The first history in English of Soviet radio from its earliest days to the advent of television, showing the role played by broadcasting in establishing control of the Soviet State up to the 1970s: including the Cultural Revolution, Stalinist 1930s, World War II, the Cold War, and de-Stalinization.

Hoping to unite all of humankind and revolutionize the world, Ludwik Zamenhof launched a new international language called Esperanto from late imperial Russia in 1887. Ordinary men and women in Russia and all over the world soon transformed Esperanto into a global movement. Esperanto and Languages of Internationalism in Revolutionary Russia traces the history and legacy of this effort: from Esperanto's roots in the social turmoil of the pre-revolutionary Pale of Settlement; to its links to socialist internationalism and Comintern bids for world revolution; and, finally, to the demise of the Soviet Esperanto movement in the increasingly xenophobic Stalinist 1930s. In doing so, this book reveals how Esperanto – and global language politics more broadly – shaped revolutionary and early Soviet Russia. Based on extensive archival materials, Brigid O'Keeffe's book provides the first in-depth exploration of Esperanto at grassroots level and sheds new light on a hitherto overlooked area of Russian history. As such, Esperanto and Languages of Internationalism in Revolutionary Russia will be of immense value to both historians of modern Russia and scholars of internationalism, transnational networks, and sociolinguistics.

Metropolitan Belgrade presents a sociocultural history of the city as an entertainment mecca during the 1920s and 1930s. It unearths the ordinary and extraordinary leisure activities that captured the attention of urban residents and considers the broader role of popular culture in interwar society. As the capital of the newly unified Yugoslavia, Belgrade became increasingly linked to transnational networks after World War I, as jazz, film, and cabaret streamed into the city from abroad during the early 1920s. Belgrade’s middle class residents readily consumed foreign popular culture as a symbol of their participation in European metropolitan modernity. The pleasures they derived from entertainment, however, stood at odds with their civic duty of promoting highbrow culture and nurturing the Serbian nation within the Yugoslav state. Ultimately, middle-class Belgraders learned to reconcile their leisured indulgences by defining them as bourgeois refinement. But as they endowed foreign entertainment with higher cultural value, they marginalized Yugoslav performers and their lower-class patrons from urban life. Metropolitan Belgrade tells the story of the Europeanization of the capital’s middle class and how it led to spatial segregation, cultural stratification, and the destruction of the Yugoslav entertainment industry during the interwar years.

The story of a remarkable era of reform, controversy, optimism, and Cold War confrontation in the Soviet Union Beginning with the death of Stalin in 1953, the "sixties" era in the Soviet Union was just as vibrant and transformative as in the West. The ideological romanticism of the revolutionary years was revived, with renewed emphasis on egalitarianism, equality, and the building of a communist utopia. Mass terror was reined in, great victories were won in the space race, Stalinist cultural dogmas were challenged, and young people danced to jazz and rock and roll. Robert Hornsby examines this remarkable and surprising period, showing that, even as living standards rose, aspects of earlier days endured. Censorship and policing remained tight, and massacres during protests in Tbilisi and Novocherkassk, alongside invasions of Hungary and Czechoslovakia, showed the limits of reform. The rivalry with the United States reached perhaps its most volatile point, friendship with China turned to bitter enmity, and global decolonization opened up new horizons for the USSR in the developing world. These tumultuous years transformed the lives of Soviet citizens and helped reshape the wider world.

The story of radio begins alongside that of the Soviet state: Russia's first long-range transmission of the human voice occurred in 1919, during the civil war. Sound broadcasting was a medium of exceptional promise for this revolutionary regime. It could bring the Bolsheviks' message to the furthest corners of their enormous country. It had unprecedented impact: the voice of Moscow could now be wired into the very workplaces and living spaces of a population that was still only weakly literate. The liveness and immediacy of broadcasting also created vivid new ways of communicating 'Sovietness' - whether through May Day parades and elections, the exploits of aviators and explorers, or show trials and public criticism. Yet, in the USSR as elsewhere, broadcasting was a medium in flux: technology, the broadcasting profession, and the listening audience were never static. Soviet radio was quickly earmarked as the mouthpiece of Soviet power, yet its history is also full of unintended consequences. The supreme irony of Soviet 'radiofication' was that its greatest triumph - the expansion of the wireless-listening public in the Cold War era - made possible its greatest failure, by turning a part of the Soviet audience into devotees of Western broadcasting. Based on substantial original research in Moscow, St Petersburg, and Nizhnii Novgorod, Russia in the Microphone Age is the first full history of Soviet radio in English. In addition to the institutional and technological dimensions of the subject, it explores the development of programme content and broadcasting genres. It also goes in search of the mysterious figure of the Soviet listener. The result is a pioneering treatment of broadcasting as an integral part of Soviet culture from its early days in the 1920s until the dawn of the television age.

