Drink a worm. Now in culture

This has happened more than once in the media - when journalists leave the defeated editorial office, and new life forms of life have not yet cooled at workplaces; In the updated lists of the editorial offices, there are some names from the old LiveJournal, activists of the youth movements of the zero, and if the journalists, then those who were heard about fifteen years ago, then disappeared somewhere to find again in a new shameful status, as once, for example, in Vedomosti the notorious Shmarov , but how many of them were in the “tape”, in the “newspaper”, in the “newspaper”, in the “newspaper”, in the newspaper, in the newspaper "Poster", in gloss, a lot where; People whose career successes directly depend on the repressive and censorship activity of the state. Right now, the State Radio "Sputnik" is mastering the frequency of "Echo of Moscow", and if someone accidentally, forgetting to update the settings settings, clicks on the usual button, he will hear the afterlife voices of the scavengers and will be confused for a minute-who is this, where is it all?

In general, this has long been familiar to the mediaers, but life, as they say, does not stand still, and the time comes the long -standing Sorokinsky formula for the “drink” to spread to adjacent spheres. He who monitors the news probably heard about the abolition of Russian culture -usually this formula is described by some other sad episode when the Polish orchestra refuses to play the Tchaikovsky or French book trader pushes Tomik Dostoevsky into the corner, thereby protesting against the war in Ukraine. But this is not that abolition - alien, distant, often invented. In Russia, not the same is canceled. The famous Elena Yampolskaya, the chairman of the State Duma Committee on Culture, inspects bookstores and is indignant, meeting the volume of Akunin, Bykov, Glukhovsky, Parfenova in them - “I promise that the State Duma Committee will ask the founders and owners of bookstores in the near future, and it will be difficult to doubt. The authors who outraged the Yampolskaya oppose the war, and, therefore, they have no place in stores. Soon they will be removed and something politically correct, stately useful will be laid out on racks.

There is a bike about the Central House of Wheel-as the Hero of Socialist Labor, the laureate of the Lenin Prize, Mikhail Alekseev, the author of the novel “Bread Noun”, and started a strange conversation in the spirit that Yura, you have neither rewards, nor titles, but they translate you around the world, once, and for some reason you will not teach me how? And the author of the “House on the Embankment” rudely answered him that you, Misha, make it easier to break through-enter the tanks, and they will begin to print you there. It seemed a flat Soviet joke, no more, but in our time it was the most flat, most straightforward jokes and come true. The Earthlings group, sung by Mike Naumenko (“I don’t like“ earthlings ”, I love only amateur groups,” then lovers listed from Tsoi, Grebenshchikov and other rock-club stars, and “Earthlings” were almost the only team playing the official rock-Haers, good instruments, pyrotechnics on stage and a politically verified creampirbone) Now it is advertised as the only “remaining with the people” - so, at least, her producer Kiselev, who had already managed to master the “Russian radio” as part of the enforcement of the stage to patriotism, speaks about her. Kiselev in the Russian show business a joke figure, even he could not cope with the Russian-Radio-Radio Powerful Mediasource, wasting him to promote his singing wives and sons; Elena North, Yurkiss and Vladimir have not become real stars, but now that “all major rock bands are today in opposition to official power”-who, if not Kiselev, fill out the voids formed after the prohibitions and cancellations?

He, of course, exaggerates about the fact that only his artists are currently from a state -owned position. Already in Russian rock, the state has everything good, that is, the generation of Grebenshchikov and Makarevich could not support the war, but the musicians brought up by the “Radio” of the zero (after all, it taught them how to walk under a hard format in order to appeal to the then head of the station Mikhail Kozyrev, for whom the further fate of the groups open to him, obviously, will be a great personal drama until the end of his life). Almost everyone has been under the political department of the DPR since 2014. Will Chicherin and Django replace those who are waiting for the abolition in Russia? The answer directly depends on whether many artists will affect prohibitions. The more musicians are deprived of the opportunity to perform in Russia, to publish their albums in domestic (and there are no others left) streaming services and sound on the air of radio stations, the more opportunities for those who, during the relatively free competition, had no chance of anything. Are there many living fans from the same singer Chicherina? Now it seems that if someone can become the beneficiary of the war, then, first of all, forever the second of those spheres that are cleaned from the first. Prigozhinsky bard Akim Apachev is unlikely to sell as many albums as Morgensterns, but it is no longer possible to call to speak on the city of the city in Ufa Morgenster, and Apachev’s chances are automatically increased. Now he could become a star - he could not.

When we are talking about the return of the evening show to the first channel, the replacement of the canceled Urgant will be selected somewhere among the military-distinguished warriors (on the air of the "Evening Kot" show!), New Year's concerts instead of Galkin will be conducted, even if state prankers Vovan and Lexus will hang the works of Belyaev-gint in the halls. When the state comes into conflict with culture, the worse for culture. Or is it for the state?

This is not as simple a question as it might seem. Underground Akunin and the forbidden Khamatova are not equal to themselves from the former peacetime. The stars shine only in the mainstream, but if they are supplanted underground, a new life awaits them there - the difference between Galich, who sang songs about silence and bosses, and Galich, who wrote the script for “faithful friends”, are two different Galichs. The loyalists who are prohibited and leaving, the loyalists love to remember how the projects of new dissidents once received state funding, and they themselves did not abandon the titles and awards, campaigned for Putin and all that. To what extent the reproaches are fair, everyone judges to the extent of their tolerance, but not from the judges, but on these artists, musicians and writers themselves depends on whether they will be able to take place outside the usual mainstream - no matter how it sounds, but it is the war that you have been overvalued. The whole experience of the three waves of emigration is now at the disposal of the current ones, and how they use it, the question for them, and not to those who cancel them - about the abstracts and so everything is clear. The non -impaired Russian world in the twentieth century is not all Nabokovs and Brodsky. The names that have fallen from the mistakes of the survivor - the famous satirist Arkady Bukhov , for example, burned out of his emigrant newspaper in Lithuania, returned to Russia, settled down in the Crocodile and quickly became the informant of the NKVD, and became the death of many Moscow writers, but finally ended up in the ditch in communal services and; Who is ready to try on such a fate for themselves? Now it seems that no one, but in an unpredictable atmosphere it is more reasonable to focus on the most gloomy denouement, and not wait for your celebration.

As for the state, leaving itself without Bykov and Grebenshchikov, but with Chicherina and Yampolskaya - well, yes, there is obviously nothing good, but for those who should not be good. The Putin era, its very phenomenon, is also a derivative of the Russian culture of the first post-Soviet decade, from Balabanov and rock musicians of the older generation, from Pelevin and Sorokin, Prokhanov and Limonov. The post -Soviet injury, combined with the need for the new “we”, set the conditions of the problem, the solution of which is usually perceived as a purely political, but there would be a different cultural context, there would be another successor to Yeltsin. Moving towards its historical finish line, Putin’s power is trying to influence culture itself, but, getting rid of what it seems unnecessary to it, it, since it is impossible to construct such things from above, is left alone with Chicherina, and Yurkiss - besides them, there is no one to sing a new era, and when they will use, Putin of the first will be sick of what he heard. But he wanted this, even if he did not think about it.