"Everyone loves the dead - the comfortable and quiet ones," Slava KPSS sings in one of his recent tracks, reasonably noting that the dead will not sell out to the regime, will not make a lousy film, and will not support the annexation of Crimea. Among the exemplary dead in the rapper's martyrology, there is also a place for Viktor Tsoi, the main star of Russian rock, to whom, in fact, no one has any complaints. But there is a regular desire to use his songs and authority to promote anything - from goods to political ideas. But how did it happen that the question "who would Tsoi be with now?" became so important that the most odious deputies, propagandists, and military personnel began to appropriate his work? How did "Kukushka" become the anthem of Z-patriots? Why are Tsoi's heirs seeking support from Putin, and why is the Kino group, having reunited, re-recording old albums?
"Whose Tsoi?" – an eight-episode podcast by the VotVot platform about Kino's songs as a business asset, a tool of manipulation, and an ideological weapon.
