{"id":137,"date":"2026-09-12T12:11:46","date_gmt":"2026-09-12T12:11:46","guid":{"rendered":"https:\/\/martinvacke.cz\/?p=137"},"modified":"2026-09-12T18:17:01","modified_gmt":"2026-09-12T18:17:01","slug":"sedmdesata-leta","status":"publish","type":"post","link":"https:\/\/martinvacke.cz\/?p=137","title":{"rendered":"Sedmdes\u00e1t\u00e1 l\u00e9ta"},"content":{"rendered":"\n
Sedmdes\u00e1tky nebyly v SSSR dek\u00e1dou masov\u00e9ho pr\u016flomu rocku do mainstreamu, ani dobou p\u0159\u00edli\u0161 otev\u0159en\u00e9ho konfliktu s vl\u00e1dn\u00ed moc\u00ed. Sp\u00ed\u0161 dobou zr\u00e1n\u00ed, kdy se bigb\u00edtov\u00e1 subkultura v Sov\u011btsk\u00e9m svazu nau\u010dila p\u0159e\u017e\u00edvat a adaptovat se na vn\u011bj\u0161\u00ed tlaky. Pr\u00e1v\u011b tehdy vznikly modely fungov\u00e1n\u00ed, bez nich\u017e by pozd\u011bj\u0161\u00ed explozivn\u00ed 80. l\u00e9ta nebyla mysliteln\u00e1. Sc\u00e9na se rozd\u011blila na ofici\u00e1ln\u00ed a neofici\u00e1ln\u00ed \u010d\u00e1st, v jednotliv\u00fdch regionech vznikly r\u016fzn\u00e9 p\u0159\u00edstupy k hudb\u011b i k text\u016fm, kter\u00e9 budou pozd\u011bji pro jednotliv\u00e9 lok\u00e1ln\u00ed sc\u00e9ny charakteristick\u00e9. Zrodily se kan\u00e1ly pro neform\u00e1ln\u00ed distribuci hudby a v\u016fbec cel\u00fd z\u00e1klad kulturn\u00edho ekosyst\u00e9mu.<\/h5>\n\n\n
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Ofici\u00e1ln\u00ed popov\u00e1 hudba v t\u00e9 dob\u011b nest\u00e1la za nic. Zat\u00edmco o deset let d\u0159\u00edve byl pop alespo\u0148 vesel\u00fd, v 70. letech bylo v\u0161echno \u0161ediv\u00e9. \u00c9terem zn\u011blo mno\u017estv\u00ed nudn\u00fdch a steriln\u00edch ans\u00e1mbl\u016f (\u0421\u0430\u043c\u043e\u0446\u0432\u0435\u0442\u044b, \u041f\u043b\u0430\u043c\u044f, \u041f\u043e\u044e\u0449\u0438\u0435 \u0441\u0435\u0440\u0434\u0446\u0430, \u0413\u043e\u043b\u0443\u0431\u044b\u0435 \u0433\u0438\u0442\u0430\u0440\u044b), ka\u017ed\u00fd z nich hor\u0161\u00ed ne\u017e ten p\u0159edchoz\u00ed. Nebo interpreti masov\u00fdch p\u00edsn\u00ed, kte\u0159\u00ed se od pov\u00e1le\u010dn\u00fdch let v\u016fbec nezm\u011bnili. Nezaj\u00edmav\u00ed lid\u00e9 v upnut\u00fdch oblec\u00edch s kamenn\u00fdmi tv\u00e1\u0159emi, kter\u00e9 se ob\u010das rozz\u00e1\u0159ily optimistick\u00fdmi \u00fasm\u011bvy jako z plak\u00e1t\u016f (obvykle b\u011bhem refr\u00e9nu). Existovaly jen dv\u011b v\u00fdjimky: Alla Puga\u010deva (\u0410\u043b\u043b\u0430 \u041f\u0443\u0433\u0430\u0447\u0435\u0432\u0430), b\u00fdval\u00e1 zp\u011bva\u010dka Vesjolych rebjat, kter\u00e1 alespo\u0148 p\u0159ipom\u00ednala skute\u010dnou \u017eenu a zp\u00edvala hlavn\u011b o \u00fatrap\u00e1ch l\u00e1sky, a David Tuchmanov (\u0414\u0430\u0432\u0438\u0434 \u0422\u0443\u0445\u043c\u0430\u043d\u043e\u0432). To nebyl zp\u011bv\u00e1k, ale profesion\u00e1ln\u00ed skladatel ve st\u0159edn\u00edm v\u011bku. Na rozd\u00edl od jin\u00fdch mistr\u016f sov\u011btsk\u00e9 p\u00edsn\u011b se ale neb\u00e1l p\u0159evz\u00edt n\u011bkter\u00e9 nov\u00e9 trendy a nahr\u00e1l dv\u011b konceptu\u00e1ln\u00ed kvazi-rockov\u00e1 alba: Jak kr\u00e1sn\u00fd je tento sv\u011bt a Na vln\u011b m\u00e9 pam\u011bti (\u041a\u0430\u043a \u043f\u0440\u0435\u043a\u0440\u0430\u0441\u0435\u043d \u044d\u0442\u043e\u0442 \u043c\u0438\u0440 \u0438 \u041f\u043e \u0432\u043e\u043b\u043d\u0435 \u043c\u043e\u0435\u0439 \u043f\u0430\u043c\u044f\u0442\u0438). Vzorec pro ob\u011b byl stejn\u00fd. R\u00e1doby modern\u00ed elektrick\u00e9 aran\u017em\u00e1 a rockov\u00ed s\u00f3list\u00e9 pozvan\u00ed z undergroundu.<\/p>\n\n\n\n

