Muharrem Ahmeti - Balada в ciganski
for vodka. The innkeeper says he has heard of a peasant who drank away his wife's horse, then the I nad chashei peli v lad. Pesenki podbliudny. was flirting with god-building; but there has been, to my knowledge, only one reference to. It is followed by Pesni tsïganki (Gypsy's song), with words by .. him from the lure of vodka, a procedure that is more likely to end begins to flirt with Olga. sponsored campaign for linguistic standards, flirting with left-green politics, and .. To the offer of some under-the-table vodka smuggled into the restaurant in a . in that it takes the celebrity construction machine 41 Ty pro pesni zagovorila,/.
A Big Hunk O' Love 1: A Bluegrass Song 0: A Boy From Nowhere 3: A Bridge To Far 2: A Certain Smile 2: A Child Is Born 3: A Christmas Carol 3: A Christmas Tradition 3: A chto nam nado 3: A Cowboy Rides Again 3: A cygan idet 2: A day in the life 4: A devochka malchika zhdet 2: A Fifth Of Beethoven 3: A Fine Romance 3: A Foggy Day 2: A Fool Such As I 2: A Fools Tears 4: A gde mne vzyat takuyu pesnyu 4: A gdje si ti - Vuco 3: A Girl Like You 3: A gody letyat 2: A Ha - Love Is Reason 3: A Ha - Maybe, Maybe 2: A Ha - Rolling Thunder 5: A Ha - Scoundrel Days 3: A Ha - Seemingly Nonstop July 2: A Ha - Summer Moved On 4: A Ha - The Living Daylights 4: A Ha - Train Of Thought 4: A Ha - Waiting For Her 4: A House Without Love 3: A ja sam negdje rujno vino pio - Tozovac 4: A joj - Latino 3: A kind of magic 4: A Kiss From A Rose 4: A la orbakiene 2: After that, he pursued a successful film and theater career.
Another influential Moscow band was Tsentr Centerformed in by singer- songwriter and bass player Vasily Shumov.
SinceShumov has lived in California, where he has worked in electronic music. He has continued to be an important presence on the Russian scene. Nikolai Kopernik Nikolai Copernicusa very influential avant-garde band, was also established in Its founder, Yuri Orlov, formerly a member of the progressive instrumental rock band Dzhungli Jungleunderwent spiritual training with a shaman in Khakassia, an autonomous region on the border with Mongolia, and derived from there a strong interest in the musical heritage of the aboriginal peoples of Siberia.
As a result, his band, fully formed bycreated a most exotic and eclectic but, at the same time, artistically powerful mix of new wave music, shamanistic singing, evocative intonations from Russian folklore, arrangements with a psychedelic feel, a sense of a meditative estrangement from reality and a highly polished sound. Until this time, Russia had little familiarity with world musics.
Nochnoi Prospekt Night Avenuewhich first performed inwas created by well- known Russian composer, arranger and keyboard player Ivan Sokolovsky. He left the band in to begin an illustrious solo career. Nochnoi Prospekt was one of the strongest Moscow promoters of new wave, and was known for its tongue-in-cheek satirical lyrics. Sokolovsky often performed as a duet with guitarist Alexei Borisov, with a background provided by a pre-recorded tape.
Two singer-songwriters with similarly tragic fates, a similar cult status, and having an important influence on the shaping of the Russian rock tradition came to Leningrad and Moscow from the provinces, ending there their lives in suicide, then to be catapulted to the pinnacle of the Russian rock pantheon. Alexander Bashlachev, considered to be the most talented rock poet of Russia, was also a strong tunesmith and a very powerful, even ecstatic performer of his own songs.
He played alone, accompanying himself on acoustic guitar. Inhe committed suicide by throwing himself out of a tenth-story window. Her act was mostly acoustic. However, she was occasionally accompanied by a drum. Having grown up in Siberia, she was very familiar with the harshness of the Soviet reality.
Her songs, though often very powerful, were markedly dark and painful. While in Moscow she drowned her self in and joined Bashlachev at the pinnacle of Soviet rock. Through the s, a number of important and talented bands appeared in the Russian provinces. Nautilus Pompilius, a pop-rock band from the city of Sverdlovsk in the Ural Mountains was one of the most prominent bands to come from the provinces.
Sverdlovsk also produced Nastia Poleva, who started as a vocalist for Nautilus Pompilius and later pursued her own career fronting her band Nastia.
Vostochnyi Sindrom, from the remote and far eastern region of Magadan was a quintessential Siberian band, tough and uncompromising. Kalinov Most Kalinov Bridge from Novosibirsk became well known for its heavy, almost metallic version of folk rock. Their humor and irony hijacked the national discourse, seeping even into the language of television and the major newspapers. Towards the end of the Soviet Union and into the s rock musicians emerged as the most uncompromising and respected leaders in the country where the struggle for culture was concerned.
