российского рок-музыканта", Молодая гвардия (Москва) 2003


• Меньшиков В.: "Энциклопедия рок-музыки", Ташкент 1992


• Налоев А., Феофанов О.: "Бунтари и конформисты - Рок-музыка Запада за 40 лет", Книжное издательство (Ставрополь) 1989


• Орлова И. В.: "В ритме новых поколений", Знание (Москва) 1988


• Саркитов Н.Д., Божко Ю. В.: "Рок-музыка: сущность, история, проблемы - Краткий очерк истории отечественной рок-музыки", Новое в жизни, науке, технике, Сер. Эстетика № 3, Знание (Москва) 1988


• Смирнов, Илья: "Время Колокольчиков - Жизнь и смерть русского рока", Инто (Москва) 1994


• Стогофф, Илья: "Бронзовый рок от 'Санкт-Петербурга' до 'Ленинграда'", Амфора (Санкт-Петербург) 2004


• Троицкий Артемий: "Рок-музыка в СССР: опыт популярной энциклопедии", Книга (Москва), 1990


• Троицкий Артемий: "Рок в Союзе: 60-е, 70-е, 80-е", Искусство (Москва) 1991


• Троицкий, Артемий: "Я веду вас в мир... поп", Время (Москва) 2006


• Федоров Е.: "Рок в нескольких лицах", Молодая гвардия (Москва) 1989


• Феофанов О.: "Музыка бунта - Очерк о биг-бите", Москва 1975


• Феофанов О.: "Рок-музыка вчера и сегодня", Москва 1978


• Фрис С. "Социология рока". Цит. по А.Фоменко. In: Лисенков А.В. (ed.): "Торжество поп-музыки - Музыка созидающая и разрушающая", Советская Россия (Москва) 1989, p. 59-75


• Хижняк И.А.: "Парадоксы рок-музыки: мифы и реальность", Молодь 1989


• Цукер А.М.: "И рок, и Симфония", Москва 1993