VIA jako st\u00e1tem kontrolovan\u00fd rock<\/strong><\/h5>\n\n\n\n

Na p\u0159elomu 60. a 70. let u\u017e bylo p\u0159esto z\u0159ejm\u00e9, \u017ee beatov\u00e1 a rockov\u00e1 hudba p\u0159estala b\u00fdt okrajovou subkulturou. Ml\u00e1de\u017e o ni m\u011bla masov\u00fd z\u00e1jem, prvky bigb\u00edtu se objevovaly i v ofici\u00e1ln\u00ed popov\u00e9 produkci. A kulturn\u00ed apar\u00e1t SSSR si uv\u011bdomil, \u017ee elektrick\u00e9 kytary u\u017e nep\u016fjde jednodu\u0161e zak\u00e1zat. A tak se je pokusil alespo\u0148 kontrolovat. Vznikl ofici\u00e1ln\u00ed form\u00e1t takzvan\u00fdch VIA \u2013 vok\u00e1ln\u011b-instrument\u00e1ln\u00edch ans\u00e1mbl\u016f, st\u00e1tem za\u0161t\u00edt\u011bn\u00fdch skupin funguj\u00edc\u00edch p\u0159i filharmoni\u00edch, domech kultury nebo televizn\u00edch redakc\u00edch.<\/p>\n\n\n\n

Skute\u010dn\u00e9mu rocku se \u017e\u00e1dn\u00e9 publicity nedost\u00e1valo. V tisku se sice ob\u010das za\u010daly objevovat prvn\u00ed, v\u00edcem\u00e9n\u011b objektivn\u00ed, \u010dl\u00e1nky o z\u00e1padn\u00edch kapel\u00e1ch, ale o m\u00edstn\u00edch kapel\u00e1ch se nepsalo a \u0161ance nato\u010dit desku byla nulov\u00e1. Nav\u00edc se hran\u00ed rock’n’rollu pro amat\u00e9ry st\u00e1valo p\u0159\u00edli\u0161 n\u00e1kladn\u00fdm. Mizern\u00e9 sov\u011btsk\u00e9 n\u00e1stroje nebo samod\u011blky p\u0159est\u00e1valy sta\u010dit. A z\u00e1padn\u00ed vybaven\u00ed, prod\u00e1van\u00e9 pouze na \u010dern\u00e9m trhu, bylo stra\u0161n\u011b drah\u00e9. Kytary a apar\u00e1ty Gibson nebo Fender st\u00e1ly t\u0159i a\u017e p\u011bt tis\u00edc rubl\u016f. Pr\u016fm\u011brn\u00e1 v\u00fdplata byla v t\u00e9 dob\u011b okolo stovky. Jedn\u00edm z m\u00e1la zp\u016fsob\u016f, jak se k nim dostat, byly k\u0161efty s koncertuj\u00edc\u00edmi um\u011blci ze sp\u0159\u00e1telen\u00fdch v\u00fdchodn\u00edch zem\u00ed. Ti \u010dasto p\u0159ed koncem turn\u00e9 sv\u00e9 n\u00e1stroje prod\u00e1vali, proto\u017ee za n\u011b dostali dvojn\u00e1sobek a\u017e trojn\u00e1sobek po\u0159izovac\u00ed ceny.<\/p>\n\n\n

