How to do the car wash dance

Intro

For a city of half a million in Kirov, there are many bright musical phenomena - from one of the most powerful regional punk-hardcore movements ¹ , garage rock hero Pavel Myatny ("Supergoats", "Operation: Diamond Bikini") and representatives of Russian post-punk -waves ("Chernaya Rechka") to adherents of the newest school of hip-hop (former members of the "Connect" association) and English-language retro-indie (Pikes Jr). All these musicians from time to time come to the attention of specialized federal media, but more often they find attention outside the region without their help - through social networks or self-made tours.

However, there is something that connects all these disparate phenomena, but due to its own nature cannot be exported - the local rave culture, the center of which in the past few years has become car wash parties. It is this inability of local rave to be exportable that makes one want to at least describe it.

In addition to the description itself, I'm interested in how a rave can influence the life of a city. In my opinion, some of the historically characteristic effects of rave are actualized in modern Kirov. Among them are the rethinking of urban spaces, the establishment of cultural exchange, the emergence of a unique type of urban celebration and a kind of plateau for a fluid community.

If you enter Kirov across the Vyatka River along the Old Bridge, then on the left hand you can see a modest promenade and the outlines of the provincial city, on the right - a business center with colored glazing and ventilated facades, and immediately behind it - running along the river and almost abandoned street with the speaking name Zavodskaya. A recurring pattern: sauna, car wash, sauna, car wash, and in the distance - brand new panels. If you turn around in the middle of the street and go uphill a little, winding, you will again find a car wash, but not quite typical anymore - with psychedelic graffiti and a veranda surrounded by forest. This is Uncle Grisha's Car Wash, which has become the epicenter of the local rave culture. Anton Selivaev (Myhttp) and Nikita Kikin, representatives of the DJ association Freak Out Group, accidentally met its elderly eccentric owner several years ago when they came to wash the car.

Freak Out Group has existed for more than 13 years and was not initially tied to any particular institution or musical style. The association has dealt with everything from beer parties to river islands, from rock and roll in the late 2000s and afrobeat in the mid-2010s to the widest range of electronic dance music. The composition of the participants is also blurred - the association was founded by the already mentioned Anton Selivaev, Nikita Kikin and Evgeny Dzhekich, but almost all notable local DJs went through their events.

Kikin started back in the 2000s with drum and bass, from which he moved away as part of Freak Out. In 2016, after three years of living in St. Petersburg and actively visiting clubs on Konyushennaya, he, inspired by the new Russian wave of electro, as well as the “sense of social responsibility of the old party-goer to young party-goers” ² , returned to Kirov and assembled a new team. This is how a series of techno-parties "Prevention" appeared.

“Moyka” started with “Prevention” when a young team gathered, says Kikin. — In 2017, we were constantly looking for places, Anton was washing the car and offered to look at the car wash as a party place. We approached Uncle Grisha, I introduced myself, told what I was doing, and offered to organize something here. He shortly answered: "Come on." Two days later, a couple of hundred people came here. Later, the guys with whom we did this moved to St. Petersburg, and now they are engaged in the Izich club.

The owner of the premises, with whom Kikin so easily agreed, moved from Armenia and 15 years ago rented a small garage on the high bank of the Vyatka, and later bought it and equipped it with chaotic outbuildings for washing cars. At some point, he built a second floor for the family with a spacious veranda surrounded by forest, but then the family moved to a city apartment. The veranda turned out to be a great place for techno parties, but with the move of most of the Prevention team to St. Petersburg, it was almost forgotten about. Kikin and Dzhekic remembered the room on the second floor of the car wash when they were looking for rental housing, already in 2020.

