CEU eTD Collection Budapest, Hungary Advisor: Professor Irina Papkova Nationalism and Xenophobia in the Music and Fan Base of aRussian In partial fulfillment of the requirements for the degree of Nationalism StudiesProgram Central European University Central European Maxwell Sorensen Submitted tothe Submitted Master of Arts Rock Band Rock 2008 By CEU eTD Collection 2. MusicandHistory: ThematicDevelopments Chapter 3. Fans Groups andInternet Forums Introduction Chapter 1.2. Making Meaning: MusicandLyrics Chapter 1.1. RefiningChapter 1.1. Rock: Developing anApproach Bibliography Supplementary Materials: AudioCD Conclusion 2.2 TheYelstin Years: Pagan From toPop Fan Forums 3.3 2.3 The Putin era: Swastikas, Slavs, and Others 3.1 Interpreting Audiences 2.1 Perestroika Rock 3.2 The Army of Alisa 3.4 The Red-Black Hundred 3.3.2 Case 2. Internet Fan Forum Analysis- Alisa.net Song Forum: “Black” 3.3.1 Case 1. Internet Fan Forum Analysis- Alisa.net Song Forum: “Skyof Slavs ………………………………...... 51 ………………………………...... 1 ………………………………...... 56 .……………………………...... 37 ………………………………...... 18 ………………………………...... 36 Table of Contents ………………………………...... 34 ………………………………...... 45 ……….………………..…...... 60 ………………………………...... 15 ………………………………...... 21 ………………………………..9 ….……..……………………22 …………. ”. …. 42 39 2 CEU eTD Collection a new conservative representation of Orthodox Christianity emergent an and Christianity of Orthodox representation a new conservative by Putin both the in during era canbe 1990s,hisstar late characterized the transformation 1980s, the to aself-proclaimed Paganin early the a sensitive1990s, to self-reflective pop manytaken from turns, an anti-communist satirist rebel and rock iconcounterculture in enduring Rock stars: Konstantin Kinchev, and his band “Alisa.” Kinchev’s career has analyzes the history,music, public persona, and fan base of one of Russia’s most fans social construct by groups identifying with messagethe an artist conveys. This study unit of analysis,largely ignoring how audiences fansand bases aremaintained, and how investigated. That is,most studies which analyze Russian rock have taken lyric text as the themes have an appeal for certain segments of Russian rock fans has notbeen thoroughly been the subject of a critical analysis. More importantly, why nationalist and xenophobic has innot rock themes Russian xenophobic and nationalistic thepresenceof music artists, perceptions of national identity have played in the creation of Russian rock lyrics by and Russia.( Press, 1995);Sabrina Petra Ramet et. Al, 2 FaberInc, 1988). lyrics. song of analysis literary Music” in Music” 3 Russian Youth Cultures ( 1 decades.two Approaches have varied from journalistic Introduction Culture, Sex, and Society since Gorbachev. Hard Place: Holy Rus’ and Its Alternatives in Russian Rock Music.” In 97-120.(Newcastle: Cambridge Scholars Press, 2005); J. Friedman and A. Weiner. “Between aRock anda Thomas Cushman, Mark Yoffe and Andrea Collins, “Conceptual Carnival: National Elements in Russian Nationalist Rock Artemy Troitsky, Russian Rock music has been the subject of several books and articles in the last in the articles and books several of subject the been has music Rock Russian Rock’n’Roll and Nationalism: A Multinational Perspective, Boulder: Westview Press, 1994), Hilary Pilkington, : Back in The USSR: The TrueStory of Rock in Russia ( Notes from the Underground: Rock Music Counterculture inRussia. ( University Park, PA: The Pennsylvania State University Press, 2002). 3 While more recent texts have addressed the role have the addressed texts Whilemore recent Rocking the State: Rock Music andPolitics in Eastern Europe edited by Adele Marie Barker, 110- 137, (USA: Duke Looking West: Cultural Globalization and 1 to the sociological tothe ed. Mark Yoffe and Andrea Collins, Andrea and Yoffe Mark ed. Consuming Russia: Popular Winchester, MA: Faber and MA: Faber Winchester, 2 to critical Albany, SUNY 1 CEU eTD Collection orway of using” the category nation. In Kinchev’s lyrics, ‘nation’ is used most frequently as 6 3. chapter in discussed are nomenclature fan 5 Press, 2003), 9. normative typology ‘Cultural nationalism ideologies-a and statist“Nationalist Gans, nationalism.’” Chaim See studied. (Cambridge: being case the Cambridgein language to Universityaddition in criteria 4 University Press, 1999). 2008. resonated among a particular audience of Russian rock fans between the years 2000 and The goal of this research is to establish why nationalistic and xenophobic themes Aim ofResearch years. of a number over developed have themes how both a Russian classic rock and contemporary makes group rock itpossibleevaluate to ‘perestroikabands rock’ of 1980sLeningradthe scene, as Alisa’s notoriety and status and fans than would be possible in most other cases. Furthermore, as one of the original theband between relationship analysisthe of a moreconduct thorough to researcher the Russians. non-ethnic towards antagonism implicit an with nationalism Russian ethnocultural Army of Alisa.” “the organization fan their and “alisomany” proclaimed self- the as fanatical as been organized fan culture. Other Russian rock artists may have wider audiences, but few have milieu. Alisa has been selected specifically because of its uniquely dedicated and meantto suggest that this isthemost important orprominentband in Russianrock the committed fan base, much of it organized into a fan club called the “Army of Alisa.” Nationalism will be defined here according to Rogers Brubaker as a “particular language, political idiom, It should be noted that the term ‘alisoman’ has fallenout of favoramong certain fans recently. Changes in Iprefer thephrase 6 7 The fact that hasThe factthat itself inscope isthis limited work to merely music artist not one Classical theorists of nationalism, such as Gellner, argued that the collapse of 4 Through Through years, Kinchev the has maintainedsized, amoderate buthighly 5 The existence of this fan culture, and its organizational structure, allows ethnocultural : nationalism over ethnic because of the emphasis placed on other cultural other on placed emphasis ofthe because way to 2 CEU eTD Collection http://www.questia.com/PM.qst?a=o&d=105487891. 10 9 8 Adrian Favel, 7(London: KluwerLaw International, 1995). Ernest Gellner, “Nationalism and Xenophobia,” in 7 Patriotism,” (see terminology section); Rogers Brubaker, “In the Name of the Nation: Reflections on Nationalism and the state as a whole, and thereby to define or redefine the state as the state the as state the orredefine define to thereby and awhole, as state the “assert ‘ownership’ of the polity on behalf of a ‘core’ ethnocultural ‘nation’ distinct from the citizenry of “aggressive nationalism.” potentially promote communist authoritarian systems, resulting ideological vacuum, and instability would sense of sense of framing such ‘everyday’allows tosucceed. the which convey emotion and a sense of collective identity, as well as how it can be used to make Furthermore, it is music’s uniquely social properties as an art form, that is how music can their surroundingeven environment during aperiod of economicrelative stability. accessible cognitive frame, availablemusic to artists and fans, as a way to make sense of exhibited by both artist and fan. are nationalism ethnocultural a related and xenophobia of expressions when presidency the case being studied, though, it is in the relatively more stable years of the Putin been themost pronounced during communist post the transition period of 1990s.In the of nationalist sentimentand arelated form of xenophobia in popular culturewould have force.” dangerous adestructive, into foible, human mere be a circumstances, infavorable may what “by linking dislike of Otherintothe citizenship nationalism rights, xenophobiaturns from nationalism could transform xenophobiaa dangerous phenomenon. into Gellner wrote, lyrics themselves are not the only factor which attracts fans to the band, but also the Ibid. 8. Xenophobia,” and “Nationalism Gellner, Ernest Xenophobia will be defined according to Gellner as “hostility to the other.” (see terminology section); Tia Denora, Tia My hypothesis,is that ethnocultural Russian nationalism can serve as an Citizenship Studies Music in Everyday Life 9 If this is the case, however, one would expect that popular expressions , Vol. 8, no. 2, (June 2004). via JSTOR, http://jstor.org (Cambridge, England: Cambridge University Press, 2000), 7, New Xenophobia in Europe 8 In this context, Gellner argued, of 10 and Lastly, the music and ed. Bernd Baumgartl and Baumgartl Bernd ed. for that ‘core’ nation.” ‘core’ that 3 CEU eTD Collection 13 12 11 Gellner‘s. or Breuilly’s like definitions classical of emphasis nature of nationalism as a social phenomena, as opposed to the political ideological of the citizenry of the state as a whole, and thereby to define or redefine the state as the state assert ‘ownership’ of the polity on behalf of a ‘core’ ethnocultural ‘nation’ distinct from transcending ethnolinguistic, ethnoreligious, orethnoregional distinctions, but rather to a ‘national’ identity way,toappeal in not used can nation category another the explains: Brubaker berelevant. most will ‘nation’ thecategory of style using particular lyrics one InKinchev’s canbeways thenationalistactors. category song ‘nation’ usedby different different usages and conceptions of this category ‘nation.’ Brubaker typifies a number of “‘ characterizes Terminology: to membershipattracted in fan basethe and actively engage in afan constructing culture. identify with the lyrical themes and messages portrayed through song, and as such are well often similar attitudes. That is,fans are aware that other members of the fan base socialization process of interacting with a group of individuals with music preferences as category.” nationalism Gellner- “Nationalism is primarily a political principle, which holds that the political the that holds which principle, apolitical isprimarily “Nationalism Gellner- Ibid. Rogers Brubaker, “In the Name of the Nation: Reflections on Nationalism and Patriotism,” 117. and for This study This study will Brubaker’sRogers use description of nationalism which I use Brubaker’s definition of nationalism because it highlights the rhetorical that ‘core’ nation. ‘core’ that 11 Different forms of nationalism, Brubaker argues, ultimately stem from as “a particular language, a political idiom, a way of using that word or nation ’ as a category of practice, not a category of analysis” and 12 13 This paper makes use of 4 CEU eTD Collection 15 University Press, 1996), 166. 14 and theState exercising state power and justifying such actions with nationalist arguments.” John Breuilly, 1983), 1. John Breuilly- "The term 'nationalism' is used to refer to political movements seeking or and and the national unitshould be congruent.” Ernest Gellner, called “statist nationalism,” but is better typified as “ethnocultural nationalism.” has Gans Chaim what of is not rhetoric nationalist of style Kinchev’s that out, pointed and alsois often reflected in the discussions which fans have on the internet. It should be conceptions of bloodlines. This claim is reproduced both in Kinchev’s pressinterviews, shared sense of history, a perception of ‘Slavic’ ancestry, and in occasionally racialist a language, Russian the Christianity, Orthodox with identification an by characterized whole. In Kinchev’s music, and moreover in fan discussions, this ethnocultural is‘core’ Russians, which Kinchev distinguishes from the citizenry of the Russian Federation as a be will It shown that Kinchev’s song lyrics often makenationalism. of claims on behalf of a ‘core’ nation definition of ideological or political more a using if than music in a framework islanguage,’ better lyrical for provided assessing nationalist representations and listener.” whichoratory” “inare treated terms of persuasivethe relationshipup between set singer music sociologist Simon Frith’s conception of song lyrics as a “form of rhetoric or transforms xenophobia into “a destructive dangerous force,” but “a into force,” transforms xenophobia ratherwill dangerous destructive examine necessarily that nationalism asGellner argue, not does, this However, paperwill Other.” representations and whichallude expressions claim.this to claims are not made on behalf of the state. I use the term but be, to ought state the how to as nation ethnocultural ‘core’ the of behalf on made are Chaim Gans, 9. SimonFrith. Xenophobia (Chicago: University of Chicago Press,1985), 3. Performing Rites: On theValueofPopular Music 14 If lyrics are treated as a form of rhetoric, and nationalism as a ‘style of will be defined according to Gellner as simple “hostility to the to “hostility simple as Gellner to according bedefined will Nations and Nationalism (Cambridge, Massachusetts: Harvard Massachusetts: (Cambridge, nationalistic to refer to lyrical to refer to (Oxford: Blackwell, Nationalism 15 Claims 5 CEU eTD Collection into nationalist representations in Rock music in the Russian in inmusic Russian context. Rock the representations nationalist into can be incorporated nevertheless, movement, very easily of every component nationalist xenophobia. I will argue that strong ‘xenophobic assertions,’ while perhaps nota vital to be able provide to abetter understanding of nationalism between relationshipthe and Through exploring the intersections of nationalism, xenophobia, and rock music, I hope 16 terminology and description of and fans expressions, which conflate the Other with a social threat, I use Langmuir’s lyricKinchev’s and Toanalyze lyrical content nationalistic lyrics songrepresentations. Alisawhetherfans xenophobic exhibit andif attitudes so how attitudes relateto these Gavin L. Langmuir, L. Gavin outgroup; itis menace. afeltsocial outgroup; isnotthe The assertion subjectof a xenophobic of outgroup the characteristics delimited by grammatical connection with some threat, not by the empirical Within axenophobic assertion, meaning the of outgroup the label is supplied and Toward aDefinition “xenophobic assertions.” of Anti-Semitism 16 (Los Angeles: University of California Press, Langmuir haswritten: 6 CEU eTD Collection 17 1990), 330. fans. band’s the of xenophobic themesin presented musicAlisa’s are in reflected opinionsthe and attitudes Chapter 3 uses have developed andchanged across Gorbachev,the Yeltsin, Putin and periods. Kinchev themes the how explain to in order examined isalso work earlier Kinchev’s of focusthe is on periodthe hisof career spanningfrom 2000 to present.the However, some which arise during Kinchev‘slatest manifestation as a self proclaimed ‘national-patriot,’ study is primarily with concerned representations and interpretations of nationalism thematic progression Alisa’sof lyrics and recordings between 2000 and 2007.As this 1985 when joinedKinchev the band, until present. The secondthe half examines the Chapter 2 audience. its and band rock a Russian of music in the themes xenophobic and nationalist approachtowardsanalyzing istorefine the presenceof this chapter appropriate an as well as fortheories analyzing popularmusic within itssocial The purpose context. of Chapter 1 2008). Chernaya Sotnya, KCHS official sitehttp://www.k4s.ru/1_2-3.html (accessed April 23, 2008); Forum KCHS http://sotnya.fastbb.ru/ (accessed April 23, 2008);also seeKrasno- 18 other and Songs, matters, topics. organization Army Politics, of Religion, discussions continuing for subdivisions subdivisions fordiscussing certain topics. For example the official forum on Alisa’s website contains (Microsoft works dictionary). This paper refers to a forums in their entirety. Within forums there are often Army Alisa.the members of of for “national in wascreated that patriotic” 2002, secondforum is that examinedis thatof Red-Blackthe Hundred,aspecial organization Alisa’s official Thisiswebsite. themost usedforum registered users).