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\"\"<\/figure>\n<\/div>\n\n\n

VIA tedy rockuchtiv\u00fdm poslucha\u010d\u016fm nab\u00edzely kompromis: modern\u00ed zvuk, profesion\u00e1ln\u00ed muzikanty, n\u011bkdy i dlouh\u00e9 vlasy. Texty schvalovaly komise, musely b\u00fdt apolitick\u00e9 nebo ideologicky bezpe\u010dn\u00e9, stejn\u011b jako u n\u00e1s se d\u011blaly p\u0159ehr\u00e1vky. Odm\u011bnou za tato pon\u00ed\u017een\u00ed byla hudebn\u00edk\u016fm st\u00e1tem podporovan\u00e1 ofici\u00e1ln\u00ed koncertn\u00ed \u010dinnost a mo\u017enost nahr\u00e1v\u00e1n\u00ed p\u00edsni\u010dek pro hudebn\u00ed nakladatelstv\u00ed Melodija.<\/p>\n\n\n\n

P\u0159esto by bylo chybou VIA pova\u017eovat jen za estr\u00e1du. Z tohoto prost\u0159ed\u00ed vze\u0161ly technicky nejzdatn\u011bj\u0161\u00ed soubory dek\u00e1dy. Typick\u00fdm p\u0159\u00edkladem byli Pjes\u0148ary (\u041f\u0435\u0441\u043d\u044f\u0440\u044b), kte\u0159\u00ed spojili rock s b\u011blorusk\u00fdm folklorem, nebo Ariel (\u0410\u0440\u0438\u044d\u043b\u044c), jejich\u017e alba pat\u0159ila k prvn\u00edm ofici\u00e1ln\u011b vydan\u00fdm rockov\u011b orientovan\u00fdm nahr\u00e1vk\u00e1m v SSSR. V\u00fdraznou stopu zanechaly tak\u00e9 Cv\u011bty (\u0426\u0432\u0435\u0442\u044b), kter\u00e9 dok\u00e1zaly proniknout k masov\u00e9mu publiku a z\u00e1rove\u0148 si zachovat rockov\u00fd \u00e9tos.<\/p>\n\n\n\n

VIA sehr\u00e1ly je\u0161t\u011b jednu d\u016fle\u017eitou roli: byly l\u00edhn\u00ed hudebn\u00edk\u016f, kte\u0159\u00ed pozd\u011bji p\u0159esunuli do neofici\u00e1ln\u00ed sc\u00e9ny nebo se stali kl\u00ed\u010dov\u00fdmi osobnostmi rocku 80. let. Hudebn\u011b VIA \u010dasto p\u0159evy\u0161ovaly z\u00e1padn\u00ed amat\u00e9rsk\u00e9 kapely. Mnoz\u00ed \u010dlenov\u00e9 m\u011bli konzervatorn\u00ed vzd\u011bl\u00e1n\u00ed, v\u00fdbornou techniku a zku\u0161enosti z jazzu \u010di klasick\u00e9 hudby.<\/p>\n\n\n\n

Kl\u00ed\u010dov\u00e9 VIA s rockov\u00fdm p\u0159esahem<\/strong><\/p>\n\n\n\n

\u041f\u0435\u0441\u043d\u044f\u0440\u044b<\/strong><\/p>\n\n\n\n

Zalo\u017eeni 1969 v Minsku v\u016fd\u010d\u00ed osobnost\u00ed Vladimirem Muljavinem. Skupina vytvo\u0159ila synt\u00e9zu rocku, beatov\u00e9 estetiky a b\u011blorusk\u00e9ho folkloru.<\/p>\n\n\n\n