“Such a move was an important experience, especially for us, because we felt ourselves in a new place and in a new way,” says Dzekić. — There is no feeling here that you live in Kirov. You see some unfamiliar landscape, a river, a forest from a completely unexpected angle and constantly do not understand where you are. In the first six months, we did not have a bad mood here at all. There were no grandiose plans for this room, but we immediately understood that we would do parties in it - we always do them. Initially, everything looked scary, but we knew that if we settled down here, it would be very cool. Moreover, the community always helps: in just a couple of months, we had everything for life, although we ourselves practically did not buy anything. The most important thing that we completed was the roof on the veranda, because there simply wasn’t one there. In the first year, of course, we overdid it with graffiti - we told the artists: “Do what you want,” and they came off to the fullest. So this year we decided to make almost everything black.0022 3 .

Not only graffiti by local artists, but also many guests quickly appeared at the existing car wash.

“The guys just lived for a few months in one place, and by some miracle it changed so much that it became very attractive, initially having absolutely no architectural value” ⁴ , says Sonya Demina, a Moika party facer.

Sonya graduated from VGIK a few years ago and returned to Kirov also for a kind of rethinking of space - together with photographers Anastasia Vostretsova and Victoria Russkikh, they formed the Vyatka Subjective community and turned a communal apartment in a 19th-century confectionery into a space for cultural events and exhibitions.

And these are not isolated events - for example, local activist Anatoly Kurbatov bought a water tower designed by Ivan Charushin in Slobodskoye (40 minutes drive from Kirov) ⁵ in order to turn it into a museum. Confectioner Stanislav Yakubovsky and his mansion, architect Charushin and a tower designed by him - Uncle Grisha and his car wash, in a strange way, now also fit into this series. However, rave culture is inextricably linked with the rethinking of spaces - and almost from the moment of its appearance in 19The 80s, when the dancing British public flooded into the former production facilities. In Kirov, a similar grassroots revitalization of the city can be observed right now.

At the same time, according to Pavel Myatny, a native of punk-hardcore parties, who is known outside of Kirov for several projects at once and often cooks food for Moika guests, it is the local landscape that has become defining for parties and causes a sense of security. “Moyka is located on a ninety-degree slope – it is almost a vertical point on the map. If conditional police robots patrolled Kirov, then after analyzing the map, they would decide that there could be nothing at this point,” he explains. - It's like military equipment hidden in the jungle under the net - to some extent, Vietnamese dungeons. It's hard for the pragmatic police mind to believe that there could be anything at all. The place determines a lot - it sends those vibrations in which people feel calm and to which they want to return - to a collective, not an individual feeling. Instincts work here - they do not lie to us, although they are difficult to analyze.0022 6 .

But outdoor parties also have their limitations - especially the short season.

“Winter, of course, is a problem in itself, and an even more serious problem is the lack of proper heating here,” says Kikin. “So we are under strict time constraints, and if possible, to bring artists.”

When asked why, for more than a decade, Freak Out people have not secured any institution or their own place, Kikin answers: “The club is simply not our model. This year we are already becoming even too popular, an audience that we don’t really need is starting to reach out. Now they just dissolve in the total mass, but this has a limit. And how does the club work when we do two parties a month? Only by increasing the number of visitors. There are a lot of cool guys here, but from the point of view of the market, there are not enough of them to constantly maintain a cool place. So we just live in a car wash, periodically invite guests to our house, and they dance.

During the short Kirov summer, for example, the signer of the English label Kniteforce Alexander Kstenin (Ant To Be) manages to check in at the car wash with breakbeat and jungle selections - his tastes were formed back in the gaming halls of Kirov 1990- x and the Pobeda club, and now they have become relevant again. Or local IDM producer Roma Tsepelev (Illuminated Faces) with eclectic but always dramatic sets that inherit the city's deep theatrical tradition. At different times, the future artistic director of Theatre.DOC Mikhail Ugarov, the future director of the BDT Boris Pavlovich worked in Kirov; periodically works as a composer in various theaters in Russia and himself Illuminated Faces. Plays at the "Moika" and many other local producers and DJs - the style of each is easily distinguishable. “You may not single out a single track in the mix, but then you will remember that it was rocking all night,” Kikin says about his musical policy. “Every week, young DJs write and ask to play, but rarely is someone suitable - people cut music from the public, but it lacks salt, recognition, you listen to the mix and you don’t understand who is behind it.”

