«I always said: well, you will remove me from the stage - I will write books. Forbid books - I’ll draw, forbid that too - I’ll think of something anyway, I’ll still live the way I want. With a feeling of the same inner freedom. And they endured. " The 70th anniversary of Alla Pugacheva and the toasts due to it for a while make you forget an important detail, which the artist herself was never allowed to forget: people who dare to live the way they want are terribly annoying.
The story of Pugacheva, both on stage and in life, is primarily the story of resistance - an emancipated woman, an atypical Soviet pop star (who in turn set a new template for years to come), a domineering diva, and finally a person who refused to grow old in accordance with other people's ageist requests. Maybe that's why stories about fans who met her with posters "Alla, avenge us" and petitions demanding to ban her as a class became part of her legend. Her troubling path is a walk of shame, during which she was not even criticized, namely that she was shamed. For any manifestation of individuality and with methodical cruelty. In this sense, Pugacheva is a monument to Russian shaming.
“She was sixteen years old. I must say that, apart from a nervous temperament, there was nothing remarkable about the girl. It was impossible to see the future star. She, of course, was from the category of amateur performances. Not a professional in everything - in behavior, in appearance, in the manner of singing. And, of course, this caused complete rejection,”recalled Dmitry Ivanov, editor of the All-Union Radio, one of the mentors of Pugacheva, who came to record the song“Robot”. “She was monstrously illiterate in the sense that she did not read anything sensible, did not see, so she listened to all our stories with an open mouth. From everyday little things to significant things. She had to get rid of bad manners, from the Peasant Outpost, which had stuck in it quite strongly since childhood."
Mentors admit that Pugacheva studied quickly, but she had to listen to accusations of vulgarity for many years. The State Television and Radio was annoyed by her stage manners and the refusal of the image of a woman at the microphone established by the State Standard. “What is a Soviet pop star of that time? This is Joseph Kobzon. And the women in their manner were exactly the same monumental: Valentina Tolkunova, Lyudmila Zykina, Galina Nenasheva. Against this background, the cheerful and bohemian Pugacheva stood out noticeably ", - said Artemy Troitsky, arguing about why the singer periodically dropped out of the air of Soviet television (the video clip for the song" Iceberg "that appeared the other day, for example, was banned from showing just because of that that they saw obscenity in him).
Not everyone liked the directness that goes hand in hand with emancipation. “We were surprised and outraged by some cheeky, even vulgar manner with which the actress behaved on the screen. It was embarrassing for her, for other performers. Strictly speaking, all this is offensive to viewers”- a collective complaint typical in the sense of claims and wording that appeared in Leningradskaya Pravda after the broadcast of the Musical Ring with the Bravo group in 1986.
Pugacheva's colorful repertoire, from songs to verses by Mandelstam and Woody Guthrie to "The Real Colonel" and "Madame Broshkina", is another marker of inner freedom - and another reason for attacks and accusations of bad taste. Meanwhile, according to the artist herself, the appeal to the "low genre" of the period of the album "Don't hurt me, gentlemen" was not only a deliberate hooliganism, but also a social mission.
“As a woman who sings - I have never called myself a singer - I felt that people today do not need drama, tragedy.And she said to herself: let's get a little stupid, let's do something funny, easy, about which they will talk, gossip. I not only sing - I also live easier. And on the air, as in the air, I launch birds. Let the bird songs fly! " - Pugacheva later explained. However, few expected such a blatant self-detonation from a woman who sings, and in her case, the public scanner of irony failed.
It is customary to expect political neutrality from great artists in Russia by default. They should rise above the bustle, and the heroine of the mutating Soviet joke about the "minor political figures of the Pugacheva era", who followed Putin and Medvedev in the Vciom ratings of the Russian elite at the end of the 2000s, can quite afford it, especially since the authority frees her from voluntarily- compulsory participation in pre-election skits.
Nevertheless, Pugacheva even here allowed herself unpopular steps: in 2012, she quite unexpectedly joined the headquarters of Mikhail Prokhorov, speaking out in favor of the change of power. The result of this decision was not only accusations of corruption and a memorable roll call with Vladimir Zhirinovsky at televised debates - according to one version, participation in Prokhorov's campaign quarreled Pugacheva with business partners.
The artist also supported the current government, but in her attitude to it she remained consistent: “I grew up on the fact that they said that the party is the servants of the people. But then they already served poorly, and now they have forgotten [to serve] altogether, that is, the people are in the service of the authorities. In general, the authorities are servants who are well-treated, who need to be well paid in order to serve us."
