The Soviet Union was far ahead of the U.S. in the “space race” of the late 1950’s and early 1960’s. By 1965 the U.S.S.R. could take credit for the first satellite, Sputnik-1 (1957), first animal in space (1957), first human in space and Earth orbit (1961), first woman in space and Earth orbit (1963), first spacewalk (1965), first Moon impact (1959), and first image of the far side of the Moon (1959).
As a result Soviet space program propaganda posters from this era were colorful and inspiring. The Eisenhower and Kennedy administrations had Wernher von Braun helping NASA but no artists creating bold, bragging promotional posters like these. Even into the 1970s, all I remember from grade school is a faded poster of moon rocks and the usual “big blue marble” image of the Earth from the Moon.
“Glory to the Soviet people, the pioneers of space!”
“We were born to make the fairy tale come true!”
“Glory to the conquerors of the universe!”
Above, “Flight to the Moon,” a Soviet propaganda cartoon from 1953
Контакт (“Contact”) is a cartoon produced in the Soviet Union by Vladimir Tarasov in 1978. The famous animation tells the wordless story of a friendly alien landing on Earth and trying to approach a bohemian painter-type to make friends. The painter freaks at first, imaging the alien capturing and torturing him, but in the end things work out.
This remarkable piece is absolutely exquisite. A joy to behold
Tarasov has said that he considers animation “the Esperanto of all mankind.” It’s worth mentioning that the soundtrack music (“Love Theme from ‘The Godfather’”) was known in Russia from this animation and not from The Godfather film itself, which was banned in the USSR.
Vitaly Komar and Alex Melemid’s first collaborative art show at the Blue Bird Café, Moscow, USSR, 1967.
“Today he is playing jazz and tomorrow he’ll betray the Motherland.” - Soviet era saying
The Blue Bird Café (Sinyaya Ptitsa) on Chekhov Street in Moscow opened in 1963, one of two jazz enclaves in the city. Students, nonconformist artists, writers, and musicians gathered there to listen to jazz and hold small unofficial art shows. A well-known quartet that frequently played there featured sax player Igor Itkin, pianist Mikhail Kull, bassist Alexander Chernyshev and drummer Vladimir Lesnyakov.
Painters Vitaly Komar and Alex Melamid, who founded Retrospectivism, held their first collaborative show at the Blue Bird in 1967 upon graduating from the Stroganov School of Art and Design. Other artists who displayed their paintings and sculpture at the Café in the 1960’s were Erik Bulatov, Igor Shelkovsky, Oleg Vassiliev, and Ilia and Emilia Kabakov.
Komar and Melamid described their Retrospectivism movement as featuring “three-dimensional abstract paintings in the style of the old masters and reflects a typical search for spirituality on the part of nonconformist artists working in an oppressively atheistic state.” According to the description of Melamid’s exhibit of life-size hip-hop icons in Detroit, “Komar and Melamid often faced government opposition and harassment.” So much opposition that in 1969 government censors removed their work from the 8th Exhibition of Young Artists in Moscow.
Jazz was tolerated to some degree in the USSR (unlike rock music) and had even been the music of the stilyagi (stylish) youth subculture in the late 1940’s and 1950’s. But jazz came under a new round of unwanted scrutiny in 1968 as ideologically troublesome. In Red Hot and Blue: The Fate of Jazz in the Soviet Union 1917-1991 author S. Frederick Starr describes the Soviet establishment’s hostility toward jazz:
“There was no formal campaign against jazz. Indeed, Brezhnev applauded a modern jazz quartet that performed at his dacha outside Moscow in 1970. But many protectors of Soviet orthodoxy wanted to settle old scores. The jamming of foreign broadcasts, suspended in 1963, was reintroduced in 1968. Fearing unwholesome assemblies of young people, Komsomol [the All-Union Leninist Young Communist League, the officially sanctioned youth group for people 14 and older] abolished jazz evenings at the Dream in Kiev and at similar youth Cafés in other cities. The Blue Bird (Siniaia ptitsa), which had opened only two years before on Chekhov Street in Moscow, dropped jazz entirely, and the Molodezhnoe Café cut back jazz to two nights a week. The Pechora was opened on Moscow’s Kalinin Prospect to replace these dens of iniquity; brightly lit and colorless, the Pechora at least provided a setting for open jam sessions, although it closed early.”
