Thomas Anders on a show of Mikhail Poplavski ( November, 27, 2005 )
National "Ukraine" Palace, Kiev (Ukraine)

Alexei Stasenko, independent journalist

"I’m sleeping on the lard, and my blanket is the lard as well"
M. Poplavski.

The phenomenon of Kiev University of Culture and Fine Arts (common nickname - "Kulyok" – "Paper bag") is remarkable not only for Kiev, but for the whole Ukraine. It completes a set of Ukrainian symbols together with "Mercedes-600", lard and Yulia Timoshenko, and it is understandable and beloved by the common perception. "Kulyok" has the same purpose, as the "Virtuous Maids University" – it helps bourgeois girls to get ready for the marriage. The Ukrainian language has even a special word for a mature, but completely useless girl without education, who is brought by desperate parents from the village to the City in order to find a Fiance. And now this century-old tradition has found a support of active fighters for an idea of National Renascence. The budget investments of many millions and the deputy status of mister Rector have elevated the idea of city’ colonization on a higher level, and "Kulyok" has turned to the International University of Culture, its rector – to showman, and the students – to the future stars.

And since that time the heralds from the Russian capital, like mister Malakhov, Zverev and so on, moved one after the other to Kiev, the Ukrainian capital. The simple lecturers’ business, supported by the impressive fee, filled the pockets of guest artists from Moscow and gave to "Kulyok" the important and desired "gloss". However, the festival of peasants’ hearts craved for something more – a Fiance from the city, a VIP and a Prince on the White Horse. And so we see an appearance of well-known ex-soloist of MT Thomas Anders, a multimillionaire, a philanthropist and an active fighter against Dieter Bohlen and the total depersonalization of German music.

The art project of Poplavski has successfully clashed with the premature aborting of Ukrainian tour of Anders, caused by the management disorder and common dilettantism of Ukrainian promoters. However, the idiotism of provincial life didn’t discourage the German nightingale, trained by the dirty streets of Los-Angeles! The guarantee of the President’ Administration (!!!) and the Ministry of Culture, together with the opportunely cheque, did their job and the newly-born duo has officially declared about "the start of their cooperation in the humanitarian field".

The main intrigue of the party was the question, if Poplavski would sing "Win the race" together with Anders. The malicious gossips asserted that Anders would sing "Szhe ne vmerla Ukraina" ("Long live Ukraine") on Ukrainian language for 70.000 $. The aged ladies-fans were disappointed because of Dieter Bohlen’s absence on the stage, but at a glimpse on mister Poplavski they’ve noted that "they’ve found an equal substitute". The nostalgic memories about the exuberant youth smoothly turned to the issues of "Euro integration" and "Ukraine’s joining NATO".

The idol of our youth turned out to be handsome, well-mannered and pure-bred. The dark jerkin, fragile rim and the ingratiating voice have imparted quite new bourgeois charm to the idol’s image. Instead of wild German-Mexican macho of the "Californian folly" period we could see a composed, self-confident owner of the splendid art gallery in Soho, who came for a minute to his twice removed uncle, living in the province: "Ah, how’s the metropolis? – Well, nothing special... Just a fuss!"

At the moment Anders started to speak French (!!!) and then smoothly turned to German. The German language is still incredible sexy! Why on Earth he never sings on his native language? Or, maybe, it’s a part of his artistic image? Just imagine Anders singing "Lilli Marlen" together with Ute Lemper!

Made up Mikhail Poplavski reminded Dora, the soloist of the Moscow travesty-show "Paradise birds": he’s got a violet eye-paint, rouge and hair-wax. Black silky jacket and white shirt hid surely the huge showman’s body from the suspicious journalists. A large poster "Kohaimosya" (Lovemaking) imparted a bit of piquancy to this event. Anders seemed to be depressed and cast a glance at the door repeatedly. A girl with glasses has remarked maliciously that "there’s only one step from Goethe to the barn", and a man with beard murmured something on German and covered his face, being satisfied. A drunken photograph after the complicated tirade about the rector’s nice looking whispered in my ear: "Anders... So what?" The journalists expressed their regret concerning the "suddenly aborted career of an outstanding son of Ukrainian nation", and gratefulness for the chance to see mister Rector healthy and wealthy both physically and mentally. The press-conference turned smoothly to the buffet, on which Anders’ attention was attracted by a bottle of Ukrainian vodka. He twiddled it as a pathologist, whispered something and took a beaker of champagne. Mikhail Poplavski proposed a toast to the dear guest, said something about friendship and cooperation, thanked for the criticism and retired. Mister Anders gave his signatures, took pictures with journalists and told about the phonetical difficulties of Ukrainian language.

These songs were performed during that party:

By Mikhail Poplavski:

"Native village"
"Nettle"
"My lard"
"The one and only (Ukraine)"
"Our Kiev is impossible without Podol"
"Hava Naghila"
"The boats filled with grey mullets"
"Libertango" (by Piazzola)
Erotic blues.

By Thomas Anders:

"You’re my heart, you’re my soul"
"When will I see you again?" (a capella)

Mister Poplavsky expressed his heartistic gratitude to Anders for his coming, showered him with kisses and promised to make him learn Ukrainian language next time.

Interview with Thomas Anders (by Alexey Stasenko)

1. Your first single Judy" was presented for the first time 25 years ago. In your creative work there were different situations - top of hit parades, millions of strong CD editions and complete fall into oblivion. What is your motivation now?

TA: O yeah, my first single “Judy”... when was it? It was about... I don’t know... 26-27 years ago - so it’s a long time! You ask me about my energy, what gives me the power. This is... I love music, I like to be on the stage and I like to perform. This is my profession. This is... I can’t imagine living without being on the stage or without doing my music. So, it is very, very important for me. So, maybe, you love your job and it gives you the energy to keep going on every day.

2. Why did you turn to jazz music? Is your new DVD project planned to be the continuation of “Live” album-1997?

TA: First of all, I’d like to say that I didn’t turn to jazz ... this is...you know... when you’re on the stage for more than 33-34 years, like me, you try to do something different - not only the pop music. But the new album is not a jazz. Some people and some fans write that I’m going to do jazz, but that is not true. I’m planning the next project to be an album recorded by live musicians, not by computer. It will be with full orchestra, and it is more like “hand made” music. Yes, but it was another story in my hometown... they had a night called "Jazz night of the town", and all musicians of this town performed something of the jazz, so it doesn’t mean that I’m going into jazz music. It is very important. Even if it is pop music or jazz, or classic music – there’s only one important thing: music has to touch the people’s hearts. And it doesn’t matter, what kind of music is it. As long as you have feelings, and people are really touched by the music - that’s the message of music! It has to touch other people’s hearts!

3. In Europe MT sold 120 mln CDs. How many disks were sold out in USA? You have had an experience of working with different studios - POLYDOR, BMG. What is the difference in their working style? Where did you feel more comfortable - in German studios, or in USA?

TA: It’s different. I really like to work with good musicians - in Los-Angeles, in Berlin or somewhere else. For me it is easier to work in Germany. Because I have been in LA 3 years ago, but it makes no big difference. I really like to work with good musicians either. This is important. I cannot tell you because I get my complete accounts from American continent. So because this I sold in North America, and this – in South America; then it goes to NY, from NY to London, from London to Germany. This is all about, I think, 1.140.000-1.150.000 copies, something like this.