Self-quotation as Reinterpretation of the Past in the Russian Rock Band DDT

Sergio Mazzanti

Abstract


This article discusses the use of lyrical, musical and visual self-quotations in the works of DDT, one of the most important Russian rock bands. After the collapse of USSR, the legacy of Soviet rock movement has been the object of a nostalgic approach both by its protagonists as individuals and by the society as a whole. Supported by different methodological approaches (Genette, Yurchak, Boym, Chion, Veselovsky), the author examines how Yury Shevchuk, DDT’s leader, uses self-quotations as an artistic tool to re-interpret the past, his own past and at the same time the past of the country. Self-quotations can also act as a kind of dialogue between the author and the society, helping to stress the mainly intertextual character of popular music and position it in the cultural field between the individual and the social.

Keywords


Russian popular music; palimpsest; nostalgia; self-quotations; appropriation; definition of popular music

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References


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(1983), Kompromiss, DDT Records, 1997 (unofficial release 1983), Russia

(1984), Periferiia, DDT Records, 1996 (unofficial release 1984), Russia

(1985), Vremia, DDT Records, 1997 (unofficial release 1985), Russia

(1989), Ia Poluchil Etu Rol’, Melodia, Russia

(1992), Aktrisa Vesna, DDT Records, Russia

(1993), Chernyi Pes Peterburg, DDT Records, Russia

(1995), Eto Vse, DDT Records, Russia

(1997), Rozhdennyi v SSSR, DDT Records, Russia

(1999), Mir Nomer Nol’, REAL Records, Russia

(2002-3), Edinochestvo I-II, REAL Records, Russia

(2005), Propavshii bez vesti, CD Land Records, Russia

(2007), Prekrasnaia Liubov’, Navigator Records, Russia

(2011), Inache/P.S., Navigator Records, Russia

(2014), Prozrachnyi, Navigator Records, Russia

(2018), Galia Khodi, Navigator Records, Russia

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