'[The book] shows that nationalist topoi inevitably have anti-transnational implications. [...] Vlad Strukov and Lara Ryazanova-Clarke look at Russian media ecology from the outside - from Latvia and the United Kingdom media ecology. Strukov's contribution conversely elaborates [...] the Russo-national centricity of the international media outlet of the Riga news portal Meduza, which he calls "transnational Russo-centrism".' Dirk Uffelmann, Zeitschrift für Slavische Philologie

An encyclopedic and richly detailed history of everyday life in the Soviet Union The Soviet Union is gone, but its ghostly traces remain, not least in the material vestiges left behind in its turbulent wake. What was it really like to live in the USSR? What did it look, feel, smell, and sound like? In The Soviet Century, Karl Schlögel, one of the world’s leading historians of the Soviet Union, presents a spellbinding epic that brings to life the everyday world of a unique lost civilization. A museum of—and travel guide to—the Soviet past, The Soviet Century explores in evocative detail both the largest and smallest aspects of life in the USSR, from the Gulag, the planned economy, the railway system, and the steel city of Magnitogorsk to cookbooks, military medals, prison camp tattoos, and the ubiquitous perfume Red Moscow. The book examines iconic aspects of Soviet life, including long queues outside shops, cramped communal apartments, parades, and the Lenin mausoleum, as well as less famous but important parts of the USSR, including the Great Soviet Encyclopedia, the voice of Radio Moscow, graffiti, and even the typical toilet, which became a pervasive social and cultural topic. Throughout, the book shows how Soviet life simultaneously combined utopian fantasies, humdrum routine, and a pervasive terror symbolized by the Lubyanka, then as now the headquarters of the secret police. Drawing on Schlögel’s decades of travel in the Soviet and post-Soviet world, and featuring more than eighty illustrations, The Soviet Century is vivid, immediate, and grounded in firsthand encounters with the places and objects it describes. The result is an unforgettable account of the Soviet Century.

A beneficiary of the pioneering incorporation of sound and synchronicity into cinema, the Hollywood musical became the most popular film genre in America’s thirties and forties. Its eastward migration resulted in a barrage of Polish screen musicals that relied on the country’s famous cabaret stars, while in the Soviet Union it inspired the audience-pleasing kolkhoz musicals of Ivan Pyr’ev and their urban counterpart, directed by Grigorii Aleksandrov. Like Stalin, Slavic moviegoers delectated tuneful melodies, mobile bodies in choreographed dance numbers, colorful costumes, and the notion that “all’s well that ends well.” Yet Slavic versions of the musical elaborated scenarios that differed from the Hollywood model. This volume examines the vagaries of this genre in both countries, from its early instantiations to its contemporary variations almost a century after its dramatic birth.

This lucid account of Russian and Soviet history presents major trends and events from Kievan Rus’ to Vladimir Putin’s presidency in the twenty-first century. Directly addressing controversial topics, this book looks at issues such as the impact of the Mongol conquest, the paradoxes of Peter the Great, the “inevitability” of the 1917 Revolution, the Stalinist terror, and the Gorbachev reform effort. This new ninth edition has been updated to include a discussion of Russian participation in the War in Donbas, eastern Ukraine, Russia’s role in the Syrian civil war, the rise of opposition figure Alexei Navalny, Vladimir Putin’s confirmation as “president for life,” recent Russian relations with the United States, the North Atlantic Treaty Organization (NATO), and the European Union as well as contemporary social and cultural trends. Distinguished by its brevity and supplemented with substantially updated suggested readings that feature new scholarship on Russia and a thoroughly updated index, this essential text provides balanced coverage of all periods of Russian history and incorporates economic, social, and cultural developments as well as politics and foreign policy. Suitable for undergraduates as well as the general reader with an interest in Russia, this text is a concise, single volume on one of the world’s most significant lands.

Of the many Cold War radio DJs who broadcast to the USSR, Seva Novgorodsev must be near the top of the list. A masterful BBC presenter, Seva was considered a sage of rock ‘n’ roll. His programs introduced forbidden western popular music and culture into the USSR, rendering him an “enemy voice” and ideological saboteur to the Central Committee of the Communist Party. Despite KGB threats and constant media pillorying, Seva remained on the air for 38 years, acquiring millions of listeners all across the breadth of the USSR and beyond. He became a cult phenomenon, dismantling the Soviet way of life in the hearts and minds of youth. This is the story of Russia’s first and best-known DJ.