It is curious that Pugachev tried to build relations with the authorities from the position of an equal back in the USSR. This demonstrative irreverence infuriated the leaders of the nomenklatura: after a concert in 1981 in Alma-Ata, at which Pugacheva caustically stabbed the then leaders of Kazakhstan, the singer was summoned to Rosconcert for an educational conversation. Even Channel One noted the ideological freethinking of the Prima Donna in a report on her 70th anniversary: on Polish television in the 70s, Pugacheva crossed herself, and at concerts in Europe she sang a hit about Superman in the USSR - according to a reporter, banned in the USSR because “as if would have a harmful effect on youth"
However, the then officials hardly suspected which saboteur they were dealing with. Years later, Pugacheva told how she was going to arrange a striptease live on Soviet television: “Then I decided to leave the stage myself, but with a scandal, so that everyone would get hot. Sewed a dress - very modest, light, with buttons in front, the very tenderness. And I wanted to appear in it in a concert on Police Day, in the “Russia” hall. I think I'll sing it, and at the end I'll unbutton these buttons,
I'll open the dress, and there … only a bikini! And this is a live broadcast! And what they will do with me later, it doesn't matter. There were people who knew what I wanted to do. They dissuaded, fluttered, but I did not change my decision. Tired of everything! But the triumphant departure did not work out. Died Brezhnev, and the holiday on the Day of the police was canceled. And so I would have entered the annals!"
Excessiveness and scandalousness
For the lack of a sense of proportion, they tried to shame Pugachev for years, although now it's even funny to remember that once these claims boiled down to too sensual performance of Shakespeare's Sonnets: “, Are performed by the singer not“at the limit”, but“outside”the artistic taste and tact, outside the limits allowed by the natural human sense of proportion. Here Pugacheva is satisfied with a real scandal with hysteria and tears. Such emotional "undressing" and it's awkward to listen to ".
“Outside” Pugacheva was not afraid to be, and this made her - living on a grand scale and not avoiding publicity, changing partners and shocking both with her frankness and choice of outfits (we will return to them) - an ideal heroine for the Russian born in the nineties yellow press. The tabloids who discussed the personal life of the singer, her relatives and lovers, friends and rivals - and even her "secret factories" - today willingly admit that without her they could go broke, and the attitude "You don't know who to write about, write about Pugacheva "never let her down.
The increased public interest in the hedonistic lifestyle of Alla Borisovna, of course, was blamed on herself. She was reproached for scandalousness, although it is difficult to remember the scandal that she really provoked herself. She was criticized for immodesty, although she can hardly be called it girl in the dictionary definition.
A direct continuation of the accusations of vulgarity and excessiveness became claims to the style of Pugacheva. And if the lush outfits of the same "Iceberg" model eventually became almost a new standard, then the singer was not forgiven for changing them to black dresses above the knees and mini-skirts and, it seems, they are not going to forgive.
This metamorphosis happened back in the mid-nineties, before the release of the album "Don't hurt me, gentlemen." And since then, "Pugacheva in a short dress" regularly hits the headlines with various clickbait postscripts, from "alarmed the Internet" and "caused discontent" to "made a splash." And behind this, it seems, lies not so much the laziness of secular observers as a clear normative setting: going out in a skirt above the knees is unambiguously perceived as a provocation - especially if we are talking about a woman over the age of forty.
Sammari nagging about the style of Pugacheva was knocked out by fashion designer Alexander Vasiliev, who called her "the legislator of bad taste in Russia" and attacked at once both her image from the past ("a terrible hairstyle that many copied, and ugly robes"), and her current choice of outfits (short dresses that reveal "elephant legs"). As you can see, even the title of the country's main singer does not give immunity from ordinary lookism.
For age, Pugachev is shamed and without reference to outfits. "There is no sadder picture than a young grandmother", "Old age must be able to accept, and not cling" - not yet the most evil, but characteristic comments to the artist's photographs on social networks, showing that Russia still remains a country where to lead a busy life after sixty, in general, are not supposed to, and "babysitting grandchildren" is the only socially approved option for women.
They are not supposed, in particular, to start relationships with partners younger than themselves. And Pugacheva violated this taboo twice, disdaining first the nineteen-year age difference, then the twenty-seven-year-old, and giving rise to a chain reaction of ageist jokes and absurd esoteric theories (network tabloids readily gossip about how an artist "drinks strength" from younger partners).
It would be funny if it were not offensive and sad, because Pugacheva is well aware of her age, and she talks about old age without smoothing corners and without trying to “look young”: “They write, they accuse, she is old. Yes. I am old. And I can’t do anything about it. And I will not say that my soul is young. Yes. I'm getting old. You already go to bed and think: wake up. You get up and realize that you have to sit so that your head does not spin. Were in the Far East. I don't remember when I drank wine. Let's have a drink. And a pill at the same time. There are delights that should not be mocked."
The attitude to old age as to something shameful in Russia does not escape anyone. Even people like Pugacheva, who, after another hater raid (on Instagram, where she posted a photo without makeup), could not resist: “People are kind. I am aging and quite abruptly. The body is malfunctioning. I find it difficult to breathe, difficult to walk, but I am still alive and must live for the sake of small children.I wish you many years of happiness. Do not age longer, either in soul or body. Send your venom and grudge against problems in life that are more important than my aging and weakness. In the last days of my life, I will still think about the children and about you, who, with their applause, made my life rich and beautiful. I will not comment on anything else. Hear me and understand at once. We live on."
PHOTOS: Ageev N., Ageev A. / TASS, Sozinov Vitaly / TASS, wikimedia