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This article investigates contemporary relationships between the popular music genre russkii rok (Russian rock) and historical, societal, national, and religious contexts. From an account of the St. Petersburg rok discourse it moves on to analyze how the genre is embedded in notions of the national. Among the aspects discussed are ties between musicians, government, and the Russian Orthodox Church. Made from a post-Soviet and postcolonial viewpoint, the investigations suggest that, while nationalism plays a prominent role in the genre's popularity, diffusion, and appropriation, a sentiment such as nostalgia is perhaps no less important.
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Papers that cite the same references — the relational fallback while embeddings are still backfilling.
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