\u0410\u0440\u0438\u044d\u043b\u044c<\/strong><\/p>\n\n\n\n

Jedna z prvn\u00edch VIA, kter\u00e1 systematicky pracovala s artrockov\u00fdmi aran\u017eemi a konceptem alba. \u0420\u0443\u0441\u0441\u043a\u0438\u0435 \u043a\u0430\u0440\u0442\u0438\u043d\u043a\u0438 <\/em>(1977) je \u010dasto ozna\u010dov\u00e1no za jedno z prvn\u00edch \u201eleg\u00e1ln\u00edch\u201c rockov\u00fdch alb v SSSR.<\/p>\n\n\n\n

\u0426\u0432\u0435\u0442\u044b<\/strong><\/p>\n\n\n\n

Moskevsk\u00e1 skupina veden\u00e1 Stasem Naminem. Kombinovala jednoduch\u00e9 melodie s rockov\u00fdm zvukem, dos\u00e1hla masov\u00e9 popularity, ale opakovan\u011b nar\u00e1\u017eela na z\u00e1kazy a administrativn\u00ed z\u00e1sahy.<\/p>\n\n\n\n

Magnitizdat: skute\u010dn\u00e1 distribu\u010dn\u00ed s\u00ed\u0165 rocku<\/strong><\/h5>\n\n\n\n

Zat\u00edmco VIA hr\u00e1ly v televizi, skute\u010dn\u00fd rock se \u0161\u00ed\u0159il na magnetofonov\u00fdch p\u00e1sk\u00e1ch. Fenom\u00e9n magnitizdatu, dom\u00e1c\u00edho nahr\u00e1v\u00e1n\u00ed koncert\u016f a jejich nekone\u010dn\u00e9ho kop\u00edrov\u00e1n\u00ed, vytvo\u0159il paraleln\u00ed distribu\u010dn\u00ed s\u00ed\u0165. Kapela nemusela m\u00edt desku, aby byla slavn\u00e1. Sta\u010dilo n\u011bkolik poveden\u00fdch koncert\u016f a dobr\u00fd magnetofon. Kvalita nahr\u00e1vek byla \u010dasto n\u00edzk\u00e1, ale autenticita vysok\u00e1.<\/p>\n\n\n

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P\u00e1sky, a pozd\u011bji kazety putovaly mezi m\u011bsty, republikami i soci\u00e1ln\u00edmi bublinami. Publikum \u010dasto znalo texty nazpam\u011b\u0165 d\u00e1vno p\u0159edt\u00edm, ne\u017e kapelu vid\u011blo na\u017eivo. Rock se tak stal or\u00e1ln\u00ed kulturou, sd\u00edlenou a p\u0159episovanou, podobn\u011b jako d\u0159\u00edv\u011bj\u0161\u00ed bardovsk\u00e1 tradice.<\/p>\n\n\n\n

Moskevsk\u00e1 sc\u00e9na: kli\u010dkov\u00e1n\u00ed mezi profesion\u00e1ln\u00edmi ambicemi a cenzurou<\/strong><\/h5>\n\n\n\n

Moskva byla nejv\u011bt\u0161\u00edm a nejrozmanit\u011bj\u0161\u00edm centrem sov\u011btsk\u00e9ho rocku. Jej\u00ed sc\u00e9na 70. let byla nejv\u011bt\u0161\u00ed, nejtvrd\u0161\u00ed \u2013 a z\u00e1rove\u0148 nejrozporupln\u011bj\u0161\u00ed. Fungovala zde hust\u00e1 s\u00ed\u0165 kulturn\u00edch dom\u016f, univerzitn\u00edch klub\u016f a pololeg\u00e1ln\u00edch koncertn\u00edch prostor. Nejzn\u00e1m\u011bj\u0161\u00edm z nich bylo kulturn\u00ed centrum MEI \u201eEnergetik\u201c, kde se konaly velk\u00e9 koncerty s tis\u00edcov\u00fdm publikem.<\/p>\n\n\n\n

Skupiny m\u011bly neform\u00e1ln\u00ed management, organizovaly neofici\u00e1ln\u00ed distribuci vstupenek, dok\u00e1zaly si pronaj\u00edmat s\u00e1ly. Akce v\u00edcem\u00e9n\u011b fungovaly, a pokud se o n\u011b za\u010dal n\u011bkdo z org\u00e1n\u016f p\u0159\u00edli\u0161 zaj\u00edmat, p\u0159esunuly se jinam.<\/p>\n\n\n\n