Nevertheless, Kikin is concerned about focusing only on the local musical culture. According to him, in the conditions of a limited cultural life in the city, “imported” artists are much more important: “There is not enough external cultural nourishment - we are stewing in our own juice. For me, this is disastrous - I definitely need to go somewhere, see some festivals, foreign artists. In the last two years, due to the fact that nothing like this happens, I even lost interest in music - now I mainly deal with organizational issues. In St. Petersburg, I felt how my perception was constantly changing - sound, color ... Because there is a cultural environment around, there are deliveries - cultural exchange does not end with Ant To Be, Illuminated Faces and Dzhekich. Every week you hear a new artist, and naturally, it enriches you. Here, sometimes I go out and don't know where to go just to meet new people. Now at parties we try not to play - mostly visitors play, because most of all we need an exchange.

The exchange often turns out to be really mutual, when the brought artist not only inspires the local scene, but also inspires himself. So one of the most famous Russian house DJs abroad Lay Far, impressed by the performance at the Moika, released the track Mojka in Space and a clip edited from the recordings from the event. This track, with frequent mood swings and sudden beats, bringing to the fore either relaxed jazz samples and crowd noise, or collected and resilient, as if bouncing synthesizers, has become a kind of anthem for parties at the Moyka.

But it is not only the artists who find themselves at the Moika who are looking for cultural exchange and personal renewal.

“I am sitting in a cafe, a stranger runs up and says: “Thank you. I sat sour for a long time, could not get myself together, I went to you and have been going charged for a week already. It's like going to a big cool festival. When I return from “Signal” ⁷ , the charge is enough for half a year. In Kirov, a party can charge you for a month, if you use it correctly, ”says Kikin.

There is a theory about the similarity between modern raves and the medieval carnival, which, according to Mikhail Bakhtin, is a "feast of renewal". These ideas are often broadcast both in thematic video blogs ⁸ and academic research ⁹ . Nevertheless, it is striking how similar - in a completely unintentional way and even to the point of vocabulary - the stories of the organizers of the "Moika" and Bakhtin's introduction to the book about Rabelais and the folk culture of the Middle Ages. Here, for example, is how Kikin describes the Moika audience, the face control policy, and the atmosphere associated with it: “People of all ages, subcultures and social strata gather here - a complete hodgepodge. You find yourself at the Moyka, and you are not in Kirov - you don’t know where at all. Moscow guys say: “Yes, this is Berlin, we saw this in Berlin.” But the main thing at the same time is the spirit of freedom and the level of relaxation. This is not related to drugs, everyone mostly drinks, but they still feel good. We do not expect only aggressive and biased people, but in clothes, with just a couple of words, we set a vector for self-expression: the dress code is overalls. And it still creates an atmosphere, a little carnival. In all other respects, do whatever you want, even if you bring your own hookahs.”

Bakhtin speaks of carnival in a similar vein - as a second life for people in the space of "universality, freedom, equality and abundance", and also as "the temporary abolition of all hierarchical relations, privileges, norms and prohibitions" ¹⁰ . According to Bakhtin, it is precisely such a violation of any hierarchy and liberation from norms that distinguishes carnival from official holidays and, as it were, regenerates a person, eliminates social alienation. The carnival attitude is the experience of the "genuine humanity of relationships." Sonya Demina shares a similar experience: “You can live and think that all the people who are somehow different from you are against you, but when you hang out with a variety of people for a long time, this in a sense makes you a different person. And then you go through life with this position - the people around you are still friendly. What for me greatly distinguishes Kirov from, say, Moscow is unconditional support from complete strangers. At the Moyka, you can approach any person and just talk. What happens in the morning? Different people sit down and begin to tell what they did, whom they saw, how they are doing, how they like the music. And by the end you already know the faces of everyone who is left here, although you may not remember the names.

