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| Naked party. Who framed Kirkorov and what does the 'pink blouse' have to do with it? |
| 2024-01-09 |
| Direct Translation via Google Translate. Edited. by Vadim Bondar [REGNUM] Quite a lot of time has passed since December 20, the day when the so-called “naked” party died down at the Mutabor club, even a year has changed, but the passions around this event and the people who took part in it do not subside. The majority are throwing thunder at the participants in this party and demanding that they be expelled from everywhere and excommunicated from everything, since these “social elements” do not understand the urgency of the moment, continue to be ostracized and fatten in the Western manner (Ibid. LGBT (an organization whose activities are prohibited in the Russian Federation) is not prohibited, but, on the contrary, sets the mainstream and nudity at all kinds of events is in the order of things). Sponsors and all sorts of agencies (advertising, promotion, etc.) significantly broke their contracts with the participants of this frank get-together, or, in modern language, party, they were cut out of New Year's programs, tax officials came to check their financial affairs and collect arrears, and there was a stream of negative publications in the media. and a wave of angry comments from social network users. There were also those who began to look for a conspiracy theory in everything that happened and support “the guilty without guilt.” “Journalistic investigations” on the topic “Who Framed Roger Rabbit” began to appear on a number of Internet portals. Namely, who actually came up with all this and paid for it? Who needs all this right now and why? The participants themselves are silent on this topic. But others are thinking about it. There is a version floating around the Internet that all this fuss around the “naked” party is nothing more than a carefully planned action with the goal of thinning out the top of the domestic show business, namely, removing Kirkorov, Lolita, and at the same time Anna Asti, who began to occupy “too much space” in the cramped world of show business, where today there is a need for slightly different creativity. Ivleeva’s dad, in particular, sees the hand of Ksenia Sobchak in all this. Someone else's. What is happening gives the impression of a theater of the absurd. Moreover, it is an objective and natural absurdity, and not cleverly invented and inspired by someone. Why? First, let's ask ourselves a question: what exactly is today's Russian show business and the surrounding cultural space? Where does it all grow from and in what form, what does it live and breathe? The Soviet stage, as we know, virtually ceased to exist with the disappearance of the country. Soviet requirements for everything have disappeared, state funding has disappeared, but a general trend has emerged: it should be like in the West, and in this direction almost anything is possible. Remember what followed. Modest young men Philip Kirkorov and Valera Leontyev, who once sang soulful songs of Soviet composers in white classic three-piece suits, suddenly became icons of kitsch overnight. They rushed to declare everything Soviet “soviet” and “mothballs.” “Singing cowards” and songs about nothing quickly began to come into fashion. In 1997, Alexey Balabanov’s cult film “Brother” was released, in which Danila Bagrov asks his friend: “What are they singing about?”, and she eloquently answers: “Aren’t you the same horseradish?” It became “one hell” to shout from the stage, any nonsense under any cacophony, as long as there was a show, busty half-naked girls, a lot of smoke, a lot of noise, a lot of light and tinsel. If the Soviet stage was part of the state cultural and ideological product, which was intended to teach, educate, participate in the formation of the Soviet man and citizen, then the show business that replaced it was, firstly, to entertain and amuse, and -secondly, to Westernize the population, to make it, albeit peripheral, but still part of a world globalized according to the Western model. This was successfully implemented. Over time, those who were previously called pop performers turned into freaks, that is, people who differ from the rest primarily in their bright, unusual, extravagant appearance and defiant behavior. To cover the lives of these freaks, a whole host of media has been formed in the form of the so-called yellow press, specialized television programs, the Internet and network resources. What do they illuminate? No, not concert activities, but mainly parties, such naked, foamy and all sorts of other parties, divorces, scandals, who drank “Mole” to clean toilets instead of juice, and so on. And the songs themselves, which in Soviet times were written as full-fledged works of art, and the manner of performance was built in the form of a dialogue with the audience, have faded into the background. A striking illustration of this state of affairs was a scandalous story that occurred 20 years ago. Then, in 2004, at a press conference in Rostov-on-Don, journalist Irina Aroyan asked Philip Kirkorov why so many remakes appeared in his repertoire? Is there really nothing new to expect? To which Philip Bedrosovich responded with a series of personal insults addressed to the confused journalist who was doing her job, and kicked that very “pink blouse” out of the hall. That is, already 20 years ago, the question of new high-quality songs painfully wounded the domestic kings of pop. We naturally came to what we have today, and there is no universal conspiracy in this freak party. A “naked” party is a natural and natural part of the environment of the people who attended it. And the mass of those who did not visit it is also an integral part of the environment. Moreover, this environment does not stand still, it evolves, creating a whole pseudo-cultural layer, which now includes, for example, Instagram women imitating the pop singer and rap artist, TikToker, and previously Instagram blogger Daria Zoteeva. These are people who create hype, and not a cultural product in its classical sense. Unfortunately, in 30 years a whole generation has grown up that knows almost nothing else. And now we come to the main question: what to do with all this now? Just remove these people from show concerts and programs? Who will replace them and what will this replacement give? It won’t give anything, since all the rest are the same derivatives of the established model of show production. Rearranging the terms does not change the sum. The question is not about them, but about the amount that society and the state want to receive in the end. Culture and show business or pop, whatever you want to call it, are an integral part of ideology, regardless of whether it is officially proclaimed or not. Ideology is a vision of the future, an image of the future and a pattern of behavior on the way to this future. Until recently, we strived to be part of some unified Western, including mass cultural, space, albeit a peripheral part of it. They imitated, copied, sometimes in very exotic and perverted forms, everything that was born and regurgitated there. They did not disdain, as they say, anything. Infogypsies, who are now also being harassed by fiscal services, are also part of this harmful ecosystem. Like shameless parties. Now we have been told with all directness that Russia must suffer a strategic defeat, change power, politics, abandon its history and identity, and best of all, fall to pieces and cease to exist as a civilization with more than a thousand years of history. We were not offered an alternative option. Hence the conclusion - we must in the very near future model an image of the future and a pattern of behavior on the path to this future, formulate a state and public order for both. If the general changes, the particular will begin to change. Composers will finally remember that they must write original and beautiful music, poets - appropriate poems not only about “love” and “blue moon”, producers will begin to look for talented youth in conservatories, and not just promote anyone for “a lemon of bucks”. Well, further down the list. And I hope that the current show guys with glasses on their naked bodies will remember that they once sang really good songs in elegant three-piece suits. But all this, of course, will not happen suddenly. This is a process, not an event. Everyone needs to work on it, including society. Nothing will happen without his support. Culture, including its pop part, will fulfill the social order that it receives. If you want a show with trampling a cross and bare buttocks - they will show them to you, if you want “I look into the blue lakes, I pick daisies in the fields, I call you Russia, I call you the only one” - they will quickly change their shoes on the fly. |
| Posted by:badanov |