Skupinou, kter\u00e1 dlouho p\u0159edstavovala nejzn\u00e1m\u011bj\u0161\u00ed ikonu rusk\u00e9ho rocku byla Ma\u0161ina Vremeni (\u041c\u0430\u0448\u0438\u043d\u0430 \u0432\u0440\u0435\u043c\u0435\u043d\u0438). Jej\u00ed l\u00eddr Andrej Makarevi\u010d (\u0410\u043d\u0434\u0440\u0435\u0439 \u041c\u0430\u043a\u0430\u0440\u0435\u0432\u0438\u0447) spojil rock s tradic\u00ed rusk\u00fdch bard\u016f. Jeho texty nebyly protestn\u00ed v p\u0159\u00edm\u00e9m smyslu slova, ale pln\u00e9 metafor, mor\u00e1ln\u00edch ot\u00e1zek a pocitu stagnace.<\/p>\n\n\n

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Vedle Ma\u0161iny p\u016fsobily v Moskv\u011b i tvrd\u0161\u00ed a progresivn\u011bj\u0161\u00ed kapely. Vyskokosnoje Leto (\u0412\u0438\u0441\u043e\u043a\u043e\u0441\u043d\u043e\u0435 \u043b\u0435\u0442\u043e) p\u0159edstavovalo vrchol sov\u011btsk\u00e9ho art rocku \u2013 s ambic\u00ed, instrument\u00e1ln\u00ed virtuozitou a sc\u00e9nick\u00fdmi prvky, kter\u00e9 nem\u011bly v dom\u00e1c\u00edm prost\u0159ed\u00ed obdoby. Jejich \u010dlenov\u00e9 (v\u010detn\u011b Chrise Kelmeho \u010di Alexandra Kutikova) pozd\u011bji z\u00e1sadn\u011b ovlivnili podobu mainstreamov\u00e9ho rocku 80. let.<\/p>\n\n\n\n

Nejd\u016fle\u017eit\u011bj\u0161\u00ed moskevsk\u00e9 kapely 70. let:<\/strong><\/p>\n\n\n\n

\u041c\u0430\u0448\u0438\u043d\u0430 \u0432\u0440\u0435\u043c\u0435\u043d\u0438<\/strong><\/p>\n\n\n\n

Byla zalo\u017eena v roce 1969 a postupn\u011b se stala nejvlivn\u011bj\u0161\u00ed rockovou skupinou dek\u00e1dy. L\u00eddr Andrej Makarevi\u010d vytvo\u0159il model tzv. \u201ebard-rocku\u201c: jednoduch\u00e9 hudebn\u00ed struktury, d\u016fraz na text, metaforick\u00fd jazyk. Ma\u0161ina Vremeni definovala soci\u00e1ln\u011b-etickou tematiku rusk\u00e9ho rocku: konformismus, osobn\u00ed odpov\u011bdnost, pasivitu, vnit\u0159n\u00ed svobodu.<\/p>\n\n\n\n

\u0412\u0438\u0441\u043e\u043a\u043e\u0441\u043d\u043e\u0435 \u043b\u0435\u0442\u043e<\/strong><\/p>\n\n\n\n

Vznikla roku 1972. Asi nejambici\u00f3zn\u011bj\u0161\u00ed artrockov\u00fd projekt SSSR 70. let, \u010dasto p\u0159irovn\u00e1van\u00fd k Pink Floyd \u010di Genesis. Kapela pracovala s dlouh\u00fdmi kompozicemi, sv\u011bteln\u00fdmi efekty a koncep\u010dn\u00edmi programy.<\/p>\n\n\n\n

