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Results: Displaying Artifact 1 - 6 of 7 in total

Text Containing: 1987

Fields: Human Readable Date

Putting the “Spotlight” on an experimental three-hour line for Soviet luxury clothes

“Prozhektor perestroiki” (Perestroika's Spotlight), a glasnost-era televised investigative journalism project, seeks to uncover the causes of a three-hour line for luxury clothes at the recently opened Luxe Fashion Center, which come down to intractable issues of supply and demand in the USSR.

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ASSA, motion picture

Scene of Viktor Tsoi performing his rock-anthem "Changes!" (“Peremen!”) during the last seven minutes of Sergei Solov’ev’s 1987 film Assa. Kino's cinematic performance became a defining mass-cultural event that legitimized Soviet rock music as a product of the official mainstream collaborating with the Soviet underground rock movement, crowning Tsoi as USSR's ultimate rock star, and promoting rock music as a legitimate artform for the late-Soviet audience.

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"Sovetskii Ekran" with Konstantin Kinchev on the cover

Popular film magazines like Soviet Screen (Sovetskii Ekran), were instrumental in establishing rock musicians as cultural icons. Volume 7 (1987) publication places Konstantin Kinchev, frontman of the Leningrad band Alisa, on the cover of its “youth issue” (molodezhnyi vypusk) in an effort to promote the Valerii Ogorodnikov’s film The Burglar (Vzlomshchik, 1987) in which Kinchev plays the lead role.

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"Glasnost. Information Bulletin"

The front cover of Glasnost. Information Bulletin from 1987, along with the Editor’s introduction to the first issue. One the first self-published journals to be released during perestroika, Glasnost was an early instance of the fledgling independent late-Soviet press. 

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Gorbachev's speech on socialist democracy

A 1987 speech by Soviet Communist Party General Secretary Mikhail Gorbachev (1931-2022) on the significance of his signature policy, perestroika.

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Sergei Kuryokhin and Pop-Mekhanika on TV's "Musical Ring"

Making its debut in 1984, Musical Ring was a Perestroika-era Soviet television program, dedicated to showcasing new musical talent and fostering a live audience Q&A. This 1987 segment features composer and avant-garde jazz pianist Sergei Kuryokhin and his band Pop Mekhanika. Throughout the episode Kuryokhin artfully wields the postmodern rhetorical weapon of styob, imbuing formal musical discourse with farce, an artistic and communicative device that became one a defining mode of expression during perestroika and the early post-Soviet period.

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