Gorbachev’s perestroika and the fall of the Soviet Union resulted in a proliferation of nightclubs and the Blue Bird’s elevated status as a “jazz centre.” The Café continued to be a revered attraction for jazz fans until its closure in 2010.
Above, UB40 jamming with local musicians, including Roman Suslov from polite refusal, at the Blue Bird Café, Moscow, USSR, on October 16, 1986.
If advertising is the face of free-market consumerism, what does it look like when there’s no free market behind it? Pretty brilliant, judging by a remarkable surviving 1983 Soviet commercial for ground chicken. (See video below)
From 1979 to 1989, filmmaker Harry Egipt created dozens of surreal micro-masterpieces for the Estonian studio Eesti Reklaamfilm. Glamorous models vogueing with sheep, ecstatic paeans to collective-farm oranges, teenage factory debutantes cavorting to unauthorized Rolling Stones tunes: Egipt’s commercials may have filled Western forms with Soviet ideological content, but their absurd, dramatic sensibility was wholly Egipt’s own.
Forgotten during Estonia’s post-Soviet collective amnesia, Egipt’s ads have since been seen by hundreds of thousands of YouTube viewers, sampled for the Borat movie, and now collected on a DVD available through Egipt’s website. I contacted Harry Egipt via email to find him alive and well in Estonia, with a lot to say about his work. (The numbers in the interview refer to the commercials on the DVD.)
Jason Toon: What was the purpose of Soviet commercials, since the USSR did not have a consumer-oriented market with different brands competing for sales?
Harry Egipt: During Soviet times advertising had an entirely different purpose than it would have today. For example, it shows the absurdity of Soviet planned economy that the commercials produced by a state-funded agency were sometimes prevented from even being screened. The primary purpose of advertising was not to encourage people to consume, it was not to market a product or service, but rather to inform and educate people and shape their views on society in general as opposed to finding a market for a particular product. Advertisements were targeted at a wider audience, not at a specific group of consumers.
Soviet ads were absurdly twisted in the context of contemporary advertising compared to their capitalist counterparts. Selling a product was not as important as the entertainment value, thus making the ads themselves the product to be consumed. Products often vanished from the shelves without need for any advertising but ads were produced nonetheless. At other times an ad would be produced in hopes that, at the time of airing, a product would be available for sale. Quite often adverts provided a financial basis to make television programs – with less bureaucracy and more creative freedom. To this end my adverts possessed an artistic value and looked like music videos.
Jason Toon: Were you and the other creators aware of the element of absurdity involved in making ads for products that consumers could rarely buy, or that in some cases didn’t even exist?
Harry Egipt: Actually nearly all products or services that were advertised were more or less available (at the time the ad aired - ed.). For example, oranges that were not grown in USSR were rarely sold on the market. But when a cargo ship was about to arrive to Tallinn (the capital of Estonia), the advertisement for oranges was aired on local TV (nr 47 “Oranges”).
Before 1983, advertising for the car Zaporozhets (nr 56) proved to be completely absurd in the context of Soviet culture (the car was only sold for a special purchase card). But in 1983 there was a unique economic turnaround in the Soviet Union and within a month the car was available with no restrictions.
My action was not to be bound by Soviet doctrine. My clips demonstrated that Soviet Estonians are not afraid of capitalist glamour like socialist glamour (nr 82 “Luxury Goods”, nr 40 “Baked Apple in Pastry”, nr 78 “Perfume Plot”), nor young and beautiful dancing girls (nr 24 “Kalev Chocolates Selection”) nor other beautiful naked girls (nr 64 “Mistra Carpets” and nr 28 “Floare Carpets”).
Jason Toon: Were you familiar with Western TV commercials at the time?
Harry Egipt: Since 1970s we could see TV transmissions from Finland in the northern part of Estonia and this was our window to the western world.
Jason Toon: You worked for Peedu Ojamaa, the formidable advertising pioneer whose studio Eesti Reklaamfilm essentially invented the Soviet TV commercial. How did you come to work for him, and what was he like to work with?