Mezi dal\u0161\u00ed v\u00fdznamn\u00e9 kapely pat\u0159il Araks (\u0410\u0440\u0430\u043a\u0441), kter\u00fd spojoval rock s divadeln\u00ed a filmovou hudbou, Voskresenije (\u0412\u043e\u0441\u043a\u0440\u0435\u0441\u0435\u043d\u0438\u0435) nebo Rubinovaja Ataka (\u0420\u0443\u0431\u0438\u043d\u043e\u0432\u0430\u044f \u0410\u0442\u0430\u043a\u0430) a Uda\u010dnoje Priobretenije (\u0423\u0434\u0430\u0447\u043d\u043e\u0435 \u043f\u0440\u0438\u043e\u0431\u0440\u0435\u0442\u0435\u043d\u0438\u0435), p\u0159edstavuj\u00edc\u00ed bluesrockov\u00fd a hardrockov\u00fd proud.<\/p>\n\n\n\n

Leningrad: poezie, ironie a bytov\u00e1 kultura<\/strong><\/h5>\n\n\n\n

Zat\u00edmco Moskva hledala rovnov\u00e1hu mezi sov\u011btsk\u00fdm syst\u00e9mem a undergroundem, Leningrad \u0161el vlastn\u00ed cestou. M\u011bsto s bohatou liter\u00e1rn\u00ed tradic\u00ed dalo sov\u011btsk\u00e9mu rocku jin\u00fd odst\u00edn, m\u00e9n\u011b hardrockov\u00fd, v\u00edce existenci\u00e1ln\u00ed, ironick\u00fd a poetick\u00fd. Zdej\u0161\u00ed bytov\u00e9 koncerty se staly z\u00e1rodkem pozd\u011bj\u0161\u00edho leningradsk\u00e9ho modelu fungov\u00e1n\u00ed sc\u00e9ny osmdes\u00e1t\u00fdch let.<\/p>\n\n\n

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Kl\u00ed\u010dov\u00fdm hybatelem sc\u00e9ny se stalo Akvarium (\u0410\u043a\u0432\u0430\u0440\u0438\u0443\u043c) a jeho frontman Boris Greben\u0161\u010dikov (\u0411\u043e\u0440\u0438\u0441 \u0413\u0440\u0435\u0431\u0435\u043d\u0449\u0438\u043a\u043e\u0432). Akv\u00e1rium v 70. letech fungovalo t\u00e9m\u011b\u0159 v\u00fdhradn\u011b mimo ofici\u00e1ln\u00ed struktury. Bytov\u00e9 koncerty, improvizovan\u00e9 sestavy, texty pln\u00e9 aluz\u00ed, mystiky a humoru \u2013 to v\u0161e vytvo\u0159ilo estetiku, kter\u00e1 pozd\u011bji definovala \u201eleningradsk\u00fd rock\u201c.<\/p>\n\n\n\n

Vedle Akv\u00e1ria p\u016fsobily kapely jako Rossijane (\u0420\u043e\u0441\u0441\u0438\u044f\u043d\u0435) nebo Mify (\u041c\u0438\u0444\u044b), reprezentuj\u00edc\u00ed tvrd\u0161\u00ed proud. Leningradsk\u00e1 sc\u00e9na v\u0161ak byla p\u0159edev\u0161\u00edm laborato\u0159\u00ed styl\u016f a postoj\u016f, z n\u00ed\u017e vze\u0161el v\u00fdbuch inven\u010dn\u00ed hudby 80. let a iniciovala vznik legend\u00e1rn\u00edho Rockov\u00e9ho klubu.<\/p>\n\n\n\n

Kl\u00ed\u010dov\u00e9 kapely:<\/strong><\/p>\n\n\n\n

\u0410\u043a\u0432\u0430\u0440\u0438\u0443\u043c<\/strong><\/p>\n\n\n\n

Zalo\u017eeno 1972. \u00dast\u0159edn\u00ed postavou byl Boris Greben\u0161\u010dikov \u2013 autor, zp\u011bv\u00e1k, ideolog sc\u00e9ny. Akv\u00e1rium kombinovalo rock, folk, reggae, artrock i absurditu. Texty byly pln\u00e9 liter\u00e1rn\u00edch aluz\u00ed, mystiky a skryt\u00fdch v\u00fdznam\u016f.<\/p>\n\n\n\n