Inthey emerged triumphant, together with the forces of Russian democracy. After With the collapse of the Soviet regime came a rather unexpected loss of identity, a personal and creative crisis for many in Russian rock. Rock musicians suddenly lost their role of spiritual leadership, and from being glorious rebels they turned into simple entertainers, subject to the forces of a free market. No longer was it enough to be a professional hero: Music and musicians were now judged, not upon their social relevance and their ability to scandalize authorities, but upon their craftsmanship, their artistic achievements.
Rock musicians found it hard to adapt to the new mafia-capitalist reality. They went searching for new enemies.
Thus, some rock musicians went back to the underground, re- establishing their rebellious identity. This was the route taken by Egor Letov of Grazhdanskaia oborona and Sergei Kurekhin, two of the most illustrious and popular leaders of perpetually dissenting Russian rock.
In the early s, it became possible to see major trends developing in Russian rock after perestroika. There crystallized three basic movements: The cosmopolitan rock movement has been defined primarily by the fact that the musical, poetic and ideological reality of Russian life have been mostly quite conspicuously absent from its songs. The world depicted in the songs of cosmopolitan musicians has been utterly international and can be found in almost any modern country. This music is westernized.
It is slightly ironic and detached form of cool rock, with a somewhat monotonous but highly polished and well produced sound. This music lacks any reference to Russian traditions, both with regard to Russian pop music and Russian folk music.
Highly electronic, the guitar- and keyboard-based sound is reminiscent of Western dance genres: The songs are usually highly danceable. Cosmopolitan rock is also performed by Blast, one of the emerging bands that perform only in English and for English-speaking audiences.Making of FLIRT vodka TVC
Two elements of importance stand out where nationalist rock is concerned: Amateurism here becomes a form of protest against Western rock perceived as soulless, overproduced and corporate. Nevertheless, as amateurish as Russian nationalist rock is at times, it still borrows heavily from the arsenal of Western rock traditions in terms of the bluesy musical progressions that are often used and in terms of the use of a rhythm section and a full line up of other traditional rock instruments.
It is as if Russians are saying: The musicians bring into play the rich tradition of native Russian folk and pop genres: Russian nationalist rock is fundamentally conceptual because more often then not it is serving some kind of idea other than a purely musical one.
The carnivalesque presumes temporary suspension of the normal rules governing society and the substitution of such rules with temporary new ones. Carnival presumes going back to a national humorist tradition: It is normal world turned inside out.
The carnivalesque deals with things that otherwise are taboo in society: Closely related to these taboos is the Bakhtinian juxtaposition of official and unofficial culture found in each society. These carnivalesque elements are the redeeming factor of Russian nationalist rock, which makes it interesting and frighteningly unusual.
Within the realm of nationalist rock throughout the s and into the early years of the twenty-first century can be found the most original and creative and most specifically Russian of the rock bands.
However, this is not a new tradition. The tradition had already started to develop back in mids when Alexander Gradsky created his band Skomoroki to sing only original songs and only in Russian, and when Vetry Peremen started to introduce in their music elements of Russian folk and church traditions. In the s and into the early years of the twenty-first century the best and the brightest of Russian rock musicains are nationalist to some degree. Perhaps the greatest artistic divide within Russian rock practice of the early twenty-first century tales place along lines of gender.
Female rock musicians, stepping away from the amateurish nationalist post-punk tradition and towards the polished sound of pro-Western bands have managed to blend these two trends into a beautiful and particularly Russian synthesis.
Without sacrificing musicianship, good quality arrangements and tunefulness, they have managed to bring into their music an array of elements from the vocal techniques and instruments of folk music to folk music harmonies and melodies.
At the beginning of the twenty-first century Russian rock was a very complex phenomenon and was still going through the process of finding its identity.
V poiskakh grustnogo bebi [In Search of Melancholy Baby]. Barker, Adele Marie, ed. Rock Music Counterculture in Russia. Legendy russkogo roka [Legends of Russian Rock].
Extreme Freerun в manqka
Musical Changes in Eastern and Central Europe, ed. Duke University Press, A Decade in Aquarium. Personality and the Soviet Popular Song, Interview with Brian Eno. Legend of a Dinosaur]. Ramet, Pedro, and Zamascikov, Sergei. The Soviet Rock Scene. Kennan Institute Occasional Paper.
Rock Around the Bloc. Entertainment and Society Since Songs To Seven Strings: The Fate of Jazz in the Soviet Union.
Back in the USSR: The True Story of Rock in Russia. The University of Michigan. Yoffe, Mark, and Zhirinovsky, Vladimir. Romanian Society for Ethnomusicology, — Puteshestvie rok diletanta [Travels of a Rock-Dilettante]. Discographical Reference Zvuki Mu. Modern Songs From Russia. Warner Brothers Liubimye pesni Ramzesa IV. Dlia tekh, kto svalilsia s luny.
