This multi-authored monograph consists of the sections: "Pop Rock, Ethno-Chaos, Battle Drums, and a Requiem: The Sounds of the Ukrainian Revolution," "The Euromaidan's Aftermath and the Genre of Answer Song: A Musical Dialogue Between the Antagonists?", "Exposing the Fault Lines beneath the Kremlin's Restorative Geopolitics: Russian and Ukrainian Parodies of the Russian National Anthem," and "'Lasha Tumbai', or 'Russia, Goodbye'? The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground."

Autorentext
Arve Hansen is a doctoral student of Russian at the UiT the Arctic University of Norway. Dr. Polly McMichael is Lecturer in Russian and Slavonic Studies at the University of Nottingham. Dr. Andrei Rogatchevski is Professor of Russian Literature and Culture at the UiT the Arctic University of Norway. Dr. Yngvar Steinholt is Associate Professor of Russian at the UiT the Arctic University of Norway. Dr. David-Emil Wickström is Professor of Popular Music History at the Popakademie Baden-Württemberg in Mannheim, Germany.The author of the foreword:Artemy Troitsky is a prominent music critic and author of Back in the USSR: The True Story of Rock in Russia (1987), Tusovka: Who's Who in the New Soviet Rock Culture (1990), and Subkultura: Stories of Youth and Resistance in Russia, 1815-2017 (2017).

Zusammenfassung
This multi-authored monograph consists of the sections: Pop Rock, Ethno-Chaos, Battle Drums, and a Requiem: The Sounds of the Ukrainian Revolution, The Euromaidan's Aftermath and the Genre of Answer Song: A Musical Dialogue Between the Antagonists?, Exposing the Fault Lines beneath the Kremlin's Restorative Geopolitics: Russian and Ukrainian Parodies of the Russian National Anthem, 'Lasha Tumbai', or 'Russia, Goodbye'? The Eurovision Song Contest as a Post-Soviet Geopolitical Battleground, and (Post-)Soviet Rock Soundtracks the Donbas Conflict.