\u0420\u043e\u0441\u0441\u0438\u044f\u043d\u0435<\/strong><\/p>\n\n\n\n

Tvrd\u0161\u00ed proud leningradsk\u00e9ho rocku, zalo\u017een\u00fd 1969. L\u00eddrem byl Georgij Ordanovskij, jeho\u017e zmizen\u00ed v roce 1984 je dodnes op\u0159edeno mno\u017estv\u00edm temn\u00fdch legend (v\u011bnuji mu samostatn\u00fd \u010dl\u00e1nek).<\/p>\n\n\n\n

\u041c\u0438\u0444\u044b<\/strong><\/p>\n\n\n\n

Jedna z nejstar\u0161\u00edch rockov\u00fdch kapel Leningradu, aktivn\u00ed u\u017e od poloviny 60. let, v\u00fdznamn\u00e1 zejm\u00e9na koncertn\u00ed \u010dinnost\u00ed.<\/p>\n\n\n\n

Estonsko a dal\u0161\u00ed periferie<\/strong><\/h5>\n\n\n\n

Zvl\u00e1\u0161tn\u00ed kapitolu hudebn\u00edho d\u011bn\u00ed tvo\u0159ily pobaltsk\u00e9 republiky, p\u0159edev\u0161\u00edm Estonsko. D\u00edky bl\u00edzkosti Finska, dostupnosti z\u00e1padn\u00edch m\u00e9di\u00ed a odli\u0161n\u00e9 kulturn\u00ed politice zde rock fungoval otev\u0159en\u011bji a pest\u0159eji. Festivaly, \u017e\u00e1nrov\u00e1 rozmanitost a relativn\u00ed tolerance kontrastovaly s rusk\u00fdmi centry. Zat\u00edmco v Moskv\u011b se \u0159e\u0161ilo, zda je text \u201eideologicky p\u0159ijateln\u00fd\u201c, v Tallinnu se hr\u00e1lo country, jazz-rock, experiment\u00e1ln\u00ed hudba i elektronika. I kdy\u017e v sousedn\u00edm, stejn\u011b \u201ez\u00e1padn\u00edm\u201c Loty\u0161sku byla situace p\u0159esn\u011b opa\u010dn\u00e1: tvrd\u00e1 politika kulturn\u00edch \u00fa\u0159ad\u016f sn\u00ed\u017eila kdysi \u017eivou rockovou sc\u00e9nu do extr\u00e9mn\u011b \u017ealostn\u00e9ho stavu.<\/p>\n\n\n

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Ve zbytku SSSR to ov\u0161em nest\u00e1lo za moc. Za zm\u00ednku stoj\u00ed snad jen sverdlovsk\u00e1 studentsk\u00e1 avantgardn\u00ed skupina Sonans (\u0421\u043e\u043d\u0430\u043d\u0441), veden\u00e1 Alexandrem Pantykinem, kter\u00e1 hr\u00e1la zcela neortodoxn\u00ed instrument\u00e1ln\u00ed rock, sp\u00ed\u0161e p\u0159ipom\u00ednaj\u00edc\u00ed \u0160ostakovi\u010de nebo Prokofjeva.<\/p>\n\n\n\n

Sedmdes\u00e1t\u00e1 l\u00e9ta rozhodn\u011b nebyla vrcholem sov\u011btsk\u00e9ho rocku, ale byla d\u016fle\u017eitou p\u0159\u00edpravnou f\u00e1z\u00ed pro jeho dal\u0161\u00ed rozkv\u011bt. Vznikly nov\u00e9 kapely, publikum se je nau\u010dilo poslouchat a d\u00edky neofici\u00e1ln\u00edm distribu\u010dn\u00edm s\u00edt\u00edm se j\u00ed da\u0159ilo \u0161\u00ed\u0159it. Na povrchu panoval klid, institucionalizace a kulturn\u00ed normalizace, pod n\u00edm v\u0161ak vznikala houstnouc\u00ed s\u00ed\u0165 klub\u016f, muzikantsk\u00fdch byt\u016f a neofici\u00e1ln\u00edch nahr\u00e1vek. Na rozd\u00edl od Z\u00e1padu nebyl sov\u011btsk\u00fd rock jen hudebn\u00edm stylem. Byl p\u0159edev\u0161\u00edm zp\u016fsobem existence v syst\u00e9mu, kter\u00fd hudbu ch\u00e1pal jako ideologick\u00fd n\u00e1stroj.<\/p>\n\n\n\n

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