Drawing on extensive archival research, Laura Pontieri reconstructs the dynamics inside Soviet animation studios and the relationships between the animators and the political establishment. Pontieri offers a meticulous study of Soviet animated films of the period, using the world of Soviet animation as a lens for viewing the historical moment of the thaw from a fresh and less conventional point of view.

    Its heroes are Arseny Avraamov, inventor of Graphic Sound (drawing directly onto magnetic tape) and a 48-note scale; Alexei Gastev, who coined the term "bio-mechanics"; Leon Theremin, inventor of the world's first electronic instrument, the Theremin; and others whose dreams for electronic sound were cut short by Stalin's regime. Drawing on materials from numerous Moscow archives, this book reconstructs Avraamov's "Symphony of Sirens," an open-air performance for factory whistles, foghorns and artillery fire first staged in 1922, explores Graphic Sound and recounts Theremin's extraordinary career--compiling the first full account of Russian electronic music.

    Photographs, children’s stories, films, newspaper articles, political education campaigns, and court proceedings exposed the hypocrisy of America’s racial democracy. In contrast, the Soviets represented the USSR itself as a superior society where racism was absent and identified African Americans as valued allies in resisting an imminent imperialist war against the first workers’ state.Meredith L. Roman’s Opposing Jim Crow examines the period between 1928 and 1937, when the promotion of antiracism by party and trade union officials in Moscow became a priority policy. Soviet leaders stood to gain considerable propagandistic value at home and abroad by drawing attention to U.S. racism, their actions simultaneously directed attention to the routine violation of human rights that African Americans suffered as citizens of the United States. Soviet policy also challenged the prevailing white supremacist notion that blacks were biologically inferior and thus unworthy of equality with whites. African Americans of various political and socioeconomic backgrounds became indispensable contributors to Soviet antiracism and helped officials in Moscow challenge the United States’ claim to be the world’s beacon of democracy and freedom.

    Arguing that moving to a separate apartment allowed ordinary urban dwellers to experience Khrushchev’s thaw, Steven E. Harris fundamentally shifts interpretation of the thaw, conventionally understood as an elite phenomenon.Harris focuses on the many participants eager to benefit from and influence the new way of life embodied by the khrushchevka, its furniture, and its associated consumer goods. He examines activities of national and local politicians, planners, enterprise managers, workers, furniture designers and architects, elite organizations (centrally involved in creating cooperative housing), and ordinary urban dwellers. Communism on Tomorrow Street also demonstrates the relationship of Soviet mass housing and urban planning to international efforts at resolving the "housing question" that had been studied since the nineteenth century and led to housing developments in Western Europe, the United States, and Latin America as well as the USSR.