Actually I have no formal education in marketing or film making. After I finished my history studies at the university in 1972, I started to work as a light technician and later became a cameraman in our only local TV broadcasting station, Estonian TV (Eesti TV). In 1979 Peedu Ojamaa made me an offer to come to work for the Estonian Commercial Film Producers (Eesti Reklaamfilm). I started as a director and pretty soon started to write scripts as well.
A documentary film titled Goldspinners gives a good overview of
how Peedu Ojamaa managed to build up Eesti Reklaamfilm.
Jason Toon: What was the creative process like at Eesti Reklaamfilm? How much autonomy did you have in making your commercials? What role did the “client” play in the process?
Harry Egipt: A customer would come to the office of Eesti Reklaamfilm and told us about the product or service they needed a commercial for. After a time schedule and a budget were agreed upon, the order ended up on my table. From here, I created an idea, did the casting, handpicked the crew, directed and produced the ad.
In general, my film projects can be considered as a one-man show since I was the author, director and producer. My work is characterized by an utterly unique style, which uses innovative ideas, fast editing, original music and gorgeous models. My ads were different from other directors and copywriters who worked for Eesti Reklaamfilm. As customer and audience feedback was very positive and clients trusted my solutions, Eesti Reklaamfilm gave me the liberty to fulfill my ideas and rarely challenged my concepts.
Jason Toon: The music in your most famous commercial, for chicken mince, is the most ominous and discordant I’ve ever heard in a TV commercial. Combined with the images of the mince coming out of the grinder, the chickens, and the models, the effect is deeply disturbing. Was this your intention? Were you hiding some kind of commentary in this ad for processed chicken?
Harry Egipt: The Chicken Meat Poultry Factory had at that time bought new and very modern equipment for their factory for making minced meat. They asked me to make a commercial where the whole process could be seen – how the chicken was put in the grinder with feathers and bones and how the machine was able to separate the meat from the leftovers. As not to upset a lot of children and animal activists, I managed to reach to a compromise so that only the final part, where the minced meat was coming out of the grinder, was shown. A famous Estonian composer, Alo Mattiisen, at that time created the music after he had seen the edited material.
Jason Toon: Did you ever do any political propaganda work?
Harry Egipt: No, never.
Jason Toon: Did you ever feel pressure to do so?
Harry Egipt: No. In Soviet times advertising existed only in the form of propaganda. Propaganda was made to glorify the Soviet way of life. The most prominent was of course political propaganda for the unopposed Communist party. Commercial advertising was nothing more than propaganda for commodity goods like my ads nr 4 “Lemon” and nr 5 “Green Onions”.
Jason Toon: How did the end of the Soviet Union affect your career? Have you continued to work in advertising?
Harry Egipt: Unfortunately Peedu Ojamaa was not able to keep abreast of the times and could not cope with the new market economy. After Estonia regained independence in 1991, many employees left the company and started their own businesses and so Eesti Reklaamfilm was disbanded.
Since then I have independently produced some TV commercials for my son Hanno – you can see them on the DVD (nr 84 “ThermiSol Rock’n’ Roll” and nr 53 “Serla
Household Paper Towels”). I have also directed and produced some ads after the DVD was issued (“Don’t Smoke, Lung Cancer Kills and Early Detection of Skin Cancer Can Save Lives”). I would still very much like to do commercials, but times have changed and in Estonia a younger generation is running the show and has different ideas.
Jason Toon: Are you surprised that your Soviet TV-commercial work has found a new audience in the West?
Harry Egipt: This is a big surprise, if it is really so.
Jason Toon: What can today’s advertising creators learn from your work?
Harry Egipt: Creativeness, advertising as an art, how to create memorable ads that viewers do not tire of, and how to produce innovative masterpieces on a limited budget.
Despite the perception of the USSR as a colorless model of utilitarianism, when we get a peek at some of the stuff it produced, we find all sorts of innovative artifacts. The Museum of Soviet Arcade Games resides in the basement of an engineering school in Moscow. Run by Maxim Pinigin and Alexander Stakhanov, it contains about 20 working machines, with 20 more under repair. The pair run the museum as a functioning arcade, open to the public, seven days a week.
