You can't rid a song of its words: notes on the hegemony of lyrics in Russian rock songs

Steinholt, Yngvar B.

doi:10.1017/s0261143003003064

Cited by 6 publications

(2 citation statements)

References 7 publications

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“…43.See, however, Steinholt (2003) for a critique. For studies stressing the political nature of Russian rock, see Cushman (1995) and Ramet (1994).…”

Section: Endnotesmentioning

confidence: 99%

‘The most Martian of Martianesses’: Zhanna Aguzarova, (post-)Soviet rock ‘n’ roll, and the musico-linguistic creation of the ‘outside’

Amico

2014

Pop. Mus.

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This article focuses on the Soviet/post-Soviet singer Zhanna Aguzarova, as both frontwoman for the seminal Russian rock ‘n’ roll bandBravoand as a solo artist. Contextualising her musical output within the singer's frequent allusions to and performances of extraterrestrialism, and drawing upon works of Kristeva and Vygotskii, I contend that Aguzarova's voice and frequent use of vocables contributed to a creation of a performative space ‘outside’ of and in contradistinction to the linguistically over-determined ‘official’ Soviet space. In conclusion, however, I problematise the creation of a simple binary, showing how Aguzarova's musical Russianness, as well as her emigration from and return to Russia, constitute a type of ‘rooted Otherness’.

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“…43.See, however, Steinholt (2003) for a critique. For studies stressing the political nature of Russian rock, see Cushman (1995) and Ramet (1994).…”

Section: Endnotesmentioning

confidence: 99%

‘The most Martian of Martianesses’: Zhanna Aguzarova, (post-)Soviet rock ‘n’ roll, and the musico-linguistic creation of the ‘outside’

Amico

2014

Pop. Mus.

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“…Institutionally, the dissolution of Komsomol means that youth have no institutions guarding their interests, a problem that is worsened by state cuts to school funding (Pridemore 2002). Many youth from poor families either migrate, drop out of society by embracing western youth cultures (Pilkington 2002;Pilkington and Bliudina 2002;Steinholt 2003) or become juvenile delinquents (Pridemore 2002).…”

Section: The Once Celebrated Russian Youthmentioning

confidence: 99%

Youth Migration, Stratification and State Policy in Post‐Soviet Russia

Eastman

2013

Sociology Compass

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In principle, the fall of the Soviet Union brought democratic capitalism to the Russian people. In practice, during the post-Soviet era power elites influence state policies governing social processes like migration to protect their power from democracy and shield their economic status from free market competition. Manipulating policy stalls social mobility and reinforces stratification as many Russian migrants, most of whom are young and poor, cannot assimilate into cities like Moscow in order to take advantage of the economic and educational opportunities exclusively available there and nowhere else in the country. While Russia is unique in being a newly established democracy with a free market, similar processes also create and reproduce inequalities in the west. Thus, sociologists should explore how denying access to space and the unprecedented opportunity some places offer migrants limits social mobility thereby maintaining the social stratification hierarchy.

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The three phases of rock music in the Czech lands

Ramet

Đorđević

2019

Communist and Post-Communist Studies

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In the Czech lands (included in Czechoslovakia until the end of 1992), rock music has evolved through three phases. In the first phase, lasting until 1968, rock musicians had no ambition to offer social or political commentaries. This began as the era of rock ‘n’ roll, which is to say music being performed for dancing. The second phase began after the Soviet bloc invasion of Czechoslovakia in August 1968, lasting until the end of the communist era in 1989. In this phase, rock musicians (no longer playing rock ‘n’ roll were closely monitored by the authorities and were expected to sing happy songs, submitting their song texts to the authorities for approval in advance of performing them. In spite of this control, some rock groups purposefully sang political texts in the 1970s and 1980s, mocking or criticizing the communists, albeit often cryptically. Finally, in the third phase — since 1989 — having lost their ideological foe, Czech rock groups have for the most part become politically disengaged.

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You can't rid a song of its words: notes on the hegemony of lyrics in Russian rock songs

Cited by 6 publications

References 7 publications

‘The most Martian of Martianesses’: Zhanna Aguzarova, (post-)Soviet rock ‘n’ roll, and the musico-linguistic creation of the ‘outside’

‘The most Martian of Martianesses’: Zhanna Aguzarova, (post-)Soviet rock ‘n’ roll, and the musico-linguistic creation of the ‘outside’

Youth Migration, Stratification and State Policy in Post‐Soviet Russia

The three phases of rock music in the Czech lands

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