live in the atrium at public records, may 24 <333
me and u and my records  :) 
Dance !

(((((don't u just love the little crowd sounds that get in)))))

nicole misha - may 24 - live at public records

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THE POINTER SISTERS - DARE ME (KIBOU Remix)

Nina Brodskaya, “First Love” (1978)

Born in 1947 and raised in the Russian capital by musical parents, Nina Brodskaya was blessed in her early career. She began performing with one of the nation’s premier jazz ensembles while still a teenager. In her mid-twenties, her voice appeared in numerous feature films and cartoons that are enjoyed by Russian families to this day. In fact, the state had released forty vinyl recordings by Brodskaya before the late 1970s, when this song, “First Love” was published. It asks two lovers to “cherish and not scare away” their early affections. The lyrics quickly describe the passage from teenage romance to a pensionable age, reflecting the downplay of youth culture in the 1970s in favor of less fickle themes. Perhaps with a similar loss of adolescent hope, Brodskaya herself––being of Jewish heritage––left the USSR in 1979 for America, where she lives to this day.

Nina Brodskaya, “First Love” (1978)

There Comes A Time

Social Club Theme Song

The Investors

Hey You

Ditch The Dirtbag

Svetlana Geiman (aka Linda, b. 1977): "Northern Wind" (Live, 2018)

The 1990s, among many commercial changes in Russian popular music, witnessed the rise of producers. Free of politics, yet now reliant upon cash flows, a producer could shape the sound of a young performer in dramatically new ways––sometimes using technical expertise garnered in Soviet sound studios. One of the most successful producer/performer collaborations of the late 1990s was between Maxim Fadeev and Svetlana Geiman, a then-unknown singer from Kazakhstan. 

Geiman’s grandmother had been exiled to Kazakhstan in 1941; her grandfather was executed by Stalin’s decree four years earlier. The demise of Soviet power in the 1980s allowed the family to move gradually back to Russia, specifically to the nation’s version of Detroit––Togliatti. As Geiman’s father met with increasing success in post-Soviet banking, the family moved again, this time to Moscow. 

Svetlana entered an elite music school and entered state-run competitions, where she was eventually introduced to Fadeev and would soon begin recording under the name Linda, in honor of her exiled grandmother. 

Max Fadeev was intent on erasing the maximum number of clichés from Russian popular song. Hence the debut collaboration between himself and Linda in 1994, “Songs of Tibetan Lamas.” Although its insistence upon audible forms of some imagined “Orient” may seem rather studied today, the LP would mark a dramatic move from conservatism towards studio wizardry in the 1990s. 

As mentioned, though, studio time was always dependent upon cash, and Russian music magazines of the time were full of rumors that Geiman’s father had bankrolled the project from start to finish. Fadeev and Geiman thus began another trend in popular song, albeit unwillingly: the cynical post-Soviet conviction that lots of money and a good producer can compensate for minimal talent. 

Recent years have witnessed a comeback by Linda, as in this 2018 radio performance of an early hit, stripped down to absolute basics in the name of self-respect and a newly found self-reliance.

Svetlana Geiman (aka Linda, b. 1977): "Northern Wind" (Live, 2018)

Selections from the Wende Collection. Follow us on social media @wendemuseum

Nina Brodskaya, “First Love” (1978)

Wende Museum

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