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Borzoi is the masculine singular form of an archaic Russian adjective that means 'fast'. Borzaya sobaka ('fast dog') is the basic term for sighthounds used by Russians, though sobaka is usually dropped. The name psovaya derived from the word psovina, which means 'wavy, silky coat', just as hortaya (as in hortaya borzaya) means
The Swedish jazz pianist Jan Johansson recorded a version of the song in 1967 under the title "Stepp, min stepp" (steppe, my steppe) on the album Jazz på ryska (Jazz in Russian). The American rock band Jefferson Airplane had an instrumental version of the song, titled "Meadowlands", on their album Volunteers (Jefferson Airplane album) (1969).
The album is also known as Back in the USSR and the Russian Album. [6] The first word of the album's title is often mispronounced by English speakers as / ˈ tʃ oʊ b ə / rather than the more accurate / ˈ s n oʊ v ə / (the Cyrillic alphabet has a different pronunciation for the characters "С", "H", and "В" than the Latin alphabet).
Eduard Anatolyevich Khil (Russian: Эдуа́рд Анато́льевич Хиль, IPA: [ɨdʊˈart ɐnɐˈtolʲjɪvʲɪtɕ ˈxʲilʲ]; 4 September 1934 – 4 June 2012), often anglicized as Edward Hill, was a Russian baritone singer.
Its song "Heart-magnet" has held on in charts of " Russian radio in 20 weeks and on dignity has deserved that the performer has received the first figurine. On December, 2nd the New Year's final concert of festival « New songs about the main thing » in which among 57 songs the song "Heart-magnet" for which Sogdiana has received the diploma ...
"Sigma Boy" (Russian: "Сигма Бой") is a song by Russian bloggers 11-year-old Betsy and 12-year-old Maria Yankovskaya, released as a single by the record label Rhymes Music on 4 October 2024. [1] It became viral on TikTok and also charted on Spotify, YouTube, Shazam and iTunes. [19]
Shortparis performs songs in Russian, French, and English. [24] According to John Doran of The Quietus , Shortparis is following in Sergey Kuryokhin's legacy of provocative performance art; Doran describes the group as "Ambitious, bombastic, incredibly pretentious, erotic, thrilling, impossible to pin down, vaguely deviant, fun to dance to and ...
While their earlier work (1984–1988) can be described as minimalist lo-fi punk rock/post-punk with dirty, garage sound (although there also was significant number of reggae songs on 1987/88 albums), in the late 1980s the band's sound leaned toward noise rock and industrial, [1] occasionally drawing inspiration from Russian folk tunes.