.jpg/250px-Stas_Baretsky_(cropped).jpg){kind=small}
.jpg)
Community hub
0 subscribers8 pages, 0 posts
Recent from talks
All channels
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Welcome to the community hub built to collect knowledge and have discussions related to Stanislav Baretsky.
Nothing was collected or created yet.
Stanislav Baretsky
View on Wikipediafrom Wikipedia
 |
Key Information
.jpg)
Stanislav Valereyevich Baretsky (born 8 March 1972) is a Russian musician. He has worked with the groups Leningrad and EU.
Biography
[edit]Baretsky worked as a gravedigger and security guard in the 1990s, later unsuccessfully running a cafe and market.[1] He wrote poetry as a young man. In 2002 he made songs based on this work. In the period from 2003 to 2004 he recorded two solo albums, Цензура ("Censorship") and Цензура-2 ("Censorship-2"). Neither of these albums brought Baretsky stardom.
In 2004 he worked with the group named EU. They released an album in 2005, Электронщина (Elektronschina) featuring a stencil of his face on the cover. He performed at concerts with EU in Moscow and St Petersburg. He then worked with the group Leningrad, writing lyrics for a song.[2][3]
Baretsky is best known for his aggressive and anti-west stances. He frequently picks fights on television shows and radio interviews, sometimes being invited specifically to cause trouble. Baretsky is vocally antiimport and anti anything he deems capitalistic.[1] He often draws a crowd to witness him make these statements. In 2015, Baretsky drove his BMW into a field and lit it on fire to promote Russian industry. He announces that all imported goods are evil and they should be destroyed. He then burns his BMW and drives away in a Russian made Lada Kalina.[4] Baretsky is also known for biting into beer cans and twisting them apart, spraying those around him.[1]
Creation
[edit]He began to write poetry at the age of 14, and only in 2002 decided to write songs based on them.
“In general, I never intended to write songs. And then we talked somehow with a sound engineer friend, Kolya. I have been writing poetry since I was fourteen, but I have never shown it to anyone. He says: “Let's try to record.” - “And who will sing?” - “Yes, you will sing.” I went to the microphone, gave out something ... Over the evening, we recorded two songs. And Kolya had garter on Radio Chanson. And bam, I’m somehow listening to the Chanson radio, and there is my song. I was just shocked."[5]
In the period from 2003 to 2004 he recorded two solo albums published on the trap label: "Censorship" and "Censorship-2". Some of the songs were on the radio "Petrograd - Russian Chanson."
In 2004, his work became interested in the electronic duo "Christmas tree toys", located in the same city. They invited him to record an album and give concerts in clubs. The album "Electronschina" has become one of the most striking musical events of 2005. At the beginning of 2006, Baretsky had several successful performances in Ukraine with other musicians from the collection "Forbidden Variety" except for "Christmas Tree Toys", including with 2H Company; in Kyiv, the entrance to the concert had to be closed when 600 people gathered.[6] On 7 March 2006, Stas performed at the Moscow club "Ikra" after the presentation of the album YOI "Warm Math" ("Warm Mathematics") and a performance by 2H Company;[7] some listeners left the room.[6]
Stas Baretsky made an indelible impression on me. I believe this is Viktor Tsoi of our time. And he holds the microphone, like Tsoi - slightly blocking the lower part of the face with his elbow and proudly raising his chin. Hokku man!
— Gleb Davydov[6]
In addition to concerts with Christmas tree decorations in Moscow and St. Petersburg, Stas joined the concert of the Leningrad group, wrote lyrics for the songs Sky Heaven and Credit for the album Bread.[8] According to Baretsky, he no longer speaks with Leningrad, because he doesn’t call Cords, but he doesn’t want to ask.[9] While with the "Christmas tree toys", he believes that "they did not agree on the characters in terms of music", as the band’s musicians prefer to engage in creative experiments, and Baretsky suggested "stupidly make turbochanson and ride in clubs".[9]
Brother 3
[edit]In 2019, he announced his desire to make the film "Brother 3".