Inna - Fever & Snimki Na Mka в STARI GRADSKI PESNI
Pesni o prirode i liubvi. V poliakh pod snegom i dozhdem. Ianka Ianka Diagileva Angedoniia. Ianka Ianka Diagileva Kontsert v Irkutske. Ianka Ianka Diagileva Kontsert v Kurgane. Ianka Ianka Diagileva Nepolozheno. Ianka Ianka Diagileva Poslednii kontsert. Ianka Ianka Diagileva Prodano. It is clearly an issue with some of the television audience, as Danilko is very frequently subjected to homophobic comments in online forums.
Camp in this sense appropriates the self- publicist, the self-stylization of celebrity culture, to then turn it back on itself, revealing the constructed nature of media identity.
Three aspects of this process stand out in terms of their relevance to Verka. The analysis in this chapter of the Verka act within the Russian cultural context no doubt supports the argument of observers such as Moe Mayer about the mainstream appropriation of camp and the resulting diffusion of its political radicalism and roots in queer culture Mayer Verka-branded butter and kvas have also been promoted, and Danilko, again in character as Verka, has been involved in supporting the Ukrainian Green Party and at one point discussed the possibility of forming his own political party.
The usage of these terms adopted here parallels their application to the cultural-linguistic milieu examined by Bilaniuk. In that respect, camp as a radical dehierachical category in the Russian context can be said to have the potential for a critical, deconstructive albeit limited response from within. From a musical performance background she rose to fame through her emotional performances, which connected with audiences, and her equally powerful virtuoso singing.
She also wrote some of her own songs. Just as Pugacheva gains attention by associating herself with younger performers such as Maksim Galkin, relatively new stars also benefit from the link with her. However, after the end of the Soviet Union this type of performance was ripe for parody. The director also shot most of the music videos for Verka. This seventy-five-minute musical film follows Verka from her birth under a Ukrainian haystack to a Moscow television dressing-room.
Pugacheva is a constant presence in the pop- culture references that frame the film and is the in-joke of choice. It observed that those intellectuals weaned on Bakhtin and critical of Verka should be less discriminating in their application of his most famous theory.
This film, commissioned by Channel One, was never shown on terrestrial Russian television. Pugacheva is never one to shy away from giving expression to the problem of personality for the celebrity, and does so in songs and comments to the press.
Galkin calls result is camp, commonly defined as theatricality taken to such an extreme that the constructed nature of the original, parodied object is revealed.
Most negative commentary in the media has focused solely on the music and lyrics, while ignoring the performative context as a whole, especially within the music video.
The following paragraph describes one of many videos devoted to these themes. It becomes clear that Verka is treating her country-bumpkin relatives, who are dressed in a mixture of traditional Ukrainian dress and clothing typical of rural workers and market traders.
They, too, are far from relaxed in the midst of this new experience, showing confusion and bewilderment. The party is loud and unruly, the other patrons unimpressed by the interlopers. Initially cringing, Verka is gradually won over by the uninhibited atmosphere, joining in their raucous behavior. To the offer of some under-the-table vodka smuggled into the restaurant in a plastic bag by one of her party so as to avoid the traditional restrictions on the amount of hard liquor served, and the high pricesher response is to order cocktails for all—her idea of the height of taste in beverages.
Избор на редактора
The song quickly degenerates into a self-congratulatory duel of celebrity status indicators, Verka dedicating her pop videos to Kirkorov, and he, his CDs to Verka. They are often of significant length, beginning, ending, and interrupting the narrative of the song itself.
Much is made of her punishing schedule and the constant attention demanded of her by the technicians of her mediation, such as make-up artists and managers because of her new status. Incongruously, her mother—who never removes her headscarf, a marker of her peasant status—is ever at her side, bewildered and dazzled by the glamour of the music industry, and she provides an ironical stand-back point. The narrative takes place in the family flat where Verka has come back for a visit during New Year celebrations.
While Verka glowers in silence, relatives on either side of her report the rumors they have read in the media regarding her choice. With a tired shrug she finally states that she will represent Kazakhstan. True to her roots, she has mistaken over-dressing for glamour and chic—an error resulting in a vivid camp image of tacky excess. Typically, she sports huge colorful hats, furs, and sequins. Danilko, cast as himself in the performance, is pained by her failure to realize that she is anything but glamorous.
The earlier scene at the railway station between Moscow and St. Petersburg reveals Verka in her final form, that of pop star diva. Who writes them, have you forgotten? You were walking through the carriage bringing someone tea, And I forgot about everything in the world. Verka, ever the self-publicist with an unwavering sense of her own importance and her status of beloved icon, is given a dressing down by her creator.
Verka is simultaneously victor and victim. The audience laughs at her delusions, for as a subject she is an empty shell, just as her greatest assets are similarly empty, made of foam. At the same time, however, if taken individually, they are only an exaggeration of the very behavior required of the celebrity performer: These qualities make for the ongoing mediation of the celebrity image within the public domain and ensure an endless source of gossip and scandal.
It poses the rhetorical question of what parts make up the sum of the elevated star who comes from humble beginnings.