By Stephen Amico
established at the musical reviews of gay males in St. Petersburg and Moscow, this ground-breaking examine examines how post-Soviet renowned track either informs and performs off of a corporeal realizing of Russian male homosexuality.
Drawing upon ethnography, musical research, and phenomenological thought, Stephen Amico bargains a professional technical research of Russian rock, pop, and estrada track, dovetailing into an illuminating dialogue of gay men's actual and physically perceptions of song. He additionally outlines how well known song performers use tune lyrics, drag, actual activities, pictures of ladies, sexualized male our bodies, and different instruments and tropes to implicitly or explicitly show sexual orientation via functionality. ultimately, Amico uncovers how such performances aid gay Russian males to create their very own social areas and selves, in significant relation to others with whom they proportion a "nontraditional orientation."
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Established at the musical reports of gay males in St. Petersburg and Moscow, this ground-breaking examine examines how post-Soviet renowned track either informs and performs off of a corporeal knowing of Russian male homosexuality. Drawing upon ethnography, musical research, and phenomenological conception, Stephen Amico deals knowledgeable technical research of Russian rock, pop, and estrada tune, dovetailing into an illuminating dialogue of gay men's actual and physically perceptions of track.
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Additional resources for Roll Over, Tchaikovsky!: Russian Popular Music and Post-Soviet Homosexuality
Upon return to the United States in 2005, however, I continued to carry out research, including online ethnography70 (largely discussions and informal interviews 28 chapter 1 with old and new contacts via email and chat sites, as well as regular perusing of gay-themed Russian websites and forums), discussions and informal interviews with gay Russian and Russian-speaking Ukrainian men (some of whom were met during the time I lived and worked in Sheepshead Bay and Brighton Beach, Brooklyn, neighborhoods with sizable Russian-speaking populations), and habitual reading and viewing of—and listening to—all types of Russian media, including television programs, newspapers, music, and films.
The post-Soviet homosexual body or, rather, the homosexual subject who experiences his sexual self corporeally, however, is not simply a continuation of an uninterrupted, constant, and eternal body (or “body culture”); rather, homosexual men in present-day Russia have concurrently repudiated, rehabilitated, and reclaimed the physicality of what was formerly the discursively and ideologically produced trace of a body. I am in no way suggesting that Russian homosexual men have somehow “returned” to a “natural” body—a type of contemporary “noble [sexual] savage”—or somehow miraculously exist outside of the realm of ideological and discursive construction (as if the discursive and the material were autonomous, mutually exclusive domains); as noted previously, the seminal works of authors such as Foucault and Butler, both of which are exemplary in regards to analyzing the complexity of how sexed and gendered bodies and subjectivities come to be (per)formed, might well be productively applied to the post-Soviet realm.
In the course of nearly a year and a half, most of it spent in St. Petersburg, my relationships with these men ran the gamut from one-time, casual meetings, to friendships that have lasted to the present. That the relationship of researcher and “informant” is indeed often one of mutual affection and respect—of friendship—has certainly been noted previously,66 yet it seems important in the context of this work, concerned as I am with the fundamental importance of interpersonal relationships and lived experience, the two intertwined and mutually constitutive, that the implied “scientific” aspect of ethnomusicology (a “social science”) be at least momentarily problematized.