The husband of singer Vika Tsyganova, poet Vadim Tsyganov, spoke candidly in an interview with journalist Yuri Dudem, who is known in some circles as a foreign media figure in the Russian Federation. In that conversation, Tsyganov admitted that he misled audiences during the performances of the group Tender May.
He described how he proposed to producer Andrei Razin the creation of a studio for orphans who would sing Tender May songs at concerts. According to Tsyganov, in one of the performances only a single member of the original lineup appeared onstage, while the other performers in that show were not members of the original group.
Tsyganov acknowledged his actions and said he regrets them. He framed the late 90s as a period when many people engaged in deceit. Yet he asserted that all the orphans who participated in the concerts did so willingly and did not complain about their compensation, suggesting that their participation brought them joy rather than grievances.
“I repent for Tender May and for my part in that chapter”, the poet stated. He reflected on the moment when, as he put it, God was not yet present in his life and money had become a guiding force. He confessed that during those years money was a primary driver, and other considerations faded from view.
On October 17, a commemorative event, titled “Yura Was Here!!!,” was held at Crocus City Hall in Moscow to honor the late Tender May soloist Yuri Shatunov. The program was hosted by television personality Andrei Malakhov, who intentionally refrained from naming Andrei Razin during the event, signaling possible sensitivity around Razin’s past actions. The gathering served as a moment of reflection on the band’s legacy and the complex history surrounding its performances and management.
There is also a note about previous public remarks by Lolita, who had previously directed censure toward Razin for his outspoken remarks and the controversies surrounding him. This thread forms part of a broader conversation about the ethics of performance, management, and the handling of legacies in the pop music landscape of that era. The recollections contribute to a larger narrative about fame, responsibility, and the impact of business decisions on both artists and their audiences. [citation]