Discography
[edit]- Цензура - Censorship - 2003
- Цензура-2 - Censorship-2 - 2004
- Электронщина - Elektronschina - 2005 (with EU (group))
- Тут по ящику нам дали (together with Andrei Erofeev) (not officially published)
- Романтик Блядь Коллекшн - Romantic Fucking Collection - 2011
- Дискотека - Discoteca - 2013
- Девяностые - Nineties - 2014
- Умереть за попсу! - 2015
- Нулевые - 2015
- Малиновый пиджак - 2015
- Турбодискотека - 2015
Filmography
[edit]References
[edit]- This article is based on the Russian Wikipedia article, ru:Барецкий, Станислав
- ^ a b c "This Russian Gravedigger-Turned-Singer Hates Western Culture so Much He Blew up His Car". 10 November 2015.
- ^ OpenSpase.ru — Стас Барецкий: «Опять будем жрать это дерьмо»
- ^ Афиша — Стас Барецкий: «Я вообще хотел в казино устроиться, но мне там сказали: „У вас внешность непредставительная“. Денег поэтому сейчас у меня немного выходит, но нам с мамой хватает»
- ^ "Watch video: Stas Baretsky burned his BMW in support of our industry". Archived from the original on 1 March 2019. Retrieved 28 February 2019.
- ^ "Стас Барецкий". Собака.ru. 18 March 2008. Retrieved 20 February 2019.
- ^ a b c ""Теплая математика" в IKRE". www.nestor.minsk.by. Muzykalnaya Gazeta. 17 March 2006. Retrieved 15 August 2019.
- ^ "Презентация альбома Warm Math дуэта "Ёлочные игрушки"". www.nestor.minsk.by. Muzykalnaya Gazeta. 1 March 2006. Retrieved 15 August 2019.
- ^ Уткина О. Стас Барецкий: «Я вообще хотел в казино устроиться, но мне там сказали: „У вас внешность непредставительная“. Денег поэтому сейчас у меня немного выходит, но нам с мамой хватает» // Афиша-Волна, 2005
- ^ a b Тарнавская М. Стас Барецкий — о кладбище, драках, женщинах, Шнурове и альбоме «Дискотека» // Афиша-Волна Archived 9 February 2014 at the Wayback Machine
- ^ "Стас Барецкий". Discogs (in French). Retrieved 4 May 2020.
| Authority control databases: Artists |
|---|
Stanislav Baretsky
View on Grokipediafrom Grokipedia
Early Life and Background
Upbringing in Lomonosov
Stanislav Baretsky, born Stanislav Valeryevich Baretsky on March 8, 1972, grew up in Lomonosov, a coastal town in Leningrad Oblast (now part of Russia's Leningrad region), situated approximately 40 kilometers west of Saint Petersburg along the Gulf of Finland.[3][6][7] The town, historically known as Oranienbaum during imperial Russia, featured a modest Soviet-era environment of communal living and limited cultural infrastructure, shaping the formative years of many local residents amid the late USSR's economic stagnation.[6] Baretsky's early childhood unfolded in this provincial setting, where he developed an initial affinity for artistic expression, including writing poetry and exploring music informally.[8][9] Self-reported accounts describe him as a disruptive figure in school, engaging in fights and exhibiting rebellious behavior typical of youth in post-Brezhnev era small-town Russia, though such claims lack independent corroboration beyond biographical retrospectives.[8] By adolescence, Baretsky remained rooted in Lomonosov, transitioning from basic schooling to vocational training, reflecting the era's emphasis on practical skills over higher education for working-class families in peripheral Soviet locales.[6][7] These years instilled a grounded, anti-urban sensibility that later informed his public persona, though details on family dynamics or specific influences remain sparse in available records.Pre-Musical Career as Gravedigger
Before pursuing a career in music, Stanislav Baretsky worked as a gravedigger at the Lomonosov Cemetery near his hometown during the early 1990s, a position arranged by his uncle while he attended vocational school.[10] As a teenager, he was initially barred from handling coffins and instead collected scrap metal from gravesites, later advancing to full gravedigging duties amid the post-Soviet economic turmoil.[10] Baretsky has recounted working in the role for nearly six years, during which he earned high wages—reportedly substantial for the era—enabling him to accumulate savings. These funds supported his entrepreneurial attempt at age 22 to open a restaurant called "Belaya Loshad" (White Horse), though the venture ultimately failed. In interviews reflecting on the 1990s, Baretsky described the cemetery's operations as handling frequent burials of organized crime victims and figures, with gravediggers occasionally concealing evidence of violence, such as by manipulating burial sites to evade detection amid widespread lawlessness.[11] He attributed his comfort in the profession to a childhood fascination with cemeteries, a trait he later connected to his family's involvement in the funeral trade.[12] This period preceded his shifts to other manual jobs, including security guard and market vendor, before transitioning to artistic pursuits.[3]Musical Career
