100 years for two – MK
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Two pop heroes from the past celebrated their 50th anniversary
Born almost simultaneously, Vlad Stashevsky (January 19) and Mitya Fomin (January 17) shared somewhat similar creative fates, and in some ways radically different. It’s time to run to an astrologer for clarification, as is now fashionable, but “ZD” will make do with simple touches about “how it was.”
Both artists have distinguished themselves by not being on good terms with their producers and not performing the old material that made them popular. But, as life has shown, their approach to the profession of an artist turned out to be completely different.
Vlad Stashevsky became popular five years earlier than Mitya; Yuri Aizenshpis himself (died in 2005), a mega-successful producer who, in his own words, “out of any log” could make a star, took charge of his promotion. After a chance meeting between student Vladislav Tverdokhlebov and a producer in 1993 (according to popular legend, Vlad stood on the side of Leningradka after an amateur rehearsal and voted, and Aizenshpis drove by), a year later the first album of the new artist Vlad Stashevsky, “Love Doesn’t Live Here Anymore,” appeared. The 19-year-old artist could not sing in any special way, nor move stunningly in the frame (in most cases, Vlad simply swayed from side to side at the microphone), but the melodies of the songs were memorable, the texture was cute, so the words and image of the starlet sunk into the soul of puberty-pimply girls.
In the early 90s, there was a fashion for young, beautiful solo performers, among whom Stashevsky fit well. Until 1999, albums came out one after another, the public moaned, but suddenly the fashion changed. In the wake of the millennium and the spread of the Internet, more technological pop brands, DJs and “alien” rockers have become relevant. Stashevsky quickly moved from fashion star status to almost old-school roster status.
Moreover, the break with Aizenshpis was fatal. Before recording his sixth album, at a press conference about breaking up with the producer, Vlad said: “God gave me a voice, I won’t be lost.” The phrase spread across the media and greatly amused many. Aizenshpis, in turn, took away Vlad’s past hits and created the successful boy band “Dynamite,” capturing the then emerging fashion for R’n’B. Soon Dima Bilan appeared, becoming the final nail in the creative coffin of his predecessor.
As a result, after 24 years, Vlad Stashevsky has only two relatively new singles (released in 2021) on his Internet channel and a thinning fan pool. Old songs that were popular in the 90s are absent from the artist’s official pages; in interviews he mentions ill-wishers who allegedly interfere with his career and put spokes in his wheels. It is known that the artist is engaged in business, but has long been willing to return to the stage. Judging by the small number of new recordings and the absence of new videos, this desire is not great and he is apparently not very eager to push elbows in show business.
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The Hi-Fi group appeared in 1998, where Mitya Fomin was initially a dancer who opened his mouth to soundtracks with the voice of songwriter Pavel Yesenin. The tradition in showbiz was not new, well tried by that time by the German group Boney M (where Bobby Farrell “sang” in the voice of Frank Farian, who died on the day of writing this note), and the local “Mirage”, where Tatyana Ovsienko “voiced” with a perky soprano Margarita Sukhankina. Mitya danced and opened his mouth very invitingly too. As the artist himself now likes to call that period in his work, he “animated” this project. This character was a regular at almost all events in the capital.
At the end of 2008, the contract with the group expired, but Mitya was not left empty-handed; the artist was picked up by producer Maxim Fadeev, who believed that Fomin really had such a ringing voice. The situation turned out to be delicate, but there was nowhere to go, and Mitya had to record the first hit in her voice, “Everything will be fine” in 2010. It was then that everyone felt (that is, heard) the difference. However, fans quickly came to terms with the new “sound”, since they loved their pop-doll with their eyes, apparently, more than with their ears.
Since then, Mitya has been actively trying to obtain new song material, because, like Stashevsky, he has no legal rights to the old one, and tirelessly storms concert venues with his inviting appearance. New songs and videos appear one after another, but so far have not brought the desired return to the artist. Mitya is constantly trying out new looks and costumes, but given the stagnation of pop music as a whole, she just can’t catch fashion trends in order to get back into her wave of success.
Newspaper headline:
100 years for two
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