(14,000+ The Forum - Forum ofitsial'nogo sajta gr. Alisa. http://www.alisa.net/forum/ (accessed April 23, Internet discussion group: Internet examines two different Alisa fan forums to see whether the nationalistic and nationalistic the whether see to forums fan Alisa different two examines firstprovides an overview ofAlisa’s andcareer discography, rangingfrom examines thepertinentliterature existing on study the music,of Russian rock 17 The first forum that is examined is the Army of Alisa forum on an Internet discussion group forparticipants with common interests 18 This 7 CEU eTD Collection discover more about this group. this about more discover Black Hundred from organizer group’s St.the Petersburg wasconducted chapter in order 19 forum is relatively small with only some 103 registered users. Forum KCHS http://sotnya.fastbb.ru/ (accessed 23, April 2008) 19 An interview with a Red- 8 CEU eTD Collection individuals. Music, as an art form, seems to be unique in its inherently social music for that function plays social important the his because theory recognizes although beyond thisunarticulated stirring of the moment his isolation continues unchanged. feels integrated into the community of “fans.” In whistling such asong he bows to a ritual of socialization,many who identify with that fictitious subject, that musical I, he will feel his isolation ease as he himself into the song’s ideal subject, into the person forwhom the song ideally speaks.In an At imaginarythe same buttime, psychologically as one ofemotion-laden domain, the listenerwho remembers a hit song will turn components. Adorno explains: music’s are aspects These psychological investigated. and sociological concurrent Adorno identifies twohighly important aspects of musicpopular thatcontinue tobe research. largely theoretical, and is intended to be a starting point to inspire further empirical these are the essays “Popular Music” and “Function.” Adorno’s work in these pieces is 21 Continuum, vii. 1989), 20 from Theodore Adorno’s here,a usefulpurposes of are twoessays researchbeing the point considered starting been developed for analyzing popular music as a cultural and social phenomenon. For the have that approaches methodological someand briefly theoretical beto consider fruitful been documented, represented, and interpreted by different scholars and writers, itmay RefiningChapter 1.1. Rock: Developing anApproach Adorno, 27. Theodore W. Adorno, Adorno’s writings in writings Adorno’s Before considering how themes of ethnicity and nationality in Russian rock have rock Russian in nationality and ethnicity of themes how considering Before 20 However, even in this relatively early work of sociology of popular music, Introduction tothe Sociology ofMusic Introduction tothe Sociology ofMusic Introduction totheSociology ofMusic (first published 1962), (New York: are important 21 9 CEU eTD Collection imagined psychological perception of belonging to a very specific group of avery of of perception people.belongingimagined group to specific psychological belonging to an abstract “community fans”of as in Adorno’s conception, but instead an immediate offers the in it and music forarticulates German Jews both chamber Israel, nineteenth-century subjective sense of being sociable. Whether jazz or rap for African -Americans or play for the individual. Frith writes “Music, we could say, provides us with an intensely claim when considering music’s social function and the psychological role music can another. with one socialize notexplaindoes how more actively involved fans use music asameans to actually listeners use popular music to psychologically experience a feeling of socialization, he University Press, 1996), 273. of of music by fanspop is scarcely examined.” music popular assumes complete passivity part on the musicof fans and“the actual use Sound Effects,Youth, Leisure, andthePolitics of Rock’n’Roll) seminal in his out pointed later Frith 24 Constable andCompany, 45. 1983), 23 Nationalism 22 community” hasbecome soubiquitous in study the nationalism.of nation in their music, especially as Anderson’s conception of the nation as an “imagined whoevoke the music artists when considering salient be particularly to “fans.”” seems the “into integrated being as themselves imagine to and socialization” characteristics. This emphasis on music’s ability to engage individuals in a “ritual of SimonFrith. Simon Frith. Anderson, Benedict Despite his contentions over some of Adorno’s claims, Frith makes a similar (New York:Verso, 1991), 6. Performing Rites: On theValueofPopular Music Sound effects:Youthleisure and the politics ofrock’n’roll ( experience Imagined Communities: Reflections ontheOrigin andSpread of of collective identity.” Sociology of Rock Sociology 23 WhileAdorno theorizes passive how 24 (Cambridge, Massachusetts: Harvard Massachusetts: (Cambridge, (later revised and re-titled as andre-titled revised (later It is not always just a sense of , Adorno’s conception of 22 However, as Simon community London: of 10 CEU eTD Collection is merely identified, butnot investigated oranalyzed. “have become associated with right -wing politics and xenophobia.” music. Ramet makes mention of the fact that some bands among the heavy metal fringe Defense, DDT, et al. started incorporating lyrical representations of nationalism in their factthe itwas publishedin 1993 before ahandful of mostgroups, notably Alisa, Civil presence of xenophobia ornationalism in Russianrock, and perhaps is this a testamentto opposition to the Soviet State. Ramet’s piece does not dedicate much analysis to the politicized, particularly in 1980s,andthe how RussianRockwas often used in focuses predominantly how certain on of segments Russianthe milieu rock werehighly Zamascikov, and Bird’s contribution to 1980s, including some analysis of musicthe andhistory of Alisa.the Ramet, history of Russian rock music with a focus on the so-called “perestroika rock” of the State: Rock Music andPoliticsin Eastern Europe and Russia in work Ramet’s SabrinaPetra rock. Russian analyzed havespecifically that sociological studies and social histories (RametCushman 1993, 1995, Pilkington 2002) 25 national by or reification” “group noted Brubaker’sRogers in in engage kind of the andeventoethnic as nationalist entrepreneurs act to circumstances it In in may another. music befor one artists context certain this veryaccessible reinforce even may identities parallel these contexts in some that possible quite seems it and of collective fan identity the can concurrently group perceivedidentitiesoccur other with theperceived Jews, andGerman African-Americans as inof examples Frith’s Moreover, Rogers Brubaker. Turning away from the theoretical literature, there have been a small handful of handful asmall been have there literature, theoretical the from away Turning Ethnicity Without Groups. ( Rocking the State Cambridge , MA: Harvard University Press, 2004), 10. “The Soviet Rock Scene,” provides a detailed social Ethnicity WithoutGroups 26 However, the trend Rocking the . 11 25 CEU eTD Collection Park, PA: The Pennsylvania State University Press, 2002, 185. 28 27 26 andRussian of wasmoreimportance words morethe that “authentic” andhad rock identified Russian rock as a preferred genre, the most common explanation was the by interpreted audiences. Pilkington’s studyfoundamong that Russianyouth, who identification are present in not only how Russian rock is produced, but also how it is amount light of on how identity perceptions of self-understanding and group West: Style andMusic in Cultural Russian Youth Practice,” (2002)sheds a considerable she interviewed. interpretation of lyrics plays an important role at least for the sample of Russian youth determine, but at least from Hilary Pilkington’s empirical research it does seem that the justification for apredominantly lyric text based analysis of Russian rock is difficult to Nationalist Rock Music”(2006) as well. Whether such arguments are merely a Markthroughout Yoffe’s “Conceptual Carnival: National in Elements Russian example the American or British rock music traditions. This is a claim which runs intoa idiom.rock be translated can sometimes more of andthese have deeply Certain bard traditions traditions societies poets, rooted time vary and space. across by music necessarily performed rock The social functions writes: Ramet youth. Russian with interviews Pilkington’s Hilary including elsewhere appear Pilkington, Hilary et al. Ramet, 5. Ramet,207. Ramet makes an interesting claim in the introduction to introduction in the claim interesting an makes Ramet Hilary Pilkington’s empirical research with Russian youth, “Reconfiguring the “Reconfiguring youth, Russian with research empirical Pilkington’s Hilary infor than in rock more lyrics important Russian asaresult argues that are Ramet 28 Looking West: Cultural Globalization and Russian Youth Cultures. 27 Rocking theState University , which 12 CEU eTD Collection University Park, PA: The Pennsylvania State University Press, 2002, 185. Press, State University Pennsylvania PA:The Park, University 29 relationship music between tenuous rock Russian andnationalism. usage of Russian rock lyricists, but as a result the pieces fail to elucidate a seemingly works are more interested in the poetic language, symbolic representations and word few decades. This is not necessarily the fault of the authors, as their literary oriented last the have over developed nationalism been to that approaches any of theoretical the Furthermore, neither Yoffe’s piece nor Friedman and Weiner’s,make use or mention of sociological studies of Ramet (1993),Cushman and (1995), Pilkington (2002). rock lyricists, there seems to be a theoretical disconnect between these pieces and the interpreting anddeciphering lyrical the complex iscoding that often used by Russian in valuable very been have texts these While approach. analysis literary a on exclusively approached the subject (Yoffe 2005,Friedman Weinerand 1999)have relied almost in The short have literature. investigated been scholarly two texts that thoroughly Its Alternatives in Music”(1999).Russian Rock Friedman and Adam Weiner’s essay “Between a Rock and a Hard Place: Holy Rus’ and Carnival: National in Elements Russian Music”(2006) Nationalist Rock ,and Julia P. “Conceptual of based in Mark Yoffe‘s lyric analysis text are alsothe identifiable perceptions of ‘West’the as being soulless and spiritually compareddeficient toRussia genuine. less and commercial more isconsidered which music, western from rock Russian differentiates is what ‘soul’ and ‘authenticity’ that Pilkington, to according Nautilus Pompilius, and Agata Kristi among others, maintained a “romantic notion,” rock. than “soul” western Pilkington, Hilary et al. The presence of nationalistic rhetoric and themes in Russian rock music in has and themes rock not rhetoric Russian of nationalistic The presence Looking West: Cultural Globalization and Russian Youth Cultures. 