Another important thing in Bakhtin's concept of carnival is the absence of a division into performers and spectators: "One does not contemplate a carnival - everyone lives in it, and everyone lives" ¹¹ . Rave culture, too, once challenged the notion of a musician as an idol to whom the eyes of the crowd are directed. Although the anonymity of many of the early rave revolutionaries at some point turned into the emergence of commercially successful and massively sought-after superstars of electronic dance music, there is still an enormous social charge inherent in its very nature - and rave is as much a performing artist as the audience that came to to the event. According to Bakhtin, any ramp between them would destroy the carnival.

“Those who dance here dance willingly and immediately — literally from the first DJ, a couple of tracks — and they are ready. But a lot of people stay downstairs the whole party, talking, walking, smiling, and everything suits them, the music just plays in the background, like some kind of ambient, ”says Dzhekic.

This is how a rave in Kirov often turns into a platform for communication, and the way to the dance floor becomes surreal, winding, and sometimes completely impossible. Pavel Myatny speaks about this: “When there are no people there, you go around everything in one minute, but as soon as the party starts, you seem to fall into a dream: you try to reach the stairs, you go and you can’t get there. As in a dream, something distracts you all the time. Almost at no party have I reached the dance floor - and many have. It's a fellowship that takes you completely. "

As has been noted more than once, completely different people gather at the Moyka - from representatives of young art communities to old-timers of the hardcore movement, from editors of business publications to social activists and young rappers - or, as Myatny says, "from one-eyed skins to theater workers. The heterogeneity of the community can be seen even in the very example of the interviewees - but how to describe this community? On the one hand, this is an example of the horizontal community that urbanists often rely on. On the other hand, largely due to constant migration to Moscow or St. Petersburg, it is something very fluid. About the consequences of this migration for local communities and the community around the Moika, Kikin says: “No communities live here for a long time - everything falls apart quickly, because people leave. But the rotation happens - someone comes back. Now, probably, a quarter of the people at our parties are those who have returned from the capital for the summer. At the same time, there are very few people who know anything about Freak Out or about me at all. Of course, there is some kind of backbone that monitors what we personally do, but most of the current audience did not catch this story.

Absorbing everything and endlessly dissolving everything — into exhibition spaces, public initiatives or musical groups — the Moyka community resembles a network with a floating center, a mycelium. Or, for a more precise definition, the rhizome, the structure described by Deleuze and Guattari ¹² as opposed to the hierarchical, tree-like structures characteristic of Western culture. In contrast to how it consistently happens in hierarchies, "any point of the rhizome can and should be attached to any other point" - this is how the mixing of different identities proceeds on the Moyka. But rhizomaticity also implies immunity to any breaks in ties: after a break, the rhizome "renews itself, following one or another of its lines, as well as following other lines. "

“Moyka” from this point of view turns out to be a kind of plateau of a rhizome — not a fixed tree-like institution with a single trunk (like a techno club) that can cut off a crisis or a change in the situation, but another “line of escape” — to many other plateaus, new community, places for rethinking, musical projects or songs. The vocalist of the post-punk band Chernaya Rechka, who moved to St. Petersburg, Igor Rysev, talks about the influence that the parties that took place in Kirov a few years ago had on them: “I had no direct relation to the parties or their organization, but the bassist and drummer were them directly. When we started playing together, everything that happened at the parties became closer to me, turned into a part of the band's history and could not but be reflected in the work. The song “River” remained without text for a long time, I could not understand at all what to sing about. And one summer we were at the RIIIVERAVE event by the river, which was made by our good friends from Freak Out. And it was so cool there: we hid from the rain in some kind of greenhouse, drank, swam, danced so that in the end we could no longer stand on our feet. In a word, everything was just awesome. And now, a couple of days later, I found myself at a meeting of the Kirov City Duma (at that time I was still working at a local radio station), and it was so unbearably boring and tedious, and everything pissed me off that I mentally returned to that night and instead, to follow this idiotic meeting, he began to jot down the text: “Please take my hand, I will take you across the river, where we will only have to dance” ¹³ .

