Alina Vitukhnovskaya, writer
This, of course, everything goes together, the whole is a single whole - the "nation of state employees" (c), about which I wrote in the last article, a depoliticized nation and a parody of civil society - Lesheviks-Masyans. The whole fb-feed is crying over the cartoon for a day! I think that recent history has never seen such a concentration of political infantilism. Or maybe history in general. Once again, I note that the freedoms gained in the 1990s were given by society virtually without any resistance. Everything that happened in our country did not happen “suddenly”, but became a natural apotheosis of all 20-year-old “society-power” relations. It’s not even “push the falling one”, but “push yourself if you fall”. That's what you pushed.
The Russians experienced a dangerous reduction of consciousness to the simplest stimuli, to primitive images, popular scenes. That is, not Russian culture was canceled. And the Russians themselves abolished culture as such. Along with your consciousness. What is Shakespeare after "Masyanya"? You write like that - "Masyanya" has done more for Russian culture than all its representatives in many years. You have simplified your consciousness to the level of a baby. The political position was reduced to hysteria. And now you are trying to legalize it as a norm in order to pay off History and responsibility for the country. Those who expressed skepticism about the "brilliant" cartoon are already being obstructed, and the critics themselves apologize for their critical posts. You should flirt with popular trends. It's political. My statement looks non-political. But I will not flirt with social decay.
Cultural reflections are added to the sobs over Masyanya, which look at least unethical against the background of ongoing events. We talk a lot about this in our video broadcasts with Kiev-based author Liza Gottfrik.
I have formulated five simple and important theses on this subject:
However, there are points worth mentioning. Namely, those from which it becomes clear why we find ourselves in such a deplorable, including cultural, situation. One of the best Russian poets, publisher Dana Kurskaya, is worried that Annam-Dolgarev will get the literary field. She quotes the appeal of a certain national patriot to A.D.:
“Dear Anechka, our generation lost the battle with the liberals - we were left with one magazine, Our Contemporary. Everywhere, in magazines and in the ministries of culture, there was a “liberal”, depicting both a Westerner and a Slavophile in one person. Nothing would shine for you either. But now there is hope.”
Yes, spit on them! This pronaphthalene dichotomy of “Westerners-Slavophiles” saturates the province of meaning, plunging into ever greater regression. As for the departure of literature into national patriotism, this history is almost as old as the current dictatorship. First, the best postmodernists were thrown off the stage - from Radov to Masodov. Then came the neo-socialist realism "Prilepin-Shargunov" and heavily occupied the whole stage with the bodies of graphomaniac Komsomol members. Then writers in civilian clothes began to rewrite history for themselves. Kholmogorov has already taken over Brodsky. Prokhanov tried to do this a long time ago, but everyone just laughed. They rewrite Wikipedia and school textbooks. They killed Mamleev. By the way, my speech delivered at his funeral at the Central House of Writers was simply cut out by the editors of the Zavtra newspaper. So it's too late to drink Borjomi. Better go directly to the global cultural discourse. Even at the worst moment.
As for Dolgareva. And why such glory in such a life? And is it glory? Unlike one deputy who went to hot spots to take pictures, A.D. really risking his life. And of their own free will. That is, it demonstrates deviant, or rather, suicidal behavior. What is there to envy?
And those same Mamlei funerals ended in a purely Mamlei way. Someone from the Eurasian pack said: "Finally, he died, the geniuses in life only prevent us from interpreting them in the right way." And in the end, a frenzied woman, the director of some Yesenin's club, burst into the hall and screamed angrily how she loves Yesenin, almost hitting her face in the coffin.
Meanwhile, Shnurov, Sklyar, Surganova, Sukachev, as well as Garkusha and Masha Makarova, who seemed adequate, took part in a rock orgy, singing the song of the late Krupnov "I'm staying." A more obscene spectacle is hard to imagine. Puffy faces of gerontocrats from “Russian rock” a couple of hours after falling into Olivier salad. But if you look closely, we have children in front of us. From that Soviet kindergarten, where, stuffed with sticky compote and semolina, they declared poems under the tree. Trained to humiliate themselves and please for a small ration or promotion, they now dance shamelessly on the ruins of ruined cities and the bones of their victims.
In essence, Russian rock, with rare exceptions, has always been an environment supervised by the Komsomol or even directly by the KGB cult department, in which "people's tribunes" were raised to control the mass unconscious. Another thing is that the current curators completely lack a sense of time and aesthetic taste. It is not clear who listens to this and in what environment it is popular. It seems that all this is done just for reporting and cutting. Therefore, patriotic concerts look very forced. Compare with the concerts of the early 1990s, when the stadiums went on a rampage, and you will understand the helplessness of what has been done now.
Surprisingly, local music critics discuss the clip "I'm staying" as a cultural (!) achievement. Cultural! Like, they sing well. But the moment is not the same, unethical! Firstly, the clip was made especially for this moment, under the order. Secondly, this special greyness with which the culture tragers from both camps drag their mediocrity through is now very noticeable. I wrote about reverence for culture. The reverence for Soviet culture is simply the expectation of bonuses and handouts for belonging to the “environment”. And in this case, some sislibs actually merged with the national patriots. Krupnov's face in the video is the only authentic face of an adequate person related to music. The rest are vodka furies from DEZ. The real face of gerontocratic power.
Unfortunately, such cultural demarches are not only a Russian phenomenon. Not so long ago, "Rammstein" released another dull clip with a claim. Well, this was already funny in the 1990s, but now it’s completely. A sort of rural BDSM in a German or Swiss village, again, "eternal values", "clamps", that's all. This clip can be perceived ambivalently. For even being a satire, he declares gerontocratic totalitarianism, “grandfather-warriorism”. Or so - this is the point of contact between the pro-mothballed Eurasian discourse and European traditionalism. Where does this trend come from? Yes, again from the economy. They spared money for everyone for a normal glamorous life. Got a circus of mummers freaks. And of course, they are very much afraid that the power will leave the trembling hands of the Gerontes. But civilization is relentless. And your power will still go away. In general, the shameful "Rammstein", only "Laibach" is worse.