29 These youth, wholistened to Alisa, groups the Civil Defense, 30 These 13 CEU eTD Collection categories and participants’ understandings seriously, for they of for they are partly constitutive seriously, understandings and participants’ categories relevant for an analysis in the cultural field as well, “We must, of course take vernacular be may which but entrepreneurs, ethnopolitical understanding to inreference written has avoid reproducing arguments the of nationalist entrepreneurs themselves. As Brubaker trends in Russian rock, it needs to contextualized within its wider social context, and its historical context are necessarily wrong, but rather that in order to analyze current This is not to say that certain cognitive schema and frames which place Russian rock in have a fondness for 19 categories and ideas of Russian rock personalities themselves, some of whom apparently 19 debatesof the Westernizer merely reduce current Russian rock trends to a reenactment of the Slavophile- 34 Gorbachev. Alternatives in Russian Rock Music.” In 33 32 (Newcastle: Cambridge Scholars Press, 2005). Rock’n’Roll and Nationalism: A Multinational Perspective, 31 30 andfringemovements. of context of analyzing theso-called products counterculture interplaycomplex between music production and music especially inreception, the sociological study of rock music in Britain and the United States, we know that there is a andaudiences. amongfor certain certain artists resonance particular byproduced andartists receivedby fans, Russian orwhy rock nationalism has a both is rock in Russian sentiment nationalistic inwhich way the to contributing are forces political and social what explain to little does it but relevant, be may man” “underground Friedman and Weiner, 118. Weiner, and Friedman Julia P. Friedman and Adam Weiner, “Betweena Rock and a Hard Place: Holy SimonRus’Frith, 51. and Its Mark Yoffe, “Conceptual Carnival: National Elements in RussianNationalist Rock Music” Ibid. in Yoffe’s comparison of today’s rockers with Dostoyevsky’s 19 ed Adele Marie Barker, 112. (USA: Duke University Press, 1999). th century century historical accordingFriedmanworks to Weiner.and th century,is to analyze Russian rock using the same Consuming Russia: Popular Culture, Sex, andSocietysince ed. Mark Yoffe and Andrea Collins, 103 31 From Simon Frith’s Simon From th century 32 33 To 34 14 CEU eTD Collection 35 networks. The point here, however, is not to answer if Russian lyrics are really as understood by fans, and how fans use Russian Rock as a basis to construct social Chapter 1.2. Making Meaning: MusicandLyrics nationalism. existence the and of musicframeworks forsociological rock understanding or theories to deal specifically music Russian rock with andnationalism,not advantage do take of contexts. Itis surprisingly therefore, that the textbased pieces, which are the only pieces processes of nationality and ethnicity may be able to reinforce one another in certain suggests thatmusic and and of cognitive process collectivity, experience the socialization psychological function of music, that is its apparent ability engageto an individual in a exhibited in theoretical the developedframeworks by andAdorno Frith, social the and the subsequent claims they infer from their analysis. This is unfortunate because as is based pieces does not seem to be so much their approach as how they interpret the results lyric problems the the text- with however, disciplines, in differences academic reflect taken a sociological or social historical approach as a method of analysis. This may have which those than explanatory less been have rock Russian and identity national literary criticism as a method for analyzing the relationship between nationalism or practice our objects of study. Butweshould not uncritically adopt Brubaker, 10. As has been discussed,lyrics play an important role in how Russian Rock is of way by lyrics of interpretation the on predominantly relied have that Texts asour categories ofsocial analysis. ” 35 categories ofethnopolitical 15 CEU eTD Collection which fans use to construct social communities built around interpretations of themes of interpretations around built communities social construct to use fans which Kinchev’s music as the unit of analysis itself,but rather to consider songs as factors take to is not here purpose The interpretations. in their themes these use fans how I consider 3, chapter In interpretations. fans’ to contribute may themes these how and listening. Iexamine Instead, themajor themes which Kinchev has inhisportrayed lyrics ‘meaning,’ as meaningthe thatis a attributed to song dependslargely ison who doing the study will not attempt to argue that certain songs have one correct interpretation or may stem from different interpretations, or levels of interpretation of the ‘meaning.’ This meanings are transformed intofan group values, and how divisions within the fan base these how network, social their of construction the for basis a as lyrics Kinchev’s from texts. Alisa internet fan forum, has entire subsections dedicated to discussions about lyric to interpret meaning by itinplacing a certain political-historical The context. Army of on which he penneda andtune addsthis web to the publication, fans potentially allowing they andreleased.havethey recorded website ahighly contains full for with lyric texts discography literally detailed everything 38 http://www.alisa.net/diskografiya.php 37 http://colodez.spb.ru/kladovaya/rusrock.html rock songs,” rock 36 music. Alisa’s interpret interpretations and the lyrics themselves are nonetheless vital how fansto understand and lyrical point that out rather to but have claimed, authors assome “hegemonic” see Forum ofitsial'nogo sajta gr. Alisa http://www.alisa.net/forum/(accessed April 27, 2008) see Alisa.net, Alisa’s official website; official discography and lyric transcripts available at see Yngvar B. Steinholt, “You can't rid a song of its words: notes on the hegemony of lyrics in Russian 38 In later chapters, this study will at look how Alisa fans use meaning(s)derivedthe Popular Music 36 (2003) Volume 22/1. Cambridge University Press, pp. 89-108. Alisa makes their lyrics readily available to fans. The band’s 37 Konstantin Kinchev often keeps track of the exact date 16 CEU eTD Collection 40 39 ‘nation.’ ethnocultural themselves may serve as a way of asserting ‘ownership’ of on behalf of a ‘core’ nationalism as “a particular language,” or “a way of using” the category ‘nation,’ lyrics nationalism can be represented thematically within song. Using Brubaker’s definition of Frith’s description of lyrics as rhetoric is also particularly relevant when considering how rather, the words exist to convey the meaning of the song. up between singer and listener. From this perspective, a song doesn’t exist to conveyLyrics…are a the meaningform of ofrhetoric words; or oratory; we have to treat them in terms of the persuasive relationship set Frith writes: this paper. will thanbe throughout meretext, used rather different emotions musically.As a result, Simon Frith’s treatment of lyrics as rhetoric, are words sung andhow instrumentation is used tounderscore,represent, andinterpret understandhow fans interpret meaning andrelate toasong, one must consider way the experience Alisa through listening to compact discs or mp3.s, or going to concerts. To them as text, as the product we are concerned with is after all music. Fans primarily One cannot, however, simply divorce song lyrics from musical accompaniment and treat changedprogressed, anddeveloped during band’s the incareer starting midthe 1980s. in represented song. Rogers Brubaker, “In the Name of the Nation: Reflections on Nationalism and Patriotism.” Frith, Simon Chapter 2 examines how the lyrical themes which Kinchev uses in his songs have songs his in uses Kinchev which themes lyrical the how 2 examines Chapter Performing On Rites: the Value Popularof Music,166. 40 39 17 CEU eTD Collection 44 43 42 41 andtook soon over most of songwritingthe responsibilities band. for the journalistlevied a charge that Kinchev had said ‘hail Hitler’ at a show and was promoting for wild unruly concerts. The band grabbed the limelight for ashort while in 1987 when a antagonism directed towards the official state ideology, but also because of a reputation He sees space where Isee [a] wall. Experimenter of upward-downward movement, universe He is carrying his brick to the altar of the He is perfectly shaven, prim and proper. He is forming new models of consciousness. Experimenter of upward-downward movement, of synthesizers: backdrop Kinchev delivers the lyrics of “Experimenter” with a cynical and ironic tone over a Movement,” a well known satire of Marxist dialectics and the official state ideology. anthem for Soviet disaffected youth, and“Experimenter of Upwards-Downwardsthe Energy contained the nowfrequently cited hits “My Generation,” an anti-Communist its first album on Melodiya, which was the state music recording monopoly at the time. such bandsstart to recording andIn 1985, releasing band albums.the “Energy” released authorities. In the mid 1980s, the reforms of Perestroika and Glasnost made it possible for Alisa had been a semi-legal unofficial band that was not recognized by the communist 2.1 Perestroika Rock: Translation by Joanna Stingray from by Translation Ramet, from Joanna Stingray Birgit Beumers, 224. Ramet, 191 Birgit Beumers, . Alisa wasfounded in 1983. Konstantin Kinchev joined as lead vocalist in 1985, Alisa was ina controversial band 1980s, notthe only itsfor mockery and Pop Culture Russia! Media, Art,Lifestyle 2. Musicand History: Thematic Developments 44 Rocking the State, (Santa Barbara: ABC CLIO, 2005), 224. 193. 41 Before 1985, 43 42 18 CEU eTD Collection 47 http://www.novayagazeta.ru/data/2007/10/39.html(accessed May 10, 2008) starymi alisomanami stali poyavlyat'syayunye fany, chasto s britymi golovami,” February 12, 2007. 46 http://music.km.ru/encyclop.asp?s=E7692E3E6D5346C183B B3DD0DA695C59&topicnumber=90 45 Mark”(1994) contain mostly themes of spiritual self-reflection and solitude found in albums,“For Those Who Have Fallen Down From the Moon” (1993) and “the Black album “Shabash” in 1991. in toKinchev apology was given newspaper. the fascism, claim this laterwas determined be to false by authoritiesthe and apublic ?action=1987&disk=press31; and 22.11.87 by V. Kokosov accusing Kinchev. http://www.alisa.net/pressa_eng.php Christianity sameto Orthodox baptizedyear. and converted the 2.2 TheYelstin Years: Pagan From toPop inonly answers. reemerge 2000 with to different “What is to be done” and “Who is to blame” lay dormant for most of the Yeltsin years, answered typically as in one song “Rock’n’roll, is this all.”(1989)These twoquestions, isbe “What done?,” to was classic question ideology. Another state and authorities Russian history, “Who is to be Blamed?” almost always directed at the communist “Energy.” Pairing a sense of omnipresent gloom with the one of the classic questions of next two albums “Blockade” and “the Sixth Forester” were similar thematically similar to publicity,” use advantageous the and of such publicity continues in 2000s.Alisa’sthe Kinchev’s career may be a good example of the maxim “there’s no such thing as bad Still, reasons. different for and context different in although fascism of Kinchev accuse Gazeta “Konstantin Kinchev: “ N 26 (291), June-July, 1999 at Bang” Slanting a with “Alisa, see Novaya Gazeta Kinchev’s brief “Pagan isphase” typically as beingdescribed centeredaround the “Malye narodtsy XXI veka «ARMIYA ALISA»: KRASNOE I CHERNOEKRASNOERyadom «ARMIYA ALISA»: so “Malye XXI veka narodtsy 46 In 1992, Kinchev visited Jeruslaem, and subsequently was Andrei Burlaka, “Alisa,” Alisa.net, for a translation of the original article in“SMENA" article original of the a translation for 45 A decade later, the medialater, again would Athe decade Musika KM.RU-Musika , 47 His first ‘Orthodox’ first His 19 CEU eTD Collection not attempted to reproduce Kinchev’s meter and rhyme. Special thanks to Daria Ukhova for additional for Ukhova Daria to thanks Special rhyme. and meter Kinchev’s reproduce to attempted not lyrics:http://www.alisa.net/disk1/duren.htm#mama All translations are by authorthe unless noted. I have 50 February 25, 2000 Moskva, http://www.alisa.ru/pressa.php?action=2000&disk=press50 49 http://www.alisa.net/diskografiya.php 48 http://www.zavtra.ru/cgi/veil/data/zavtra/99/291/71.html (accessed May 10, 2008) in the albums Alisa’s on theme important an becomes territory national the for praise moral and spiritual salvation as being realized through a combination of religion and turning God and to honoringpersonified abenevolent Motherland. Thisconception of people of the Russian Federation as being in a state of moral decline, salvation lies in communist songs were always sung in a mocking satirical voice. The song portrays the The general tone of ‘Mama’ and is one of earnest sincerity, whereas Kichev’s anti- features “Mama,” an early ode to the Motherland. Kinchev sings : God and ‘soil.’ “The Fool” is the last album Kinchev released during the Yeltsin era. It Alisa’s next album,“The Fool” (1997), features an increased number of references to sound than records, previous featuring song“Rain” the whichreceivedradioairplay. nature. Konstantin Kinchev, “Mama” Kinchev, Konstantin see Alisa.net, Alisa’s official website; official discography and lyric transcripts available at Argumenty iFakty, 48 Suckling pups, will mother save us? Weare alljust children, ofhers, onher breasts Bowed down onourknees, we itmother call And the landhas one name- Holy Rus’ If God helps, we will win, wewill win, if God helps. We would nothelp in a fight, but ifa warwould happen, After prison we becamepoor at themeeting point of the epochs. Thus, century after century we have neither house nor home, Smoke instead of sun, collar instead of freedom. In myland there isa sickle instead of an ear, Brother goes against brother, son drags father into sin, In myland everyone has become blind in the truth Oh, mama, mama, I feel pain. If one looks from the outside - it's both funny and sad We either languish at nights or drink before sunrise. Everything is not fine, everything isnot like in other people's lands It seems that it hasbecome a rule inmy land In 1996, Kinchev released “Jazz,” an apolitical album with a smoother and lighter “Press-konferentsiya,posvyaschennaya vykhodu al'boma‘SOLNTSEVOROT,’” Duren, 1997, Extraphone Ex 97038 50 49 20 CEU eTD Collection presence of so-called “skiny” (skinheads) at Alisa concerts, of the forums reviewed itwas of forums the reviewed Alisa concerts, at “skiny” (skinheads) so-called presence of by reproduced fans forums on as well. the reports Despite of increasingly recently infamous symbols is still not clear. Kinchev’s argument, however, is one that is holy spirit.” album’s cover Kinchev argued “The leftfacing swastika is a symbol of the grace of the the to Referring Nazism. with do to nothing having symbol Orthodox ancient an was 52 http://www.alisa.ru/pressa.php?action=2000&disk=press47 51 verse. Kinchev’s translating with assistance inwhich tracks he hadin particular mind. also argued some of Solstice’s songs “cross a moral border,” although he did not specify but symbols, ominous and cover provocative its only not cited Korlyzev Misha founder promoter of Russian music language rock announcedaban on CD.Nashethe Radio akey and atthe radiotime, station premier rock Moscow’s Nashe after, Radio, Soon is of images that swastikas. mirror crosses, facing equilateral leftward with was adorned Alisa’s new album “Solstice.” The meeting’s focal point was the album’s cover, which 2.3 ThePutinera: Swastikas, Slavs,andOthers: identifies is resultthe of sin and drinking, notanessentialized group of people. xenophobia in periodthis andnoabstract definableor Other.The moral decline Kinchev 2000s. However, the song is not vindictive like later works. There is no component of Nastya Rakhlina, "SOLNTSEVOROT" : ETO NE AL'BOM. ETO BOMBA,” Alisa.net Argumenty iFakty, Why Kinchev would jeopardize his reputation and flirtwith one of Nazism’s most In 2000,Konstantin Kinchev held apress conference topromote releasethe of 52 A claim that became familiar among his fans in later years. “Press-konferentsiya,posvyaschennaya vykhodu al'boma‘SOLNTSEVOROT,’” 51 Kinchev inargued defense that swastika the 21 CEU eTD Collection 56 army.narod.ru/news.htm 55 mediaof alone generated. cover the Books Inc, 2005), 78, discusses the controversy, perhaps a testamentitself to the amount 54 5.html(accessed May 20, 2008). 