This article identifies the rhetorical and behavioural stylistics of playful confrontation which determine the global genre and 'relational aesthetics' of the text of Russian Futurism, and argues that a 'hip-hop' translation offers in a strong sense an adequate but non-unique homology. The notion of situatedness in relation to the original language text and its translation is examined. The conflict-determined contextuality of the original is underlined, parallels are drawn between the stress on morality, fluent delivery and address, and conclusion are drawn as regards the conflict generated by framing this translation idiom within a normative publishing canon signalled as 'modern poetry in translation'. A constructive mapping of the geographical and discursive boundary dislocation inscribed within the poem's structure by civil ware onto semantic domains of ephemerality, instantaneity/immanence and the fragile 'power' of the Word inherent in the 'front line' positioning of high Rap poetry is outlined.