Without tiling wm / with tiling wm.
I spent more time creating this than I care to admit. What is worse: my friend pointed out that I could have done it in a tiling wm and just take a screenshot.
Morrison claims Soviet authorities "invented excuses" to explain his status change from allowed to travel to disallowed, but he provides no evidence, except for an anecdote of Lina sarcastically complaining about waiting in line for bureaucratic matters in Moscow. But so what?
Since 1936, Prokofiev had chosen to settle in the USSR permanently, meaning he became a Soviet citizen. Prokofiev knew since at least 1926 that he’d have to give up his "Nansen" passport (a passport issued by the League of Nations to stateless refugees). His diary entry from January 20, 1926 confirms this.
In 1938, he exchanged his external passport for an internal Soviet passport. Morrison tries to make a big deal out of it, but this was completely standard. A Soviet decree from April 22, 1931 disallowed dual citizenship. Another from 1932 required Soviet citizens to to obtain an internal passport. Prokofiev and his wife, Lina, would just have to abide by the same rules as any Soviet citizen.
Continuing my investigation into Simon Morrison's The People's Artist. The main evidence he provides for "Prokofiev being lured" into the USSR is a 1925 official letter from Nadezhda Bryusova stating that Prokofiev would be free to travel, should he choose to return to the USSR. Prokofiev lost his travel rights on 1938, but this doesn't mean he was lied to. This evidence is invalid! Let’s break it down. 🧵
#Prokofiev #SovietMusicThe idea that Soviet music was ‘backward’ compared to the Western avant-garde is not just false—it’s propaganda. This idea is based on a truly "backward", unscientific idealist philosophy. I revisited my conclusion on Soviet music historiography. Read here:
https://caiobarros.com/en/posts/revisiting-soviet-music
Revisiting My Conclusion on Soviet Music Historiography
In my PhD thesis, I conducted a content analysis of 13 books specializing in the history of Soviet music. For each book, I examined its responses to a set of key historical questions, including:
Why were the ASM (Association for Contemporary Music) and RAPM (Russian Association of Proletarian Musicians) dissolved in 1932? Why did Prokofiev return to the USSR in 1936? Why was Shostakovich’s Lady Macbeth of Mtsensk censored, while Dzerzhinsky’s Quiet Flows the Don was praised?