53 firstAlisa’s album of Putinthe era, itwas conceived during and judging its from content majoritythe materialof on Solstice was written in 1997and 1998. Fool” (1997)or“Jazz”(1996).According lyric tothe providednotes on Alisa’s webpage, musical arrangements that placed the album closer to hard rock or heavy metal than “the previous works. There were important thematic differences in the album’s lyrics, and new website. chapter fans. Leftfacing swastikas also decorate the Army of Alisa’s official St. Petersburg 3, Chapter I examine afanis forum by where Kinchev’sargumentdiscussion reproduced Kinchev may have raised his status in his fans’ view, who may envy his defiant stance. In is,That by using a provocative symbol, andboldly deflecting journalists’ criticisms, Furthermore, using the swastika mayhave Kinchev empowered in eyesthe of his fans. even if it did resultin the main Radio outlet for Russian rock refusing to play it. publicity.brought cover-art thealbum provocative Using attention the to of press,the verbatim. almost sometimes Kinchev’s forexplanation the use of swastika,the his and reproduce argument, users are hostile towards ‘skiny.’ rare to find any views that were openly Nazi-sympathetic, and for the most part forum Konstantin Kinchev, see the bottom of the homepage on the Army of Alisa official St. Petersburg website. http://www.spb- Peter Baker and Peter Baker SusanGlassman’s see, “TRABLY! Kakoj stala Legendarnaya Piterskaya gruppa Alisa?” http://www.k4s.ru/2_4- The cover of “Solstice” was not the only element which set the album apart from been have may symbol the of use Kinchev’s the to contributing factor Another 55 Solntsevorot, 2000 CDLand lyrics: http://www.alisa.net/disk1/sun.htm#sun 53 Instead many Instead internet forum users have picked up on Kremlin Rising (Washington, DC:Potomac 56 While “Solstice” is “Solstice” While 54 22 CEU eTD Collection did Kinchev’s new conspiratorial view on Russian politics come from? In an interview are shaming land,the and the country has been hoodwinked deceivers. bymaster Where The lyrics seem argue that to leadershipthe is by surrounded who parasites self-serving animals rather than humans. He sings in the song “Lord of the Fleas“: as enemies of representation is in laterapoetic albums, transmogrified that familiar these various self-serving groups as “Pigs” and “Fleas,” a thematic device that becomes 60 59 http://www.alisa.net/disk1/sun.htm#sun 58 57 history toone of London,” according period. the crises sent the ruble into free fall and foreign investors scrambling for the next plane to Such lyrics seem to reflect the period in which they were written as “the 1998 economic ideas, Soundthealarm, Citiesare burning!,” personal gain. He sings on “Joy of Sorrow” own their for country the destroying are who opportunists, sycophantic of legions and crisis. inspired by tumultuousthe final years of Yeltsinthe presidency and the 1998economic Konstantin Kinchev, “Povelitel' blokh,” Baker and Glasser, 67. Konstantin Kinchev, “Radosti Pechal,” PeterBaker and Susan Glasser, 67. 57 Thematically,many of its songs portray a Russia under siege by corrupt leaders But now weare followingthe lordof the fleas. We knew how to live life, and we were able to play it As it happened, wewereall taken aback And we are all silent and cannot understand No one. And allthe legions are trying getto into a higher position Whowill dare to atone for the shame of my land? But whereis thedamn detonator, inorder to close this way But the new ordered savior talks again about theholy way And areleaving through theborder Harness and collar And the people are rushing The unnoticeable have made the laws forthemselves Solntsevorot Solntsevorot 58 “the Cautious have unleashed flammable , 2000 CDLand lyrics: and concludes in the song’s final stanza: , 2000 CDLand lyrics: 60 59 In other songs, Kinchev characterizes Kinchev In songs, other 23 CEU eTD Collection different Other. With a few exceptions, anti-Semitism did notbecome a defining theme “national-patriotic” album “Now is Later Then Think”You predominantly portrayed a next Kinchev’s lyrics, its within implications Judeophobic or anti-Semitic some ison earth.” that there holiness and all before Solstice’s release, in which he said “Judaism - is the main enemy of Orthodoxy the Jewish religion as opposed to Jews themselves, asin a 1999 Zavtra interview, shortly towards hostility some expressed on occasion in He has,however, press. the interviewed when anti-Semitic openly not part most the for is Kinchev, epithets. anti-Semitic parasites, trying to suck the blood” in another song off “Solstice”of may be reference to Semitism,lines such as “Here is the King’s entourage, the proud band, Here are the cabal of secret plotters exploiting Russia runs throughout “Solstice.” songs on albumthe may have beeninfluenced by views.Ioann’s The theme of a cunning 64 http://www.alisa.net/disk1/sun.htm#sun 63 Rulers andVictims, 62 http://www.zavtra.ru/cgi/veil/data/zavtra/99/291/71.html (accessed May 10, 2008) 61 http://www.alisa.net/disk1/sun.htm#sun that he was a fan of the books of Metropolitan Ioann of St. Petersburg. with the newspaper Zavtra in 1999, shortly before “Solstice” was released, Kinchev noted Gazeta “Konstantin Kinchev: “ N 26 (291), June-July, 1999 see “Star of the Pigs” and “Lord of the fleas,” also from “Solstice” (2000). Geoffrey Hosking, Gazeta “Konstantin Kinchev: “ N 26 (291), June-July, 1999 On it to“Solstice,” lyrics reviewingseems the many apparent that Kinchev’s of threat Ioann saw as embodiedof this form in the Protocols twentieth-century The homeland. of ofthe the Elders indefense of everything Zion. sacrifice to readiness only survive to able thanks to been the staunchness had Russia of its Orthodox faith,immensity.” our the firmnessfears of its autocratic Everyone leaders, and friends. no its has “Russia under the threat from cunning and malicious foreigners. He quoted words the of Alexander III: geopolitical conceptionscombined with anti-Semitism. Petersburg, Ioannof St. drew a Ioann picture of Rus and Russia Metropolitan by as led a nation church, constantly the in party One Rulers and Victims Geoffrey Hosking has characterized Metropolitan views Ioann’s Metropolitan has characterized Geoffrey Hosking (Cambridge: Harvard University Press,2006), 398. 64 At the same time, while “Solstice” may have “Solstice” At sametime, while the 62 63 Insofar as anti- 61 In his book : 24 CEU eTD Collection reproduced on fan forumsreproduced ason well. As will be seen in chapter 3. This conception, of ‘nationalism’ being based on religion is patriotism,” which is his definition of nationalism, is based in the Orthodox religion. nationalism- is based on religion.” Orthodoxy, however, is the emphasis. As Kinchev described in a press interview, “True in Chekhov’s that out Gellner pointed inextricably linked. Thisis a not necessarily new trend for Russian national thought, press interviews, however, is that for him Orthodoxy and Russian nationality are by reference to his Orthodox religion.” and were well informed of Orthodox beliefs. services attended percentage much smaller whilea censuses, on as Orthodox themselves on the basis of Orthodoxy. According toHosking some 80% of Russians identify believers, oris he singing on behalf of an ethnocultural Russian core and defining them but the “We.” Who is Kinchev referring to as “We?” Is itmerely devout Orthodox (emphasis mine)What should be focused on in this song, is not so much the “Orthodox,” clarifies the exact space and place, exact the clarifies 67 66 65 http://www.zavtra.ru/cgi/veil/data/zavtra/99/291/71.html (accessed May 10, 2008) sings, times that Kinchev directly combines a territorial claim with a religious identification. He of Kinchev’s later work. 69 oktyabrya2003. http://www.alisa.ru/pressa.php?action=2003&disk=press170 68 Ernest Gellner, Ernest Geoffrey Hosking, 398. One exception may be song the “Dirt” from “Now is LaterthanYou Think”(2003), Ibid. 6 - Strana.RU prinimaet. egone kto stemi, dazhe mirovozzreniem svoim delitsya "Alisy" Lider “ In the glory of An important song from “Solstice” is “Orthodox!” because itis one of the first Nations and Nationalism our 65 land, We 68 “In allthe space of That is, for Kinchev, “love of the motherland and (Oxford: Blackwell, 1983), 72. areOrthodox!.” Three Sisters 67 What differentiates Kinchev’s use of 66 What also becomes inapparent Kinchev’s acharacter “defends his Slav status and in the final chorus Kinchev chorus final in the and Rus , We areOrthodox!” 69 25 CEU eTD Collection 75 74 JewishPublication Society of America,1916), 35, http://www.questia.com/PM.qst?a=o&d=14026912. and Poland, from the Earliest Times until Dubnow, theM. Present Day S. faith.” Orthodox the profess not do who all for general in and 73 http://www.questia.com/PM.qst?a=o&d=102071976. People, Its Society,Its Culture Tatar ofhordes 13 the 72 71 6, 2003. http://www.alisa.ru/pressa.php?action=2003&disk=press170 (accessed 2008) May 20, is this of “All land, is our this of “All ultimately, that dominance Slavic on encroaching threatening the Motherland.lyrics Kinchev’s arguealthough that hordethis may be Think,” anew group has emerged, amultifarious encroachingAsian hordethatis conspiratorial opportunists, a secretive hidden enemy. On“Now Is Later Than You assycophantic are represented nation the who threaten those “Solstice” On “Solstice.” This is one of the first examples, where Kinchev references a new Other not present on 70 On the chorus Kinchev sings: album’s title, and a favorite among fans, exhibits some new themes and developments. “Now is Later Than You Think.” The song “Sky of Slavs,” which was originally the Konstantin Kinchev, “Nebo Slavyan,” Pepsei Lake as known also Estonia, bordering Lake referring to Tatars according to Misha Kozyrev of Nashe Radio in Baker and Glasser,orgrinded, worn down. 75, also Mongol- Basurman Strana.RU We are undertheyokeof Basurman We will die Here onthenativeland whiteThe menrise the And from forest thestars upto Against theforeignerour chain armor is Russianspeech All ofthis is us All ofthis is our land To theiceof Kolyma, From theshores ofChudskih The skyofSlavs But inour veins boils Alisa’s nextnotable album in Kinchev’s “national-patriotic” phase is 2003’s We are sharpened , “mutilated from “Lider "Alisy" delitsya svoim mirovozzreniem dazhe s temi, kto ego ne prinimaet.” October prinimaet.” ego ne kto stemi, dazhe mirovozzreniem svoim delitsya "Alisy" “Lider th 75 century. 1. Thomas Fitzsimmons, PeterMalof, and John C. Fiske, Mussulman (New Haven, CT: HRAF Press, 1960), 3. 71 bythe semen ofthehordes Sejchas Pozdnee, Chem ty Dumaesh' , is an archaic and contemptuous designation forMohammedans 74 73 trans. I. Friedlaender, vol.1, (Philadelphia: 72 History oftheJews Russia in History 2003 ZAO "Moroz ZAO 2003 USSR: Its 70 26 CEU eTD Collection http://www.rand.org/pubs/monograph_reports/MR1273/ Federation,” 77 http://www.questia.com/PM.qst?a=o&d=5018104576 Times and loosely against as groups together (“Caucasians,” those “others” ethnic grouped particularform of xenophobia is directed bothethnophobia—fears against concrete ethnic described as a particular form of xenophobia in the Russian Federation. He writes, “ fans as referencing a vague ethnic Other. If so this may related to what Emil A. Pain has historical allegory. 3,I Inchapter examinehistorical whether isallegory interpreted by uses but categories, or groups ethnic contemporary of names the says never Kinchev terms ‘basurman,’‘foreigners,’ these aresimultaneously encroaching imprecise. ‘hordes,’ whileis is anOther in that lyrical reified in representations languageof the Kinchev’s whether these anxieties howthey affect interpret Kinchev’s music. Whatshouldbe noted Russian in Federation 2000s.the Dr.Paul Goble, has noted: inthe migration internal and immigration as aswell in demography trends real to related their veins. The sudden anxiety over ‘Slavic blood’ ’foreigners’ and‘hordes’ may be 76 M'yuzik" lyrics: http://www.alisa.net/disk1/d03_lyrics.htm#nebo Russians: ‘non-ethnic’ of immigration In addition, a report by the Rand Corporation has cited widespread anxiety over isus,” that thelandis theland JulieDaVanzo and Clifford A. Grammich, “Dire DemographicsPopulation Trends in the Russian Michael Mainville. "Muslim Birthrate Worries Russia; Majority Seen by Midcentury." , November21, 2006, A01.via Questia. http://questia.com The question becomes whether Kinchev’s fans share these anxieties, and if so usa in searchRussia of work. of thousands hundreds oftime, Muslims same At from the Tajikistan,woman. per Uzbekistan and children Kazakhstan 10 have averaging beenare flocking to communities Ingush and Chechen the woman…while per children six is Moscow in living Tatars for rate fertility The nationalities living in Russia half(56 percent) of all Russians see at least some “threat to security of ImmigrationRussiaof non-Russian from populations peopleoften stirs popular opposition of and concern. otherMore than Rand Monograph Report. 76 of . 77 Rand Corporation 2001, 19. and for Russian speakers with the “Sky of in with “Sky Russian the of Slavs” speakers The Washington A 27 CEU eTD Collection lyrics:http://www.alisa.net/disk1/d05_lyrics.htm#zveri 80 1990), 330. 