Collaborations with Leningrad and EU
Baretsky's early musical collaborations included work with the Russian electronic duo Ёлочные Игрушки (EU), with whom he recorded the joint studio album Электронщина (Electronschina), released on October 13, 2005.[13] The album comprises 11 tracks, such as "Fabrika," "Rossiya," "Ment-Vampir," and "Dzhaga-Dzhaga," combining EU's IDM-influenced electronic production with Baretsky's raw vocal style and thematic lyrics on Russian societal issues. This project marked one of Baretsky's initial forays into recorded music, emphasizing experimental fusion over mainstream appeal. In parallel, starting in 2005, Baretsky integrated into the punk rock band Leningrad's live performances, serving as a dancer, mascot, and occasional lyricist until 2008.[14] His contributions included writing lyrics for tracks like "Kredit" and "Nebesnyy Tennis," aligning with the band's irreverent, satirical style under leader Sergey Shnurov.[7] Baretsky appeared in promotional materials, including videos for songs such as "Paganini" and "Guboshlep," enhancing the group's provocative stage presence through physical comedy and exaggerated antics.[1] The partnership concluded in 2008 when Shnurov disbanded the lineup, citing creative shifts, though Baretsky later expressed interest in rejoining in 2019 without fruition.[15][16]Solo Releases and Style
Baretsky's solo music is primarily categorized within Russian chanson, with strong satirical and novelty elements that emphasize absurdity and social commentary. His style, often termed turbo-chanson, incorporates provocative lyrics delivered through a mix of chanson traditions, rap influences, and experimental production, distinguishing it from conventional genres by its hyperbolic and confrontational tone.[5] Early solo efforts include the albums Цензура (Censorship) released in 2003 and Цензура-2 (Censorship-2) in 2004, which featured tracks occasionally aired on radio despite their unconventional nature.[17] Subsequent releases encompass Девяностые (The Nineties) presented in 2014, followed by Умереть за попсу (Die for Pop), Малиновый пиджак (Raspberry Jacket), and Нулевые (The Zeros).[7] Baretsky has produced seven solo albums in total, alongside singles such as "Лето" in 2023 and "СЛЁЗЫ" in 2025.[18][19] These works maintain his signature blend of satire and genre fusion, often self-released or distributed independently.[5]Activism and Provocations
Anti-Western Consumerism Campaigns
Stanislav Baretsky, a Russian musician and provocateur, initiated a series of public stunts in 2015 promoting import substitution and opposition to Western consumer goods, aligning with Russia's policy response to Western sanctions following the 2014 annexation of Crimea.[3] He argued that purchasing imported products supported foreign economies hostile to Russia and undermined domestic industry, urging citizens to favor Russian-made alternatives despite their perceived lower quality.[3] These actions, often filmed and shared online, gained viral attention in Russia, blending patriotic rhetoric with theatrical destruction to criticize Western capitalism.[2] Key incidents included Baretsky smashing an iPhone 4 and a Samsung tablet in a Saint Petersburg electronics store on August 28, 2015, declaring the act a call for technological self-sufficiency.[20] In August 2015, he bit into cans of imported beer in retail settings, inspected foreign sunflower oil, and demanded stores stock only Russian brews, framing the confrontation as resistance to "Western threats."[21] He extended this to vehicles by burning his own BMW in a field near Saint Petersburg around 2014–2015, dousing it with gasoline before driving away in a Lada Kalina to symbolize rejection of luxury imports.[2] Additionally, he destroyed a Beatles CD to decry Western cultural influence and tore imported underwear at an open-air market, consistently portraying foreign goods as inferior props of enemy propaganda.[3] By February 2016, Baretsky escalated to blocking trucks suspected of transporting banned Western imports, including beer, on Russian roads as part of his self-declared "warpath" against illicit goods evading sanctions.