If we continue to view Moyka as a rhizome plateau, then there are accompanying difficulties - this phenomenon is almost impossible to grasp, because right now it is turning into something completely different. Deleuze and Guattari use the metaphor of "little ants leaving one plateau to conquer another" to explain the plateau. This metaphor is also true for all the DJ communities that preceded Moika, and it applies to the Kirov music scene as a whole. Delesian nomadology ¹⁴ , with its call for spontaneous self-organization and the rejection of any kind of rooting, turns out to be the most appropriate program of action here.

I ask again why, in more than ten years, the Freak Out people have never settled into any establishment or place of their own. Dzhekic answers quite in the spirit of a nomad: “A lot of places where we played just closed. And we never had any business model. They always waved their hand - as it passes, it will pass ... And you never know what will happen to you next year or even tomorrow. Would you like to stay here. I live here, but I'm constantly in this state of uncertainty ... What is the meaning of parties for me? Survival ( laughs ). I'm just used to it."

¹ See documentary "Hot Time".

² Here and below, unless otherwise noted: Nikita Kikin, private interview. June 2021.

³ Hereinafter, unless otherwise noted: Evgeny Dzhekich, private interview. June 2021.

⁴ Hereinafter, unless otherwise noted: Sonya Demina, private interview. June 2021.

⁵ Ivan Charushin is an architect of the late 19th and early 20th centuries, who worked in the Art Nouveau and Neo-Gothic styles. Significantly influenced the development of Vyatka and other cities of the province.

⁶ Hereinafter, unless otherwise noted: Pavel Myatny, private interview. June 2021.

⁷ Electronic music festival in Nikola-Lenivets.

⁸ Ra Djan. What is VIBE?

⁹ Gauthier F. Rapturous ruptures: the “instituant” religious experience of rave .

¹⁰ Bakhtin M. The work of Francois Rabelais and folk culture of the Middle Ages and Renaissance .

¹¹ Bakhtin. The work of Francois Rabelais.

¹² Deleuze J., Guattari F. T A thousand plateaus: capitalism and schizophrenia .

¹³ Igor Rysev, private interview. June 2021.

¹⁴ Nomad - nomad. The philosophical concept within which the concept of rhizome was proposed.

Senichkin at the car wash getting ready for broadcast

On the next broadcast Ruslan Senichkin will dance cha-cha-cha.

articleContentSnidanka z 1+1 host Ruslan Senichkin posted a funny video on his Instagram. He showed how to prepare for the show.

“In the morning I conduct Snidanok, then a rehearsal, then a gym, then another rehearsal. And then I work out at the sink! ”, The presenter says in the video about his day. Obviously, such a schedule benefited the star - Ruslan has already recovered from the first rehearsals. He looks great and dances quite professionally.

READ ALSO: Ruslan Senichkin plans to lose 20 kg thanks to Dancing with the Stars

In the video, Ruslan Senichkin says that he washes cars expensively and calls himself a panda.

“The panda is out for a rinse!” exclaims Senichkin and, dancing, washes the car with water.

See this post on Instagram

Posted by Ruslan Senichkin ???? (@ruslan_senichkin) 5 Sep 2018 at 12:49 PDT

Recall that this Sunday Ruslan Senichkin and his partner Yana Tsibulskaya will be dancing cha-cha-cha on the Dancing with the Stars floor. See incendiary dances 9September at 21:00 on the TV channel "1 + 1".

Tags:

#ruslan senichkin #talent show #news of show business #dancing with the stars 2018

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