79 http://search.ebscohost.com/ Factors,” 78 Associated with the threat of terrorism,is an outgroup, characterized as “scum” and potentially conflated with terrorism on the song “Beasts,” where Kinchev sings: the social threat with which they are identified. Hence,for example, Muslims are similar way. The ‘Others’ themselves portrayed in his lyrics are often notas important as outgroup; it is a felt social menace.” Kinchev’s music. Langmuir writes “The subject of a xenophobic assertion is not the ‘xenophobic assertions’ may help tounderstand how xenophobia isincorporated into as nextalbum Kinchev’s (2005) “Outcast” well. characterization of Langmuir’s inKinchev figurative sense a more same time, fans that do not view the world through such categories may merely interpret the At themes. xenophobic potentially with a song of interpretation fan’s in a imagined be manifested in the ‘emotion-laden’ context of a song, may be that various ethnicities can “foreigners”). “southerners,” Konstantin Kinchev, “Zveri,” Kinchev, Konstantin Gavin L. Langmuir, L. Gavin Emil A. Pain, “Xenophobia and Ethnopolitical Extremism in Post-Soviet Russia: Dynamics and Growth Chorus: Theyarebeasts!NotPeople! This couldonlybe total scum To killchildrenin the name of Allah How beasts mock, showing their teeth chokesthenewsBlood reports Horrible terror, oppressing us With explosions they dictate their will tome Inhuman, incamouflage, without without faces, eyes Scum havemultipliedin the Motherland Increasing anxiety about the demographics and immigration may be interpreted in Nationalities Papers Toward aDefinition , 35,(2007). , no.5 895— 911, research databases via EBSCOHOST, Izgoj, 78 2005, RealRekords INN 7704196095 The effect of this ‘loose’ variety of xenophobia, when 79 of Anti-Semitism Kinchev’s lyrical rhetoric seems tofunction in a 80 (Los Angeles: University of California Press, 28 CEU eTD Collection lyrics:http://www.alisa.net/disk1/d05_lyrics.htm#zveri At same the time, thesongportrays. that ‘Other’ with abstract an is Crime associated And then inAnd then final the verse: he sings: verse first the During Russians. ethnocultural for specifically as anation-state Russia Federation the of definition as Kinchev’s contains xenophobicassertions, aswell Caucuses, also“Outcast,”(2005) potentially from 83 http://www.questia.com/PM.qst?a=o&d=108044816. Russian Politics and Society Rossiiskoe 82 region. 81 lyrical rhetoric. The song “Black,” of style Kinchev’s into incorporated is xenophobia how between interplay complex the illustrates brought together, are thesetwo threats How are multiplying. theOther that crime, or in this case terrorism.At the same time there is an additional threat which is in the Motherland.” The Other, is first of all associated with a threat, be it corruption, have “Scum line, in the threat this with them associate and trends demographic that all Muslims “Kill children in the name of Allah.” At the same time, he may hint at “beasts.” However, Kinchev still maintains a certain level of ambiguity. He does not say whatever ethnicity; whereas ethnicity; whatever Konstantin Kinchev, “Zveri,” Kinchev, Konstantin Russkii and Rossiyanin. Richard Sakwa explains the “two usedterms to denote 'Russian' in the language: In Russian, the word “Black”(Chyorny) can be used asa derogatory word forpeople from the Caucus Here rossiyanin, this is “clean” and Here “precise.”rossiyanin, this word “russkii,” Here the Without variation, suchthings without alternatives, Crime is working actively region to region indecay,from Everything is up Confident to the neck,in shit up to the eyes He is always whispering: and “You“(Tyi,informal), always shouts “ToMe” Biomass has been turned intoelectorate, is in decay, The genepool means 'of Russia', used adjectivally, giving rise to the noun (New York: Routledge,2002), 212. Russkii Izgoj, , the noun, denotes those who are ethnically Russian.” Richard Sakwa, Richard Russian.” ethnically are who those denotes noun, , the 2005, Real Rekords INN 7704196095 82 is not politically correctpolitically is not enough, 81 which can used as a slang word for people from the 83 (emphasis in original) (emphasis Rossiyanin , a citizen of Russia of multiplied 29 CEU eTD Collection politicization of Kinchev’s music does not seem so surprising. One analysis of “Russian economic crises,with sharpthe devaluation of rubleinthe 1998, this sudden Considering“Solstice” that was beingand written during recorded period the of the implications. anti-Semitic possibly some with criticisms by political accompanied were andGod, the soil in song “Mama.”the On“Solstice”(2000) these themes continued, but study. On“The Fool”(1997) Kinchev began usingvague references Motherland, tothe implications. lyrics ofits political and perhaps because controversial be seen. At the same time, fan forum users continue to discuss the lyrics of “Outcast,” currently reinventing himself or merely retreating temporarily from controversy is yet to earlier themes of nature, self-reflection, and personal spirituality. 3 Chapter fan interpretationsanalyzed. of are specificthese lines behalf of a minority that is within the song’s rhetoric affiliated with crime and ‘decay.’ In are not russkii. That is, ethnocultural Russians, have to alter their way of speaking on ‘rossiyanin’ is the politically correct term, when the term is used on account of those who Federation should be defined. The lastlines seem to imply that it is ironic that also connects this to a definition of how he envisions citizenship in the Russian includes both possible xenophobicassertions, by conflating with crime butan outgroup, http://www.alisa.net/forum/viewtopic.php?t=7045(accessed May 23, 2008) 84 was about ‘negroes,’ and still another initially thought it was about Satan. someforums, fans interpreted song thisthe “Caucasians,” fan about being one it argued Kinchev never says directly who this Other is,it is up to fans to interpret. On reviewing Forum ofitsial'nogo sajta gr. Alisa. “Spisok forumov www.alisa.net -> PESNI.” -> www.alisa.net forumov “Spisok Alisa. gr. sajta ofitsial'nogo Forum The thematic progression Alisa’sof albums from 1997-2007 isfor important this In 2007 Kinchev released“Traitof North,”the which toKinchev’sreturned 85 Whether Kinchev is Kinchev Whether 84 Kinchev 30 CEU eTD Collection national stereotypes.” national withMoscow, some Moscowjournalists contributingpopular to xenophobia andnegative ethnicity, particularly those from the Caucuses, also have been viewed suspiciously in trends in Russia starting in the 2000s,if as one report asserts “Immigrants of non-Russian may potentially be more directly associated with an Other. This may reflect general andan terrorism, ananxiety demographics, over crimeassociation immigration with of mostly in form the of historical in allegory 2003. On“Outcast,” (2005) threatthe of Slavs”(2003), and the usage of non-ethnic Russians as a “loose” Other, albeit this is still less explainable is the jump to a more extremist ethnocultural nationalism on “Sky of themes on “Solstice” are notsurprising in the context of when it was released. What is released on “Real Records,” Nashe Radio’s affiliated label, and Real Records has since 88 Federation,” 19. 87 2005http://www8.georgetown.edu/departments/government/faculty/mmh/bjps.pdf (accessed May 20, 2008) Science, Forthcoming , 86 85 are of whom most industries, either Jewish state-owned or of partly of formerly Jewish origin. privatization shady the from fortunes vast their made who businessmen influential and wealthy extremely or eight seven the “oligarchs” so-called the toward It isalso possible economic thatthe crashof August 1998 increased the hostility of ordinary Russians Jews” suggests: Anti-Semitism Scapegoating andthe of “Solstice”(2000) andis Than “Solstice”(2000) “Now Think”(2003).You Later musically. insectors 2000s,the it than may have been an appealing andculturally themerelevant “Alisa History” JulieDaVanzo and Clifford A. Grammich, “Dire DemographicsPopulation Trends in the Russian James L. Gibson, “Russian Anti-Semitism and the Scapegoating of Jews,” see official Alisa discography and lyric transcripts at http://www.alisa.net/diskografiya.php If Kinchev is a topical lyricist then the political and potentially anti-Semitic potentially and political the then lyricist a topical is Kinchev If It should be noted that “Outcast” was not boycotted by Nashe Radio, as were Alisa.net November 21, November 87 http://www.alisa.net/istoriya_eng.php If “popular xenophobia” was being actively promoted in certain 86 88 Instead, “Outcast” was “Outcast” Instead, British Journal ofPolitical 31 CEU eTD Collection 92 91 90 89 isadded “Now Than Later you its Think,”(2003) catalogue.to new advertising campaign featuring new below. campaign Kinchev pictured advertising Alisafeaturing on station’s “Chartthe of a Dozen”(a hitparade program) andlauncheda havelanguagein rock) emerged lastthe few years. and Susan Glassman’s account, as other stations with a similar format (all-Russian Nashe’sdominancethemes. has in marketPeter declinedBaker Radio the to according as much resultincreasedthe of marketcompetition as popularthe successofxenophobic Picture courtesy of Daria Ukhova Daria of courtesy Picture Peter Baker and Susan Glassman, 76. Interaktiv http://nashe.ru/chart/ (accessed May 2008). http://nashe.ru/chart/ 23, In a certain sense, Kinchev has been publicly rehabilitated after being ostracized Realrec.ru http://www.realrec.ru/unreal.php Moscow NevskyMoscow May Prospect 2008 90 Last year, Nashe Radio began Nashe Radio Lastyear, 91 92 89 This could, however, be 32 CEU eTD Collection nationalistic and xenophobic nationalistic havebecomethemes andxenophobic more publicly accepted. record companies could no longer hold back, orif norms have shifted and the his rehabilitation has been the result of gaining popularity which the Radio stations and in the early 2000s on charges of nationalism. The question that remains is whether this 33 CEU eTD Collection the listener, or to use the vernacular ‘strike a chord’ with a listener, does itdoes necessarily alistener, with achord’ ‘strike or tousethevernacular listener, the ethnocultural ethnocultural mayRussians, not always succeed in ‘persuading.’ http://www.alisa.net/forum/viewtopic.php?t=13215&postdays=0&postorder=asc&highlight=%C7%C2%C 94 Red-Black Hundred (St. Petersburg chapter) forum at http://sotnya.by.ru/ I have another, one to numberedrelation in them. Allcomments forum users’ posts forum are frommore the or official two Army discussing of When Alisa fan forumauthors. atthe Alisa.net about and the official 93 ‘ is a state Russian Federation thatthe listener,’ the xenophobiclyrics whichbe Nationalistic strong attitudes. aimedappear to ‘persuading at have song the enjoy who fans that mean necessarily not may themes lyrical xenophobic Do fans exhibitxenophobic attitudes in theirinteractions? Simply enjoying asong with ordo allegory? they assess them categories/groups, modern as merehistorical day ethnic like “the “Basurman”historical terms Hordes” dofansor as these interpret referring to via internet. Dofansthe Kinchev’slyrics interpret WhenKinchev literally? references in fans have which discussions the themes are reflected these examines whether chapter lyrical which themes, could potentially be interpreted as xenophobic and nationalistic this 3.1 Interpreting Audiences Forum ofitsial'nogo sajta gr. Alisa. “Spisok forumov www.alisa.net -> PESNI.” -> www.alisa.net forumov “Spisok Alisa. gr. sajta ofitsial'nogo Forum all user names have been left anonymous as in certain cases they may reveal biographical information biographical reveal may they cases certain in as anonymous left been have names user Having established inHaving many established previous Alisa’sthe chapterthat docontain songs of website Alisa’s from forum a fan on --Posting has helped me to find pride in land,the I that am aRussianOrthodox person. reasonably long time. I was givenwisdom, from the songs I have takenprinciples of life… Alisa Forme, Alisa, this a catalyst fordeveloping as a person. I have been listening to Alisa fora Chapter 3. Fans Groups and Internet Forums 94 of and for’ an exclusive ‘core’ of 95 If “persuade”they do 93 34 CEU eTD Collection the Nation: Reflections onNationalism and Patriotism,” 117. 96 95 5%D0%C8&start=30 (accessed May 26, 2008) look atfan forum aboutdiscussions two songs with potentially nationalistic and planned. understand Inorder to how agroup fansof actually interpret music the itself, I meetgroups offline, Idolook at instances whereoffline meetings arediscussed and when occurs examine not what does Whileresearch this threats. associal perceived ‘everyday’ environment, but also more distant sociopolitical phenomena that are simultaneously as internet web forums,may also help fans to make sense of not only their social networks and groups, which exist both as real ‘face-to-face’ fan clubs, and These asocialmusic network. use ashared toconstruct foralso the as means affinity interpretations both as a means cognitively to ‘everyday understand but surroundings,’ This willchapter examine howAlisa fans interpret Kinchev’s lyrics and use these hasAndrew explained: Bennet environment, as well as deal with anxiety created by perceived threats. As sociologist affiliated fan culture may help fans to construct a cognitive frame for understanding their appealing certain to fans, andhow not only listening toAlisa’smusic, butpartakingin an doing this, Ihope to ascertain why nationalistic and xenophobic lyrical themes are shared interpretations of ‘meaning’ as a basis for the construction of social groups. By questions, but will examine how Alisa fans use a shared affinity for the band’s music and beliefs? or attitudes mean that they accept the message completely, and if so, is this indicative of deeper held SimonFrith, SimonFrith, define their tolocal, relationship everyday surroundings. important role in the narrativization of place, that is, in the way in which people music an plays as acreative andasaform practice of Both consumption, Performing Rites: On theValueofPopular Music, 166 Performing Rites: On theValueofPopular Music, 166; 96 This chapter will notattempt to answer all of these theoretical ; Rogers Brubaker, “In the Name of 97 35 CEU eTD Collection starymi alisomanami stali poyavlyat'syayunye fany, chasto s britymi golovami,” 102 research. conduct to created 101 100 http://www.novayagazeta.ru/data/2007/10/39.html(accessed May 10, 2008) starymi alisomanami stali poyavlyat'syayunye fany, chasto s britymi golovami,” February 12, 2007. 