[22] He also publicly burned U.S. dollars—claiming up to $20,000, though some reports questioned the authenticity—and vowed to incinerate all his foreign currency holdings in September 2015 to eliminate financial ties to the West.[23] These campaigns, while resonating with nationalist sentiments, drew criticism for hypocrisy, as Baretsky had previously used Western products himself, and for prioritizing spectacle over substantive economic policy.[24] Despite limited evidence of widespread adoption, his efforts amplified anti-Western consumerism narratives in Russian media during a period of heightened geopolitical tension.[25]Key Public Stunts and Performances
In August 2015, Baretsky entered a Saint Petersburg electronics store and stomped on an iPhone 4 and a Samsung tablet, declaring his action a promotion of Russian-manufactured goods amid import restrictions.[26] [27] He concluded the event by biting open a can of imported beer with his teeth, spraying onlookers while shouting "For Russia."[28] [29] Similar supermarket raids followed, where Baretsky inspected shelves for foreign products, then ripped apart beer cans—often imported—with his teeth to advocate boycotts and domestic consumption.[21] [30] These acts, captured on video, emphasized physical destruction as symbolic rejection of Western influence.[31] On September 17, 2015, Baretsky deviated from an earlier pledge to burn his BMW X5 in anti-sanctions protest by instead igniting approximately $20,000 in U.S. dollars on camera, framing it as extinguishing "Western capital despair" and bolstering the ruble.[23] [32] [33] Baretsky's stage routines incorporated these motifs, featuring him tearing metal beer cans apart with his teeth—revealing prosthetic dentures—and drenching audiences, a recurring element in his concerts blending shock value with patriotic messaging.[3] In March 2016, outside the U.S. consulate in Saint Petersburg, he shredded an inflatable sex doll with his hands, presenting it as solidarity with athlete Maria Sharapova during her doping suspension, while vowing to burn an effigy of the World Anti-Doping Agency president.[34] [35] Earlier, in February 2016, Baretsky intercepted suspected import trucks on highways, halting vehicles to check for banned Western goods in line with Russia's counter-sanctions policy.[4] These interventions, often with Cossack associates, amplified his self-styled role as enforcer of economic patriotism.[28]Controversies
Aggressive Incidents and Legal Encounters
In 2016, Baretsky participated in vigilante raids on brothels in St. Petersburg alongside ultranationalist Viacheslav Datsik, during which they forcibly entered establishments, subdued sex workers and clients, and compelled some to march naked through the streets to police stations as a form of public humiliation aimed at combating prostitution.[36][37] These actions, framed by participants as moral enforcement, involved physical restraint and property damage, leading to Datsik's arrest and a 3.5-year prison sentence for robbery and assault in 2018, though Baretsky faced no reported charges from these specific events.[38] In September 2021, Baretsky physically confronted a neighbor of reality TV personality Olesya Malibu during a residential dispute, administering what he described as "fatherly slaps" or light punches to discipline the man after complaints about disturbances; the neighbor reported injuries, summoning police and an ambulance, but Baretsky maintained no serious beating occurred and positioned the act as protective intervention.[39] No formal charges resulted from this altercation, though it escalated tensions, with Baretsky later claiming threats from organized groups in response. Baretsky has encountered administrative legal issues unrelated to direct violence. On July 30, 2020, he received a five-day arrest for disobeying a police officer's directive, following an incident at the intersection of Liteiny and Nevsky prospects in St. Petersburg.[40] In August 2023, Primorsky District Court suspended his driver's license for one year under Article 12.27 Part 2 of the Russian Administrative Code for fleeing the scene of a minor accident on the Western High-Speed Diameter highway, where his vehicle damaged another car's side mirror.[41][42]Ideological Criticisms and Propaganda Claims
