The Symphonic Juncture

A [Symphonist]: "The one who is not afraid to raise the primal force."

- Boris Asafiev (1917)

Husky's Tour 2.0: ХАСКИ2021 [Comments and Concerns]

Announced on November 21st, Husky [Dmitry Kuznetsov, whom I strongly proclaim justly deserves the title of ‘Pushkin of Rap’, despite the Rapper Nas claiming his stake of the title. I strongly reject his absurd claim to the title as respectable or even deserving] released the link to his newly-created website entitled ‘’, created only six weeks [and two days] before the revised beginning of his second tour, this time spanning over 30 locations and two months, ‘ХАСКИ 2021’. Accompanying the website’s launch, whose layout features a stark-white aesthetic and no opening screen or traditional ‘home’ page, was a created Instagram titled @papinomolokocom, whose profile photo, as of November 25th, remains a black circle, a possible allusion to Husky’s lyrical enigmatism, but most likely connects to Husky’s strong acclimation towards personalized de-preferentialism and even, what Kross, Ayduk, & Mischel(2005) have called ‘Self-Distancing’, a strong commitment to separating the ‘self’ from life ‘itself’ [or better yet, various forms of ‘trauma’ be they socio-cultural observations, personal afflictions, mental conflicts, or experiential deprivations of various kinds]. The year 2020, in its extraordinary totality, has proven to be the zenith of his nine-year Artistic career [which extends from music to producing, to even acting], a fact integral to memorize due to the sheer amount of content he has managed to create, produce, and star-in, as well as the adjoining amount of socio-cultural [and political] backlash, support, and angst he has caused in traditionally-oriented Russia, in particular Putin’s cultural-stinted backside [2018 specifically and his car-topping bravery]. Husky’s first ‘tour post’ [via his Tour-gram] depicted him engaged in gesticular esotericisms via hand-motions while seated in an unassumingly modernized kitchen, which visually radiates contemporary Dacha romanticism, due to its furnishings of stainless-steel appliances, a fully-electronic oven, and obligatory Russian-styled, painted earthenware [глиняная посуда].

With nothing more than a concentrated furl of the brow [which oscillated between a disobeyingly communicative poker-face] and a correlated eye-gaze that seemed to challenge dimensional borders, he began his attempt at a supraphysical energy manifestation. It is here where the influence of Husky’s January trip to Vrndavana [located in the Braj Bhoomi region, and was the place where Sri Radha Krishna spent quite a lot of his youth] starts to become apparent, and additional, albeit inferred, simple awareness on one end and adroit comprehension on the other, with psycho-spiritualistic discourse and cultural practices pertaining to ‘life force energy’ organization [