99 98 Identity, 97 early twenties. appears that the majority of users on the web community are in theirmid to late teens and concerts as well. Judging from the personal photos that some fans use as their avatars, it attend still also fans older but audience, the of portion large a up making been have fans younger increasingly that noted been has it Recently is difficult. base fan Kinchev’s of had its own newspaper “Shabash” and for a time a radio show. being amember provided fans with a 20%discount onall concert tickets. club The also Konstantin Kinchev in 1991 while the album “Shabash” was being released. 3.2 The Army of Alisa examine the history and divisions of Alisa’s fan base. xenophobic themes which were reviewed 2.Before in chapter turning tothis, however,I Alisa.net’s Army of Alisa forum has 14,422 registered users. wasestablished. Alisa website official first into obscurity for ashort time afterwards, and then was reestablished in 1996 when the Army of Alisa ended after two years, apparently due to financial problems. The club fell Andy Bennet, “Music, Space and Place,” in Place,” and Space “Music, Bennet, Andy “Armii ISTORIYA,” “Armii Novaya Gazeta “Forum ofitsial'nogo sajta gr. Alisa,” http://www.alisa.net/forum/; this numberincludes two accounts I “Armii ISTORIYA,” “Armii Novaya Gazeta ed. Andy Bennet, Sheila Whiteley Stanand Hawkins ,2(Aldershot:Ashgate, 2004). According to its own literature, the “Army of Alisa” was called into existence by the“Armyinto ofAlisa”wascalledits own literature, to According In the 2000s most of Inthe 2000smost of Army’s Today,the internet. moved onto activities 102 “Malye narodtsy XXI veka «ARMIYA ALISA»: KRASNOE I CHERNOEKRASNOERyadom «ARMIYA ALISA»: so “Malye XXI veka narodtsy “Malye narodtsy XXI veka «ARMIYA ALISA»: KRASNOE I CHERNOEKRASNOERyadom «ARMIYA ALISA»: so “Malye XXI veka narodtsy Furthermore while it appears that a majority of users are male, there are Alisa.net, Alisa.net, : http://www.alisa.net/armiya_alisa.php (accessed 2008). May 20, http://www.alisa.net/armiya_alisa.php (accessed 2008). May 20, Music, Space and Place: Popular Music and Cultural 100 101 99 Estimating the make up This early heyday of the of heyday early This 98 Originally, 36 CEU eTD Collection noted, however, that these forums are not always merely a virtual world contained within themselves, but themselves, within contained world virtual a merely always not are forums these that however, noted, be should It conservation. private in would they than differently opinions and attitudes certain express same time, opinions expressed on the internet should be handled carefully. As forumswithout are concerns public, fansthat themay researcher’s presence is interferingThe well. as with the quality advantages its anonymityof has theit information. of internet provide, interaction At would the allows the fieldwork researcherground the abilitythe on as to observe fans opinionsinformation of andkind sentiments same 104 agreement by mutual withheld is of interviewee name 103 the songs “Sky of Slavs” and “Black.” forum by analyzing the responses andinterpretations fan of discussions centered around Fan Forums 3.3: newspapers andaround radio showshasbecome lessimportant. based meetings needfor andgrown the structure that face-to-face organizational older the Army of Alisa, no longer exists. However, it seems likely that as the web community has has having stopped weeklymeetings. not This necessarilydoes mean, thatthe though, Alisa Army chapter of St.Petersburg InRecentthe years, group. Red-Black Hundred the used by younger Alisa fans, although this term does not necessarily imply membership in indicated a newMy interviewee also that “Red-Black”term hasemerged asamoniker twenty-somethingAlisa fans would wanttodistinguish themselves from their older peers. than a specific changein ideals. group not does seem It thatteenagesurprising and may be in fan of theresultbase, more a Kinchev‘s change nomenclature, generational the “alisoman” has been following out of favor among younger fans. ‘national patriot’ splinter group of the Army), atleastin St. Petersburg, the term regularly. post who users female many About the internet based forum research: While this kind of research obviously does not allow for the for allow not does obviously of research kind this While research: forum based internet the About Interview with Red-Black Hundred organizer. Interviews was conducted in confidentiality, and the This section looks at how fans discuss and interpret songs on the Army of Alisa interviewwith Iconducted memberAccording to a Hundred(a of The Red-Black 104 A number of opinions, attitudes, and beliefs are 103 This change in the change This 37 CEU eTD Collection 106 "Chartova Dyuzhina" 105 avatar. their as pictures personal and name first real their discussed. Furthermore, complete anonymity is not always policies the meetings, norm, where with someHundred,” forum “Red-Black ofthe users forums usingthe in at least are oftenused as facilitators forface-to-face social activity in the ‘real‘ world. This is particularly notable Britain. andGreat Ukraine, from Belarus, occasional users there are users from numerous other cities throughout the Russian Federation, as well as noted althoughthat many identify users location their as St. Petersburg orMoscow, that official forum. Toa large extent the context determines the content. It should also be members for example donotdiscuss Red-Black Hundredorganizingissues on Alisa’s nature the of two forumthe analyzed ishere Red-Black important. groups Hundred are between andrather isolated The difference shifting.overlapping but and exclusive, well. as forum Alisa’s on appear (some 103 registered users) Red-Black Hundred forum, many of the same user names minuscule in comparatively Furthermore, the more frequently others. than appear far register and partake in the forum discussions, there are some fans whose user names more often they would use forums.the Indeed, although a large numberof individuals do boasts asubstantial 14,000 +users,itseems probable that the moreinvolved afan, the being used here, only ‘hardcore’ fans can be assessed. Even as Alisa’s primary forum member,of Dueto ‘Red-Black.’ member,Alisa methodology Red-Black Hundred or the forums, create a profile, and probably do not identify themselves as an ‘alisoman,’ Army ‘casual listeners’ take the time to log onto Alisa’s page, set up an account, post on sizable group of fans who could be classified as ‘casual listeners.’ should be noted now that Alisa is once again receiving radio airplay, the band likely has a exhibited on the fan discussion groups on the official Army of Alisa web forum. First, it for example the Red-Black hundred member I interviewed had a noticeable presence on both the Red the both on presence a noticeable had I interviewed member hundred Red-Black the example for Khit-parad parade; hit Dozen” a of “Chart Radio’s Nahse on in rotation been recently has Alisa http://nashe.ru/chart/ 106 Meaning that fan divisions and categories are not , and recruitment plans are 105 It is doubtful that 38 CEU eTD Collection 110 109 2008) http://www.alisa.net/forum/viewtopic.php?t=13921&postdays=0&postorder=asc&start=0 (acessed May 23, 108 M'yuzik" lyrics: http://www.alisa.net/disk1/d03_lyrics.htm#nebo 107 lack Hundred forum and the Army of Alisa forum forum from April of 2008,“When I listen to it, apatriotic spirit rises within me reading of lines. the straightforward thanmy more are complex often they relatively create interpretations the themes, while identify fans easily these it that becomes apparent section following the In interpreted. be may they how and song in this themes the of some out Army of Alisa’s general forum from where the song is analyzed. In chapter 2, I pointed groups? In this section I examine the responses from three different discussions on the as Kinchev’s historical representinginterpreted allegory presentday ethnic categories or white men rise, Here on the native land, We will die is us.Against theforeigner our chain armor is Russian speech, Andfrom the forestup to the stars, The boils,The sky of Slavs. From the shores of Chudskih, To the ice of Kolyma, All of this is our land, All of this Weare sharpened by thesemen of the hordes, Weare under the yoke of thebasurman, But in ourveins Case 1.Internet3.3.1 FanForum SongForum: Analysis- Alisa.net Skyof Slavs through canbe“triggered national feeling as ashow nationalism well of ethnocultural power” not say much about how fans interpret asong’s lyrics, but they do reveal the “ emotional another user notes, “I adore this song, as itis about us- the Slavs,” This may be an important appeal for many fans, the simple emotive power of a well Walker Connor Ibid PESNI.” -> www.alisa.net forumov “Spisok Alisa. gr. sajta ofitsial'nogo Forum Konstantin Kinchev, “Nebo Slavyan,” First, there are typical responses about how the song makes fans feel, such as in a How do fans on Alisa’s official fan forum interpret a song like “Sky of Slavs?” Is music genius.” nation’s particular past or asreflecting popularly perceived the Ethnonationalism: The Quest forUnderstanding Sejchas Pozdnee, Chem ty Dumaesh' 107 . (Princeton: PrincetonUniversity 109 2003 ZAO "Moroz ZAO 2003 such responses do suchresponses 108 ” or 110 39 CEU eTD Collection 1%CE+%D1%CB%C0%C2%DF%CD&start=15(accessedMay 23, 2008). http://www.alisa.net/forum/viewtopic.php?t=14172&postdays=0&postorder=asc&highlight=%CD%C5%C 113 EBSCOHOST, http://search.ebscohost.com/ Dynamics and GrowthFactors,” Federation. see Emil A. Pain, “Xenophobia and Ethnopolitical Extremism inPost-Soviet Russia: 112 23, 2008). http://www.alisa.net/forum/viewtopic.php?t=13921&postdays=0&postorder=asc&start=0 (accessed May 111 Press, 1996), 42, 204. and supports the Black Hundred. And it is correct. White man sounds very beautiful,User2: Nationalism Russians is loveare white forone’s own nation, it is good. Kinchev already said that he is a nationalist the and text isingeneral not bad. this is neo-fascist terminology.and Races,” Only, Istill “White(Aryan) reallyas Itake like men” all “White ofwords the thisbut song. Because incorrectly, it the understand music I Maybe is 1: highUser quality, suchfeelings towards groups, as well fansas how Kinchev’s interpret texts: such feelings groups areexpressed.towards Thefollowingexhibits argument negative from May of fans 2008 where line dissectthe “the white men rise,” negative these fans towards the recent growth of neo-Nazi groups in Russia. stated that “Nazism is our national enemy,” but also because of hostility among some may has of because Motherland)andNazism.This bethe as Kinchev a perception both Nazism, and distinguishing between what they call nationalism(usually refers to love of may attribute their own meaning to“Sky of Slavs” another user replies: response. One “Nazis”(mostuser notes that probably racistreferring to groups) skinhead enduring and primordial Orthodox Slavic nation. anthemdelivered rock reminds that them a perceivedof membership group in an Forum ofitsial'nogo sajta gr. Alisa. “Spisok forumov www.alisa.net -> PESNI.” Emil Pain, estimates that there are some 30,000 members of racist skinhead groups in the Russian Forum ofitsial'nogo sajta gr. Alisa. “Spisok forumov www.alisa.net -> PESNI.” A recurring theme in Alisa’s fan forums is extreme sensitivity to accusations of differentlargely things… are But, these two start to confuse their asses with theirfingers- i.e. nationalism equals Nazism. …It says simply and without metaphors: “I am Russian!”(russkii) When people Still other fans dig deeper, interpreting amessage rather than merely an emotional 113 Nationalities Papers , 35, no.5(2007). 895 — 911, researchdatabases via 111 112 In another discussion 40 CEU eTD Collection citizenship. What is surprising, however, is that even with this challenging message, that thesong’sdislikes messagebecause itchallenges amultiethnic of conception Russian 1%CE+%D1%CB%C0%C2%DF%CD&start=15&sid=32d803edf05d1 http://www.alisa.net/forum/viewtopic.php?t=14172&postdays=0&postorder=asc&highlight=%CD%C5%C 114 state defined. User 2, interprets the song as a confirming the Russian Federation as a nation- the song’s message, but rather different interpretations of how a Russian ‘nation’ should MONO-national Underlyingcountry.” argument this are not differentinterpretations of claim, embraces it, and sees it as an affirmation of his own view that “Russia is a nationalist ethnocultural its rejecting than rather but themes, same the identifies also rejecting the message, or a few of the song’s lines, overall the fan likes the song. User 2, itgrounds provokes that tension between different Allethnic groups. same,the while implications, which were discussed in chapter 2., but rejects the song’s message on the allegory in contemporary terms. User 1. identifies the song’s possibly nationalistic about his. Russiais a MONO-national country, Russians are 85%. User2:It’s better to sing aboutone’s ownpeople. The Tatar abouthis, Bashkirs about and his, Russianthe song. In my view it is better to sing songs which portray a multi-national Russian(russissiki) people. citizens into two opposing sides, which are unlikely to understand eachsong other betterthis after listening Accordingly, to thisopposes song. Slavs “white” to non-Slavic peoples (Tatar, Buryat, Dagestaniis and etc.) And national-patriotic this divides Russian a simple as ofSlavs” “Sky consider not I do Therefore, etc. and nation” “white honor” “white men” “white phrases the include which everywhere, stuck are have not I do here And completelyphrases. pleasantany such associations. like also In my and home Novosibirsk beauty, this (I’m sure in otherappreciated cities have also) pro-fascist also leafletsskinheads User1 : White mensounds very beautiful, Russians are white people.” I agree. It soundspeople. nice. Simply, http://www.alisa.net/forum/viewtopic.php?t=14172&postdays=0&postorder=asc&highlight=%CD%C5%C 116 1%CE+%D1%CB%C0%C2%DF%CD&start=15(accessedMay 23, 2008). http://www.alisa.net/forum/viewtopic.php?t=14172&postdays=0&postorder=asc&highlight=%CD%C5%C 115 d May 23, 2008) Forum ofitsial'nogo sajta gr. Alisa. “Spisok forumov www.alisa.net -> PESNI.” Forum ofitsial'nogo sajta gr. Alisa. “Spisok forumov www.alisa.net -> PESNI.” -> www.alisa.net forumov “Spisok Alisa. gr. sajta ofitsial'nogo Forum Forum ofitsial'nogo sajta gr. Alisa. “Spisok forumov www.alisa.net -> PESNI.” of and First, itshouldFirst, be forum noted that thesong’s historical the users interpret 114 for an 85% ‘core’ of ethnocultural ‘white’ Slavic Russians.Whereas, User 1 116 (emphasis in original) 682621fb367b8d45409( accesse 115 41 CEU eTD Collection Russians.” familiar claim “Russia -is MONOnational country: more than 80 percent are lines…..” I am by these is state, multi-national alarmed Russia a “I writes, user think that Another 121 20, 2008). http://www.alisa.net/forum/viewtopic.php?t=7045&postdays=0&postorder=asc&start=15 (accessed May 120 119 http://www.alisa.net/forum/viewtopic.php?t=7045 (accessed May 20, 2008) 118 117 1%CE+%D1%CB%C0%C2%DF%CD&start=30 (accessed May 23, 2008). political word. But, russkii, this should be the blood.” Russia,” notbeing Russian(russkii)” s “…This term rossiyanin. In a discussion from September of 2006, one fan writes, ofits mocking the because annationalistic possibly with andalsocrime conflating Other discussion. 