Baretsky's public expressions of aggressive patriotism and anti-Western sentiment have elicited ideological criticisms, particularly from Western security analysts and outlets critical of the Russian government, who portray his actions as de facto propaganda amplifying Kremlin narratives on cultural and economic sovereignty. In 2015, following Western sanctions over the annexation of Crimea, Baretsky conducted high-profile stunts destroying imported goods, including setting fire to his BMW X5 on August 20 in a field near St. Petersburg to symbolize rejection of foreign luxury vehicles, and tearing open cans of European beer with his teeth during Cossack-led raids on stores. These aligned closely with President Vladimir Putin's August 2014 food import ban, prompting accusations that Baretsky functioned as an informal promoter of state-driven import substitution policies, fostering xenophobic attitudes toward the West.[2][30][43] A 2020 analysis by the NATO Strategic Communications Centre of Excellence, an entity focused on countering perceived adversarial information operations, characterized Baretsky as a showman exhibiting "strong anti-Western views" and aggressive behavior, with his pronouncements cited as examples of content laundered through sympathetic outlets in the Nordic-Baltic region to disseminate pro-Russian messaging. The report highlighted a December 17, 2019, instance where Baretsky's statements were repackaged in local fringe media, suggesting utility in hybrid influence campaigns despite lacking evidence of direct coordination with state actors.[44] Such characterizations reflect NATO's mandate to scrutinize pro-Russian amplification, though they rely on pattern-matching rather than verified ties. Independent Russian media, including The Moscow Times, have similarly critiqued Baretsky's performances as emblematic of broader societal mobilization against Western imports, warning of risks in normalizing vigilante enforcement of policy.[43] Baretsky has rejected claims of propagandistic intent, framing his ideology as authentic defense against Western cultural dominance and capitalist exploitation, rooted in personal disdain for imported consumerism rather than political allegiance. Critics, however, argue this distinction blurs in practice, as his rhetoric—such as declaring foreign products "evil" and inferior—mirrors official discourse on self-reliance, potentially mobilizing public support for isolationist measures amid geopolitical tensions. Western profiles, including those in Vice, have depicted his anti-globalist fervor as performative extremism, selectively anti-capitalist yet unaddressed toward Russia's own oligarchic structures, thereby serving nationalist cohesion over substantive critique.[3][45] No verified financial links to state entities have surfaced, but the congruence of his stunts with policy timelines sustains propaganda allegations among detractors.[31]Media and Film Involvement
Film Roles and Appearances
Stanislav Baretsky has appeared in a number of low-budget Russian films and television episodes, typically in supporting or cameo capacities that leverage his notoriety as a musician and provocateur.[46] These roles often feature in genres such as black comedy, action, and underground cinema, with appearances dating from the late 2000s onward.[47] His notable film credits include the 2009 experimental film 2-Assa-2, a loose sequel to the cult classic Assa. In 2011, Baretsky participated in two installments of the Shapito Show series—Shapito-shou: Uvazhenie i sotrudnichestvo (Respect and Cooperation) and Shapito-shou: Lyubov i druzhba (Love and Friendship)—mockumentaries depicting dysfunctional circus troupes, where he contributed to the chaotic, satirical ensemble. More recent roles encompass the 2022 action film Grom: Tрудное detstvo (Grom: Boyhood), in which he portrayed a large-scale criminal figure known as the "Big Kingpin" or "huge bandit." In 2023, he appeared in Zelyonyy slonik 2: Preslovutoye pokoleniye (The Green Elephant 2: The Notorious Generation), a controversial sequel to the 1999 underground film noted for its extreme content. Baretsky also featured in the 2024 film Fowlry as Colonel Chibizov.[48]| Year | Title | Role |
|---|---|---|
| 2009 | 2-Assa-2 | Supporting |
| 2011 | Shapito-shou: Uvazhenie i sotrudnichestvo | Ensemble cast |
| 2011 | Shapito-shou: Lyubov i druzhba | Ensemble cast |
| 2022 | Grom: Tрудное detstvo | Big Kingpin / Huge bandit |
| 2023 | Zelyonyy slonik 2: Preslovutoye pokoleniye | Supporting |
| 2024 | Fowlry | Colonel Chibizov |