The game above is called Morskoi Boy, literally “Sea Battle.” Of course, being Soviet, it was was government-produced, making use of national manufacturing. So, it was actually made in a submarine factory, and the periscope is an actual submarine periscope. While presumptuous American minds frequently ask if this was some sort of Cold War training machine, Pinigin and Stakhanov insist that the game was just for fun and entertainment.
In fact, like a lot of Soviet arcade games, Morskoi Boy is a direct knock-off of a (decadent) American console, (though with a heaping helping of Soviet charm). This is all the more surreal when you consider the omnipresence of The Cold War; the kids who played Sea Battle in the U.S. could have very well been imagining Russians manning the ships they torpedoed, all the while Russian kids were playing the exact same game, perhaps fantasizing Americans as their targets.
If you can’t make it out to Moscow, the video below shows the game in action, and the website has a fun (and addictive) flash facsimile. So go shoot some battleships! Just try not to think too hard about who you’re shooting at.
In the opening titles of his 1968 animated short Glass Harmonica, Russian director Andrei Khrzhanovsky claims to present a cautionary against “boundless greed, police terror, [and] the isolation and brutalization of humans in modern bourgeois society.” Of course, it was more complex than that.
At the time Khrzhanovsky made the film, Russian animation had experienced a creative renaissance that spanned most of the ‘60s, fuelled by the Soviet Union’s post-Stalinist liberalization policy best known as the Krushchev Thaw. Although that period yielded cutesy and colorful satires like Fyodor Khitruk’s 1962 short Story of a Crime, Glass Harmonica—which posits music to symbolize beauty repressed by avarice—stands apart.
Amid desolate modern landscapes, Khyrzhanovsky and his dozen animators tell the tale with some industrial age and Renaissance visual elements, along with some zany zoomorphic caricatures of paranoia and envy. Buoyed sonically by Alfred Schnittke’s Quasi una sonata and drawing from Breugel, Dali and George Dunning (the director of Yellow Submarine), Glass Harmonica reaches even proto-Python-esque heights towards the end.
Despite its semi-socialist utopian resolution, Glass Harmonica comes off as surprisingly quaint and archaic, even as an indirect product of Kruschev’s less ideologically rigid era.
After the jump: check out part 2 of Glass Harmonica…
“Try and fail, but don’t fail to try.” That common platitude seems entirely apropos today, on the 92nd anniversary of the attempted assassination of Communist Russian leader Vladimir Lenin by young Fanya Yefimovna “Fanni” Kaplan.
The Ukranian-born Kaplan was born in 1890 to a Jewish family and joined the Socialist Revolutionaries (or Esers) early on in life. At 16, she was busted for her involvement in a terrorist bomb plot and sent to one of Tsar Nicolas II’s Siberian prison for 11 years. Kaplan’s brutal tenure there was cut short after the February Revolution led by Lenin.
But her disillusionment with the leader came hard and fast, as Lenin’s Bolsheviks sought and succeeded to dissolve the elected Constituent Assembly, a key instrument of democracy during the revolution. Lenin’s move in 1917 to put all power in the hands of the workers councils—or Soviets—convinced Kaplan to take matters into her own hands.
As portrayed in the clip below from Mikhail Romm’s 1939 propaganda film Lenin in 1918, Kaplan got three or so shots off after the leader spoke at a Moscow factory. Lenin, who was 48 years old at the time, was hit in the shoulder and jaw—he survived, but the injuries were thought to contribute to his death by stroke 6 years later.
Fanny was shot dead five days after the attempt at age 28, and within a few hours the Red Terror—a four-year program of mass arrest and execution of counterrevolutionary enemies of the state—had begun.
Really creative stuff here. UK designer and video artist Chris Lince has put together a fantastic video for his fellow Brits in the group Pig With the Face of a Boy, which describes itself as “the world’s best neo-post-post music hall anti-folk band.”
The song, “A Complete History Of The Soviet Union Through The Eyes Of A Humble Worker, Arranged To The Melody Of Tetris” (that melody is actually the 19th-century Russian folk song “Korbeiniki”) is clever enough, packing a 70-year history into seven minutes. But the metaphor of the famously addictive video game truly comes alive in Lince’s atmospheric vid. He captures the grime, the grit, and the blocks beautifully. I’m not a gigantic fan of satirical musical comedy, but I think this is executed really well.