2., In chapter I interpreted linesthese asbeing potentially xenophobic by correct enough,Here rossiyanin,thisis“clean” and “precise,” variation, suchthings without alternatives, Here theword “russkii,” isnotpolitically ethnocultural Russians drive the argument. The lines “ over a definition of the Russian nation, as well as xenophobic assertions about non- Case 2.Internet3.3.2 FanForum SongForum: Analysis- Alisa.net “Black” user 1.still likes the song. Ibid. PESNI.” -> www.alisa.net forumov “Spisok Alisa. gr. sajta ofitsial'nogo Forum Ibid. PESNI.” -> www.alisa.net forumov “Spisok Alisa. gr. sajta ofitsial'nogo Forum slang fordark skinned ‘non-ethnic’ Russian In an analysis of a fan discussion about the song “Black” the underlying conflict ɨ 119 120 ng is about ng This prompts another user of the nation-state persuasion to respond with the Another user contributes an idea usercontributes Another of iscommon “Rossiyanin ancestry a this churbanakh 117 , that is blacks, which call themselves “citizens of 118 Another user thinks the song is about “negroes.” 121 Crime isworking actively Without One user offers a completely yield five pages of forum 42 CEU eTD Collection http://www.alisa.net/forum/viewtopic.php?t=7045 (accessed May 20, 2008). 122 “Sky of Slavs” that “Russia is a MONO-national country 85% Russian,” asserts in a exhibitxenophobic attitudes. The same argued for userwhom example, when analyzing fans tojudge itbecomes easier whether discussions, In these events arediscussed. current news in section, and where is “Political” the especially noticeable This less reserved. reserved in expressing their views. Elsewhere in the Army of Alisa’s the forum, users are andnationalistattitudes of conceptions statehood. seem beto well aware of the appeal that certain songs have for fans with xenophobic definition of Russian national identity, and consider Russia as “a multi-national country” more figurative readings.At the same time, the fans whom argue for a multi-ethnic whom adhere to a multiethnic definition of the Russian Federation,may tend tofavor stress a defininition of the Russian Federation as a “mono-national” state. Whereas fans texts as being about some ethnic Other. These also seem to be mostly those fans whom with whom xenophobic assertions tendtoresonate, may understandtend to Kinchev’s ‘message’ or content for a large part seems to be in ear of the listener here. That is fans meaning of lines.the Here Kinchev’s lyrics may be deliberately andambiguous, the Unlike the discussion of “Sky of Slavs,” there is less consensus in this case of the nationalities with Russian citizenship… it should be considered that in our country there are many different peoples of other and how he destroys people. But these lines are not completely clear. It seems to me that …Judgingfrom song the as a it’swhole, concludepossibleit to that speaks about Satan may have certain implications: different explanation of the song as a whole, while conceding the possibility that the lines Forum ofitsial'nogo sajta gr. Alisa. “Spisok forumov www.alisa.net -> PESNI.” -> www.alisa.net forumov “Spisok Alisa. gr. sajta ofitsial'nogo Forum In the song discussion sections of the Army of Alisa forum,fans tend to be most 122 43 CEU eTD Collection between ‘immigrants’ from other countries and internal migrants who hold Russian nationalism. exclusively ethnocultural Russian criminals is a particularly odd example of ethnocultural implication, ethnoculturalhave that Russians wouldactivity. rather though, The criminal alleviate effectively as just would Russians ethnocultural the eliminating that is specifically Federation Russian the that assumption is implicit an there argument user’s in this Nevertheless, “migrants:” forof alarge argues scaleexpulsion mathematics, crime, but then supplies an ethnic Other in the end. Another user with a penchant for This user at first creates an abstract category of migrants whom are associated with associating them arecommon: crime them with associating CD%C0%D6%C8%CE%CD%C0%CB%C8%D1%D2&start=0 (accessed May 10, 2008). POLITIKAhttp://www.alisa.net/forum/viewtopic.php?t=13813&postdays=0&postorder=asc&highlight=% 124 CD%C0%D6%C8%CE%CD%C0%CB%C8%D1%D2&start=15 (accessed 2008). May 10, POLITIKAhttp://www.alisa.net/forum/viewtopic.php?t=13813&postdays=0&postorder=asc&highlight=% 123 componentis raiding (or robbery).” familiarizes himself with Chechen culture, it becomes understood, that its most important one “If Others, ethnic various and crime, immigration, on focuses largely that discussion Forum ofitsial'nogo sajta gr. Alisa. Spisok forumov www.alisa.net -> -> www.alisa.net forumov Spisok Alisa. gr. sajta ofitsial'nogo Forum An interesting aspect about these discussions is that the users do not differentiate is theusersdo that these discussions about aspect An interesting that total the numberis of committedcrimes instead reduced50%, of 100%… leads tothen, in “migrants” territory the of absence the arithmetic, then, simple Russians(russkii) 50%are“migrants,” and i.e. they make 100% together. So …We assume that, 50% of criminals in the territory of Russia are station, Caucasian… station, migrants does not worsen the criminal situation in the country. Suitcase, train criminals…Only theperson could unintelligent conclude thatavailability the of Adventurers, life? a better find to country own their leaves usually Who for 124 ethnocultural Russians(russkii), otherwise one could reason 123 Essentialist views of immigrants, especially ones 125 44 CEU eTD Collection 126 125 by “The-Black Hundreds”been have which described as modern“thesome of forerunner literature, is group the notnamedafter Russianthe anti-Semiticmovements of 1900s the its to Alisa.According fans of “national-patriotic” tothe caters which specifically criticized. they are seldom areexpressed views whenthese “migrants,” expulsion of the This system seems to have its own norms as well.Although notall forum users argue for culture, a fluid system of signs, codes, and symbols, through which fans communicate. users of Alisa forums, are not merely members of a fan group, but are part of a fan Frequent is may be and acommon reached. toacertain consensus set, context degree newspaper.” magazine or is a “a medium in which the public may debate an issue or express opinions, e.g. a Internet discussion group for participants with common interests,” but another definition designed as a social network for fans of a music group. A forum can be defined as “an statements are made. The users are discussing these issues on a forum that is primarily Kinchev‘s lyric texts. What should be considered, however,is the context in which the Alisaof toashared andinterpretation andviews for affinity arerelated attitudes vague migrants, Outgroup(s), Chechens, Caucasians,it could be whether questioned these assertions, conflating a social threat, crime, with an essentialised although loose and citizenship. Whilethe previous statements areseemingly classic examplesof xenophobic 3.4 The Red-Black Hundred: Ibid Microsoft works dictionary. works Microsoft The Red-Black Hundredis “Armyan of Alisa” splinter group founded in 2002, 126 Fans debate issues, and as such, acertain tone, a certain 45 CEU eTD Collection 20, 2008) 130 129 28, http://www.questia.com/PM.qst?a=o&d=59532309. Revolution, 1881-1940 Perrie, "Narodnost national identity, throughfolkways, folksiness, and folklorism, to populism, popularity…”; Maureen language. Its meanings and possible translations range from nationalism, nationality, nationhood, and translation of the word narodnost- “The term “The narodnost- word of the translation http://www.questia.com/PM.qst?a=o&d=26344660; Nationality/National Spirit is an approximate Empire, 1801-1917 128 The National Interest 127 Russian fascism,” webpage: Moscow which communicate with one another. The group describes itself on its official only 103 registered forum users, although it has chapters in both St. Petersburg and band’s iconography, hence the group’s name. The online group is relatively small with 17 links toits webpage.if Thatis, Kinchev hethesupports group, seem doesnot activelyto Alisa’s official not providewebpage does any mention of Red-Blackthe Hundred or by despite that status, Kinchev) Red-BlackHundred’salleged‘official’(recognized the Army of Alisa St. Petersburg chapter over unknown reasons. Itshould be noted, though, Konstantin Kinchev called for creation of the group after a dispute with leader of the “KCHS. Kto my?” album the from song Alisa classic a is Together” “Weare th Laurent Murawiec, and Clifford C. Gaddy, "The Higher Police: Vladimir Putin and His Predecessors," 19th century Deputy Minister of Education underNicholas I. see Hugh Seton-Watson, century. Red and Black are also Alisa’s official colors and typically used in the various activities of national revival. We see the future of Russia in the three principles of Uvarov: of principles “Orthodoxy, three the in Autocracy, ofRussia Nationality/National future the see We Spirit.” revival. of national activities various The KCHS (Red-Black Hundred) is an Orthodox National-Patriotic organization supporting According to an withAccordinginterview to Iconducted member,a Red-Black Hundred Glory to Russia! Our Goal- A Great Holy Rus! We are Together! are Orthodox national-patriots. Alisa and the contemporary works of KonstantinKinchev, who share the views of its mentor and . Oxford: Clarendon Press, 1988, 201. : Notions of National Identity," in , Spring 2002, http://www.questia.com/PM.qst?a=o&d=5000742758. 127 Krasno-Chernaya Sotnya ed. Catriona Kelly and David Shepherd (Oxford: Oxford University Press, 1998), but rather a clandestine secret society of patriots with roots in the 130 narodnost official site. http://www.k4s.ru/main.html (accessed May Constructing Russian Culture inthe Age of 129 is one of the most elusive in the Russian Energy 128 The KCHS unites admirers of the group (1985). The Russian 46 CEU eTD Collection 000-0-0-1184066209 (accessed May 22, 2008) 132 forumhttp://sotnya.fastbb.ru/?1-3-0-00000006-000-0-0-1140592161 (accessed May 22, 2008) 131 Hundred should have with so-called groups). ‘skiny’ (skinhead In another forum from October of 2006, users discuss what relation the Red-Black manuscript. the of text the on commenting members other and concerts at out handed 2006, for example, consists of a member posting the text for aplanned pamphlet to be from January Oneforum discussion atAlisa members newhow concerts. and to recruit to effectively their arebased most of how discussions Instead, the organize group around Alisa, there is actually very little discussion of the band’s music on their forum pages. months. in recent active less been has forum web their meetings, weekly attend memberwith that theRed-Blacknoted communicated they although that still Hundred I shared by all users on Alisa’s general “Army of Alisa” fan forum. It should also be noted seeks topromote, accordingits toliterature “Orthodoxy, Nationality,Autocracy” arenot more radical fans from his general fan base. The values which the Red-Black Hundred ‘national-patriotic’ fans, Kinchev may also have started the group as a way to isolate occasionally give them some form of recognition. perceive themselves as having a special status among Alisafans, as Kinchev does seems totacitly avoid publicly appearing be to toclose tothe itsgroup, members may Kinchev displays their banners on the stage during concerts as well.While Kinchev flag up memberinterviewedof briefly, the Red-BlackHundred noted the that I and promote it. At the same time, the music video for “Sky of Slavs”(2003) features a close- Forum » Obschij forum » CHto delat,' officialKCHS forumhttp://sotnya.fastbb.ru/?1-1-0-00000006- KCHS official listovki propagandistskoj » Tekst razdel »Delovoj Forum Although Although Red-BlackHundredthe is technically basedan organization around While Red-Black Hundred members may see their own group as an elite core of 132 Ultimately reaching a reaching Ultimately 131 47 CEU eTD Collection 133 Immigration). Illegal Against Movement (the groups, there should be more cooperation. They also propose joint action with the DPNI neo-fascist with its differences has Hundred Red-Black the although that, consensus 135 000-0-0-1184066209 (accessed May 22, 2008) 134 When Kinchev’s music is mentioned, like in the quote above, it is in the form of slogan. Hundred’s forum. There are no discussions of interpreting what Kinchev’smessage is. the lyrics of “Sky of Slavs.” nationalism will save Russia from the Basurman!” which seem to be directly pulled from Kinchev’s lyrics as a call to action. With fans often posting slogans like “Healthy Russian Alisa. The group, despite its lofty ambitions,is after all, an offshoot of an Alisa fan club. from bandfor the a sharedaffinity originates Autocracy,” Nationality, of “Orthodoxy, foris thisfact important study, thegroup, aprogram the which is that around organized a viable functioning anti-immigrantpolitical network isaction besides the point. What is rules of commerce and rules of residing.” Moscow area. It is possible tocollect together some materials about infringements of in to“counteract background order discussions. In one discussion for example, users make plans to find someone with a legal in intentions group’s forum clearer become some the love of However, country.’ the meinformedhis mostly that consisted activities about ‘patriotism educatingof others and Themember Iinterviewed tour. Alisa‘s city following from distances city to great Red-Black Hundred actually aside does from pamphletshanding out and often traveling The Movement Against Illegal Immigration. see Immigration. Illegal Against Movement The Forum » Obschij forum » Opasnost' natsionalizma, official KCHS forumhttp://sotnya.fastbb.ru/?1-1-0- KCHS official natsionalizma, Opasnost' » forum »Obschij Forum Forum » Obschij forum » CHto delat,' officialKCHS forumhttp://sotnya.fastbb.ru/?1-1-0-00000006- The Red-Black Hundred members on web forums seem to in members take seem seem to on webforums to general Hundred The Red-Black 135 There are no song analysis pages on the Red-Black dealers fromthe south 134 http://www.dpni.org/ Whether the Red-Black Hundred is WhethertheRed-Black Hundred actually 133 It is hard to tell, practically, what the residing illegally in the 48 CEU eTD Collection 138 137 00000036-000-0-0-1183846851 (accessed May 22, 2008) 136 00000036-000-0-0-1183846851 (accessed May 22, 2008) declares itis based Kinchev’saround music itand philosophy, seems thatindirectly, it is groups, and the polices they plan, and the fact that in theirmission statement the group Kinchev’s However,texts. judging from theirhostility migrant andtowards immigrant forumtheir makes itpages understanddifficult to directly thesehow fan’s interpret music lack the of analysis on ofmusicalmessages, interpretations around constructed Kinchev’s music, butalso of his public press appearances and statements. forum “Solstice.” Hundred be Red-black users seem not close followersto only of while user 3reproduces Kinchev’s for usingargument Swastika the on cover the User 4accurately Kinchev’sreproduces own definition of Orthodoxy basednationalism, Orthodoxy. Russian nationalist, it’s necessary to always remember thatyou should be a Christian.(!) Through true User3 Swastika or no swatika… The point is not in the symbols. If you would like to consider yourself a corporal naturally... And this symbol was also used in Buddhism - from where it was “borrowed"User2 ….The swastika by the gay - is not a symbol of fascism! It is the mark of the Solstice….It is in Orthodoxy, User1 ….why are there so many swastika’s on this site? Kinchev’sBlack Hundred arguments: reproduces symbol. Thefollowing forum discussion from September of 2006 exhibits how Red-the between nationalism and Nazism, and the appropriation of the Swastika as an Orthodox a devotionthrough Orthodox to Christianity)hypersensitivity a about differencethe press conferences. Mimicking both his definition ‘nationalism,’of (love of country the Forum » Obschij forum » Opasnost' natsionalizma, official KCHS forumhttp://sotnya.fastbb.ru/?1-1-0- KCHS official natsionalizma, Opasnost' » forum »Obschij Forum refers to Adolf Hitler. See Lothar Machtan See Lothar Hitler. Adolf to refers Forum »Obschij forum » Opasnost' natsionalizma, officialKCHS forumhttp://sotnya.fastbb.ru/?1-1-0- 137 The Hundredseem Red-Black closely follow viewsasto Kinchev’s portrayed in As noted, while this group is an interesting case of how fan cultures are 138 The Hidden Hitler 136 ( New York : Perseus Press, 2001). 49 CEU eTD Collection 00000036-000-0-0-1183846851 (accessed May 22, them. instead, where there is an opportunity to debate their views with others who donot share itmay be that when these fans want to analyze a song’s lyrics they turn to that site Army Alisaas someon the forum, domaintain of of members profiles these Furthermore, all,if mostmembers havea shared interpretation be would there little todiscuss. nationalistic themes. The lack of music discussion on their page is notso surprising, after and xenophobic of reading straightforward a fairly favor they group a as that likely 2008) 50 CEU eTD Collection appreciate. When I began research, Ihad an assumption that interpretations would largely songhadwas questioned the “skinheads” whether implications “Nazis” would that or different users in two different discussions about “Sky of Slavs” (Chapter 3.3.2) where it interpret asong and how this would in turn affect their views. This was exhibited by two could how anticipate fansother with attitudesdifferent and views political would where it did occur. What was surprising, although it now seems obvious, was that fans here. covered not were themes which to other attracted are incorporates a number of different themes intoeach album, and there are likely fans who Kinchev music’s appeal. inthe play role themes the these may that also overstate certain themes and relate to them,interpretations do sometimes differ between fans. It identify may fans while is that found was What music. the of interpretation aunified has problems. The question itself has certain faults. For one thing, itimplies, that the fan base some were as there unforeseen be considered, should my question within research which fans could understand theirand environment make sense of perceived threats. hypothesis was that Alisa’s music and an affiliated fan culture served as a means through xenophobic themes resonated among a particular audience of Russian rock fans. My Conclusion When I began this project, I set out wanting to understand why nationalist and Conversely, Iwas surprised by the uniformity interpretationof in the places whetherBefore turning thishypothesis to or not,assumptionswas validated 51 CEU eTD Collection especially so-called ‘migrants’ is an accepted form of expression, at leastwithinform is Alisa’s at of anaccepted expression, ‘migrants’ so-called especially individuals who do not have such attitudes, itmay mean that hostility towards Others, less aremoreby language or tolerated and anti-immigrant assertions xenophobic This norms. social If 3.31). of broader maybeindicative Chapter criteria(see other even individual lines within a song, but nevertheless like the song as a totality on some fans it will that was shown reject instanceswhere casein the was not This certain culture. themes that they would completely reject the band and would notinteract within its fan ‘multinational’ country, would be so appalled by such xenophobic expressions and was that individuals who believed that the Russian Federations was a ‘multiethnic’ or expectation My nevertheless. band the like but negatively, phenomena these treat who fans also are there as appeal, band’s the to isessential nationalism or xenophobia whether isRussian Federation as amulti-national country appears well. Itcannotbeconcluded primarily state itisimply the that and country, is a “mono-national” Russian Federation the assert that which arguments nationalist ethnocultural As are forums. Alisa the on abundant certainly interpretations. fans’be other by affected likely reading to social nature of forums may also be affecting this as well, since fans’ interpretations are The implications. xenophobic possible messageand nationalistic acertain contained even in “Sky historical allegory of the recognize userstended Slavs” song of to that the bemay thecase in where lyricsKinchev’s examples aremore coded and ambiguous, andnationalistic beliefsfactors these onto interpretations. Whilethis project theirwould be within the ear of who was doing the listening, and that fans with xenophobic attitudes Xenophobic assertions, which conflate ethnic Others with social threats, are for ethnocultural Russians. At the same time, the argument that the 52 CEU eTD Collection isolation ease as he himself feels integrated into the community of “fans.” as one of many who identify with that fictitious subject, that musical I, he will feel his song’s ideal subject, into the person for whom the song ideally speaks. At the same time, socialization ritual, arguing“the that listener whoremembers ahitsong will into turn the music as to a listening characterized them. and Adorno, about easeanxiety threats Alisa’s fan base, allows fans to enter into a social world that may help them understandto crime, are discussed and made sense of among an internet community. Being part of forum discussions with other fans where social threats, in the case studied migration and was fanswas exhibited,in exhibited. though, werenot that connections engage What fan culture. within a song analysis that the Russia Federation was a ‘mono-national’ country, also message anationalista in it fanwas shown that least example, one interpreted whom in their interpretations of Alisa’s music, but not all fans all of the time. Furthermore, at themes identify fanbase. Somefansamong dooften Alisa’s these arepresent conceptions as outlets for fans tocognitively make sense theirof surroundings and perceivedthreats. seem serve do communities to facilitated Thesemusically internet. existsbeyondthe that developed is community social a and ideology, an into translated is music the for affinity there, an electronic social world is developed. In the case of the Red-Black Hundred, an originally drawn to the fan forums out an affinity for the band’s music. However, once likely most are users forum Alisa individuals. between socialization actual facilitating have another function too, though, not just simulating afeeling of socialization, but also Insofar as fans using the music as a way to understand social threats, clear cut What was validated was that xenophobic assertions and ethnocultural nationalist ethnocultural and assertions xenophobic that was validated was What 139 Music may 53 CEU eTD Collection May25,2008) 142 141 http://search.ebscohost.com/ 140 139 years. club as in previous thaninasmaller at rather Olympic booked Stadium, the dates with audiences to larger sized venues since the early 2000s), in this year in Moscow at least, he has been playing Kinchev’s popularity hasskyrocketed, not (in most cities he has been playing the same the boycott in place, and Nashe now features Kinchev in their advertisements. While contains the song “Black”) was released by an affiliate of the same company that had put ‘nationalism.’ of charges on 2000s early the in station of such a trend. As noted, two of Kinchev’s albums were boycotted by the Nashe radio is indicative case and Kinchev’s whether in sphere, has cultural the occurred similar trend been intolife…have now incorporated mainstream.”the individuals previously extremistconsidered andrelegated to margins the of public “a and politics andin rangeofideas that mainstream present increasingly becoming were analysis ofindividual fans, which lies outside of scope the of this research. andnot to however,others, would probably biographical require and psychological why certain nationalisticspecifically and xenophobic fans appealingto these are themes exhibited xenophobicattitudes in discussionanother (see Chapter 3.3.2). To determine spurious. Whathas changed, is however, Kinchev that is nolonger being ostracized by rise in Kinchev’s popularity and political nationalism entering themainstream,may be xenophobic, and these are not the only themes in his music, a correlation between a slight the Russian Review “Alisa History” SD Shenfield, “The Price of Hatred: Nationalism inRussia and Resistance to Racist crimes,” Adorno, 27. Alsia.net “ In 2005,apublication by SOVA the argued center Russianthat nationalistideas Information.” > concerts, http://www.alisa.net/informaciya.php#concert(date accessed http://www.alisa.net/informaciya.php#concert(date concerts, > Information.” Alisa.net ,vol.67,no.1,pp.167-168, 2008. research databasesEBSCOHOST, via http://www.alisa.net/istoriya_eng.php; Peter Baker and Susan Glassman, 76. 142 However, as not all Alisa fans are nationalistic or 141 140 In2005,“Outcast”(which The question is whether a 54 CEU eTD Collection “Solstice”(2000) andis Than “Solstice”(2000) “Now Think”(2003)You were released. Later when than overlooked, least at or accepted, more presently are themes lyrical xenophobic one of the major Russian rock music promoters, and this may reflect that nationalistic and 55 CEU eTD Collection Secondary Sources: “Baker, Peter and S.Glasser. Peter “Baker, “Armii ISTORIYA,” (History of the Army) “Alisa History” Friedman, J. and A. 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Are (We pravoslavnye!>“ - POLITIKA (Politics) &start=0 http://www.alisa.net/forum/viewtopic.php?t=13921&postdays=0&postorder=asc forumov www.alisa.net -> PESNI.” (Songs) &highlight=%CD%C5%C1%CE+%D1%CB%C0%C2%DF%CD&start=30 http://www.alisa.net/forum/viewtopic.php?t=14172&postdays=0&postorder=asc forumov www.alisa.net -> PESNI.” &highlight=%CD%C5%C1%CE+%D1%CB%C0%C2%DF%CD&start=15 http://www.alisa.net/forum/viewtopic.php?t=14172&postdays=0&postorder=asc forumov www.alisa.net -> PESNI.” 32d803edf05d1682621fb367b8d45409 &highlight=%CD%C5%C1%CE+%D1%CB%C0%C2%DF%CD&start=15&sid= http://www.alisa.net/forum/viewtopic.php?t=14172&postdays=0&postorder=asc forumov www.alisa.net -> PESNI.” http://www.alisa.net/forum/viewtopic.php?t=7045 forumov www.alisa.net -> PESNI.” tart=15 http://www.alisa.net/forum/viewtopic.php?t=7045&postdays=0&postorder=asc&s forumov www.alisa.net -> PESNI.” http://sotnya.fastbb.ru/?1-1-0-00000006-000-0-0-1184066209 http://sotnya.fastbb.ru/?1-1-0-00000036-000-0-0-1183846851 http://www.alisa.net/forum/ forumov www.alisa.net -> POLITIKA (Politics) Krasno-Chernaya Sotnya (KCHS. Who are we? Red-Black 59 CEU eTD Collection 5. Black 4. Beasts 3. Sky of Slavs 2. Orthodox! 1. Experimenter 1. Supplementary Materials: Audio CD Outcast Outcast Solstice Now is Later Than You Think Energy (2005) (2005) (2000) (1985) (2003) 60