By Stephen Amico
established at the musical studies of gay males in St. Petersburg and Moscow, this ground-breaking examine examines how post-Soviet well known track either informs and performs off of a corporeal realizing of Russian male homosexuality.
Drawing upon ethnography, musical research, and phenomenological concept, Stephen Amico bargains a professional technical research of Russian rock, pop, and estrada tune, dovetailing into an illuminating dialogue of gay men's actual and physically perceptions of song. He additionally outlines how renowned song performers use tune lyrics, drag, actual routine, photographs of girls, sexualized male our bodies, and different instruments and tropes to implicitly or explicitly show sexual orientation via functionality. ultimately, Amico uncovers how such performances support gay Russian males to create their very own social areas and selves, in significant relation to others with whom they proportion a "nontraditional orientation."
Read or Download Roll Over, Tchaikovsky!: Russian Popular Music and Post-Soviet Homosexuality PDF
Similar music books
While George Jones recorded "He Stopped Loving Her at the present time" greater than thirty years in the past, he was once a strolling catastrophe. dual addictions to medicinal drugs and alcohol had him ingesting Jim Beam by means of the case and snorting cocaine so long as he used to be conscious. ahead of it was once over, Jones will be bankrupt, homeless, and an unwilling sufferer at an Alabama psychological establishment.
As a boy in post-War England, mythical Kinks' singer/songwriter Ray Davies fell in love with America--its videos and track, its tradition of freedom, fed his mind's eye. Then, as a part of the British Invasion, he toured the USA with the Kinks in the course of essentially the most tumultuous eras in fresh history--until the Kinks staff used to be banned from appearing there from 1965-69.
Reviews of opera, movie, tv, and literature have confirmed how buildings of insanity will be referenced that allows you to stigmatise but in addition free up protagonists in ways in which strengthen or problem contemporaneous notions of normality. yet thus far little or no examine has been carried out on how insanity is represented in well known tune.
The Musicality of Narrative movie is the 1st e-book to envision extensive the film/music analogy. utilizing comparative research, Kulezic-Wilson explores film's musical capability, arguing that film's musicality will be accomplished via a variety of cinematic units, without or with tune.
- Consuming Music Together: Social and Collaborative Aspects of Music Consumption Technologies (Computer Supported Cooperative Work, Volume 35)
- Collective Talent: A Study of Improvisational Group Performance in Music
- Performing Class in British Popular Music
- The Cultural Impact of Kanye West
- The Idea of Music in Victorian Fiction (Music in Nineteenth-Century Britain)
- Jazz in Search of Itself
Additional info for Roll Over, Tchaikovsky!: Russian Popular Music and Post-Soviet Homosexuality
The realm of sexuality, for a large number of these men, was also seen as reliant upon the material body; many saw their sexual orientation as being biologically based (ascribing their homosexuality to either hormonal or genetic influences), something they were “born with,” and sexual attraction and behavior as likewise somatically motivated. For example, several found the Homosexual Bodies/Embodied Homosexuality 17 idea of monogamy between two men impossible on a “biological level,” and questioned the viability of long-term, committed male homosexual relationships.
Petersburg and Moscow. Through the limited contact I had with men living in smaller locales within the country (and through reminiscences of those men who had moved to these urban centers from more rural, provincial locations), it was clear that one’s experiences of sexuality and (popular) culture varied greatly based on geocultural location. As such, this study makes no attempt to engage those peoples or locales outside of the two mentioned, and it makes no claims to comprehensiveness in terms of the Russian Federation as an entity.
Petersburg (Rotikov 1998), visible by their dress, carriage, argot, and mien, but also as the assumed audience of the homoeroticized male body as represented in and by the photographs of muscular athletes taken at the studio of Karl Bulla, the paintings of Kuz’ma Petrov-Vodkin, and the kinesthetic forms of ballet dancers Vatslav Nizhinskii and his contemporaries. This homosexual body was not entirely eradicated in post-Revolutionary Russia, but in fact left pictorial and embodied traces in the very mechanisms enlisted by the state in its attempts to perfect the individual-social body: From any number of hygiene-related posters and pamphlets depicting homosocial environments populated with nude or seminude men,49 to the spectacles of fizkul’tura parades (one of which was immortalized on film in 1937),50 to the paintings and mosaics of artists such as Aleksandr Deineka (showing nude, male Soviet citizens in “healthy” activities),51 to the very physical space of the bania (a space in which, as noted, the “healthy” Soviet body might be maintained, but also where the propinquity of one male body to another might lead to actual sexual activity),52 the male body, often inherently sexualized via the foregrounding of its aesthetic and sensual attributes, served as a repository—one often apparently, mind-bogglingly incongruous in the 18 chapter 1 context of a supposedly sexo- and homophobic discursive space—for the public symbolization of a male-male sexual desire that was, for all intents and purposes, blocked in all other spheres.