From Russia with Lust ("Time" Magazine - UK)Time of publication: 10.02.2003 |
By Hugh Porter, London (With reporting by Yuri Zarakhovich/Moscow)
(IT'S A GIRL THING: Tatu play on their teen sexual angst to appeal to even younger girls.)
Prefab controversy, prefab band--meet teen lesbian duo Tatu. The real shock: they're not bad.
In the pop-music business, where stars are formulated and marketed like so many sugary soft drinks, Ivan Shapovalov has come up with an original flavor. Take two Russian teenage girls, dress them in school uniforms, add some lesbian antics and don't forget a mildly catchy tune. The result: Tatu Russia's most successful pop export ever, with more than 1.5 million albums sold worldwide, Top 5 chart positions across Europe and climbing in the U.S. True, much of this looks familiar, including the uniforms. But next to Tatu, Britney seems just cute and Christina seems almost clean and I don't remember the Spice Girls making out in their videos--not with each other anyway.
Shapovalov, a former child psychologist and advertising executive, placed an ad in the Russian tabloids in 1999 for would-be pop stars. From the 500 hopefuls he found Lena Katina, then 15, and Julia Volkova, then 14. In late 2000 they were introduced to Russia with the single I've lost my mind. The song and video told of a lesbian love affair between two teenagers, and with MTV-Russia showing their video 35 times a week, domestic success came quickly.
The titillation of their videos--as well as the critism and publicity it was designed to generate--helped secure success abroad, too. One shows Lena's face as she apparently masturbates, while the video for their worldwide hit All the Things She Said shows the girls in skimpy school uniforms kissing and caressing in the rain while singing, "When they stop and stare, it don't worry me/Cause I'm feeling for her what she's feeling for me."
The novelty of their schoolgirl lesbian antics- Tatu is an acronym of the Russian for "This girl loves that girl"--has some British tabloids drooling over the young Muscovites. These are the same papers that have also been running high profile campaigns to expose pedophiles. Tatu's critics dismiss the act as musical child pornography. (PAEDO-POP PLUMBS THE DEPTHS read one headline.) Says Michelle Elliott, director of the child protection charity Kidscape: "It's pandering to dirty old men's images of young girls in school uniforms being sexual. It's very irresponsible."
It's not dirty old men that buy their CDs though; it's usually other, often younger, girls. Lisa Smosarski, editor of teen-pop magazine Smath Hits, says "Teenagers will understand the video was made to shock and create playground talk: 'Oh my God. Have you seen that video where those girls snog? You've got to see it!' Record companies need to create that kind of buzz to get their video played and the song on people's minds."
Despite the apparent manipulation, Tatu seem unconcerned by the fuss. They have an air of rebelliousness and teen angst about their relationship that their contemporaries can relate to. Says Lena, "Tatu is more sincere, more honest, about ourselves and others. In Russia, life is not polite. If we don't like something, we say we don't like it. If we don't agree, we say: 'F___ you.'"
Their actual sexuality, it turns out, is unclear--there are reports of the girls having (gasp!) boyfriends. That's merely a detail to a marketer like Shapovalov, who can also sling psychology to defend his interests. "Most teenager girls, if not all of them, have these kinds of feelings," he says. "They simply came to the fore in our project."
Getting attention for the "project" is one thing but Tatu's pop actually delivers. Their million-selling album 200 km/h in the Wrong Lane, was re-recorded in English and produced by Trevor Horn, who's been there before, with Frankie Goes to Hollywood. The album--lyrics of young forbidden love set to a mix of synth-heavy Europop and rock--is catchy and unusual enough to carry through, for at least a merchandising cycle or two. The girls also attempt a cover of The Smiths' angst anthem How Soon is Now? Not quite Britney's style. And with extradistortion and an angry Minnie Mouse on vocals, they even to manage to pull it off.
Like other manufactured acts before them, Tatu's appeal may not outlast their novelty value--or even their teens. Shapovalov, already advertising for their successors may be around a little bit longer.
Transcribed by katbeidar |
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