5 Answers

  1. There is a dedication at the end of the video. The song is dedicated to emigrants who returned to the USSR in the 30-50s.

    Throughout Miron's text are scattered details of the lives of people who fled Russia, references to Bulgakov's “Running”, Taffy's stories and memoirs (and not only that, but this is the first thing that came to my mind) about how wealthy people once lived in Europe. Unable to adapt to their new life, to work in Russian restaurants as waiters, to work as doormen, street vendors, to their new social role in Istanbul, Paris.

    The song is about homesickness and the bitterness of not being able to return home. Because there's no house left. Their country was no longer there, but the Soviet Union appeared – an unfamiliar state, alien to them in its essence.

    The fate of those who returned is very unenviable: shootings, exiles, prisons.

    A vivid example of what happened to those who returned is the fate of Marina Tsvetaeva's family.

    Well, an additional detail is that Bi-2 and Miron themselves returned to Russia.

  2. It is in the postscript of the video (4:51). IT IS DEDICATED TO EMIGRANTS WHO RETURNED TO THE USSR IN 1930-1950.�

    The eternal problem and pain of the first wave emigrant: to be nobody, but safe, or to return to the complete unknown, but to the homeland, and there come what may.�

    Alexander Vertinsky, Prokofiev and his Polish wife, Maxim Gorky, Marina Tsvetaeva – the list goes on.

    Although I will add it. There is also a text about the et cetera gas chambers, so the fact that many people returned only because of nostalgia and aggressive propaganda and recruitment is probably not entirely true. many actually fled from Nazism, not knowing or believing in the existence of the GULAG.

    In general, the text is both deep and subtle. I'm impressed.

  3. I will allow myself to move a little away from the literal interpretation indicated by the postscript to the video, and about which they have already written here, and speculate about this.

    When the creator touches on the theme of returning home, he is almost doomed to fall into a certain symbolic dimension. In this dimension, returning home is a return to a certain starting point, a return to the source in the broadest sense of the word in all possible philosophical, religious, mystical interpretations. These interpretations can be roughly divided into two large groups.

    The first group, let's call it “Western”, is associated with a linear perception of time and history. Here it is appropriate to turn to the Bible, as the most important text for Western culture (like it or not), in which the history of mankind begins with the expulsion from Eden and ends with the last Judgment. It is Eden, again in the broadest sense, that is understood here as the home to which the lyrical hero longs to return. This can be expressed in different ways, often in a nostalgic way: like longing for my father's home, for my homeland, for paradise lost, for childhood, for innocence, for a creamy ice cream for 19 kopecks. Castaneda has an episode in Journey to Ixtlan, which is actually the title of the book, where Don Genaro tries to return to his home in Ixtlan, but at some point realizes that this is impossible:

    “I'll never make it to Ixtlan,” he said firmly, but very, very softly, almost inaudibly. “But in my feelings… In my feelings, sometimes I think I'm one step away from reaching it. However, I will never reach it. I don't even come across a single familiar landmark that I knew before. Nothing is the same anymore, nothing is the same.”

    The poet and musician Sergey Kalugin has a song ” Return to Ixtlan (78th)” about the same thing through the prism of personal experience, but with a breakthrough into that very symbolic dimension:

    Mama, Mama,
    I guess I've been out too long,
    I'm cold, Mother.
    I'm standing in front of a locked door.
    Mom, let me go home.
    In the seventy-eighth.
    Home. Home.
    Mom, open it.

    For some authors, this motive sounds in the key of the impossibility and uselessness of such a return, and even the harmfulness of attempts to implement it. Hermann Hesse writes in Steppenwolf::

    “The path to innocence, to the uncreated, to God leads not back, but forward, not to the wolf, not to the child, but to ever greater guilt, to ever deeper humanization. And suicide, poor Steppenwolf, will also not seriously help you, you will not pass the long, difficult and difficult path of humanization, you will still have to multiply your duality in every possible way, complicate your complexity in every possible way. Instead of narrowing your world, simplifying your soul, you will have to painfully expand it, open it more and more to the world, and then, you see, take the whole world into it, so that someday, perhaps, you will reach the end and peace. This was the path of the Buddha, and it was the path of every great man, consciously or unconsciously, who dared to do anything. Every birth means separation from the universe, limitation, separation from God, painful becoming anew. To return to the universe, to give up painful separateness, to become God, is to expand your soul so that it can embrace the universe again.”

    Psychologist Erich Fromm generally treats the fall and the expulsion from Eden in a positive way:

    “The myth identifies the beginning of human history with the act of choice, but at the same time” emphasizes the sinfulness of this first act of freedom and the suffering that resulted from it. <…> From the point of view of the church, which is a certain “structure” of power, this act is undoubtedly sinful. However, from the point of view of man, this is the beginning of human freedom. By breaking the order established by God, he was freed from compulsion, raised from an unconscious prehuman existence to a human one. � Violation � ban � fall, � in the positive sense of the human is the first act of choice act �of freedom, i.e. the first human act �at all.”

    Thus, we see that the “Western” interpretation of the homecoming theme combines nostalgic homesickness (Eden), the desire to return, the realization of the impossibility of this, as well as the opposite desire to move forward, further and further from home.

    An alternative view of the question of returning to the source, which we will call “eastern”, is related to the cyclical perception of time. In Buddhism, the universe has no beginning or end in time; in Hinduism, it goes through cycles of creation, existence, and destruction, followed by creation again. Living things are born, live and die, and are born again. In such a picture of the world, the desired source is located outside of this looped time, this “bad infinity”. Eastern spiritual practices are aimed at stopping this endless carousel and getting off it. Unfortunately, I can't cite a large number of examples of such a worldview in Western culture, but I was once struck by the album Sempiternal by the British band Bring Me the Horizon precisely because it is imbued with a sense of cyclical time and “bad infinity” (by the way, the word sempiternal means “eternal”, “having no beginning and end”). In particular, the song Empire from this album contains the following lines::

    We live while we learn,
    And then we forget
    We'll never find our way back home

    Here we see the theme of returning home in a completely negative formulation (“We will never find our way home”), and the theme of endless rebirths (“We live and learn something, and then forget”, which can be interpreted as oblivion brought by death, because of which we do not remember our past lives).

    Returning to the song by Bi-2 and Oxxxymiron, you can guess exactly such an “oriental” look in it. For example, the line “The winding path was tightened by a loop” hints at the cyclical nature of time. And the phrase “As long as the connections are broken with the point of Self” is a reference to the Hindu concept of the Atman, the true “I”of every living being, the very source that is outside of time and space, the connection with which most people seem to be severed (“as if”, because in fact it is always present, but we do not feel it in the flow of everyday thoughts and feelings). But the” Western ” feeling of nostalgia and longing for a lost home, to which it is impossible to return, is also present in the song, of course.

  4. About the house.

    When all roads are open

    They lead nowhere

    The time has come

    Go back home

    And all-tired of being a stepson among the natives

    What, say “stop”?

    Stay, write in the table?

    Piss that you're going to die here, like an expat vocabulary?

    Without feeding live real speech

    Miron, who was first taken to Germany, then to Britain, talks about the fear of being a nobody abroad. He graduated from Oxford, but had to change jobs, watched from ” office windows where I was a slave to the feudal lords.” The motherland gave him self-realization, fame. The same message is found in the track “No Connection” in 2009.

  5. ,A song about reincarnation. About the meaning of this life As a game, and about the place that is called home here, and in esotericism is also called home. This is the world where We return after leaving samsara, that is, the Circle of reincarnation.

    In each image and in the verses of bi-2 and fit Oksi, there are obvious metaphors about this game that we call life

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