Pierre-Auguste Renoir, The Bohemian (or Lise the Bohemian), 1868, oil on canvas, Berlin, Germany: Alte Nationalgalerie

Bohemianism is the practice of an unconventional lifestyle, often in the company of like-minded people, with few permanent ties, involving musical, artistic or literary pursuits. In this context, Bohemians can be wanderers, adventurers, or vagabonds.

This use of the word bohemian first appeared in the English language in the 19th century^[1] to describe the non-traditional lifestyles of marginalized and impoverished artists, writers, journalists, musicians, and actors in major European cities. Bohemians were associated with unorthodox or anti-establishment political or social viewpoints, which were often expressed through free love, frugality and — in some cases — voluntary poverty. A wealthy and privileged, even aristocratic, bohemian circle is sometimes referred to as the haut bohème ("high bohemians").

The term Bohemianism emerged in France in the early 19th century when artists and creators began to concentrate in the lower-rent, lower class gypsy neighborhoods. Bohémien was a common term for the Romani people of France, who had reached Western Europe via Bohemia.^[2]

Origins[link]

European bohemianism[link]

Literary "Bohemians" were associated in the French imagination with roving Romani people (called "bohemians" because they were believed to have arrived from Bohemia^[3][4]), outsiders apart from conventional society and untroubled by its disapproval. The term carries a connotation of arcane enlightenment (the opposite of Philistines), and also carries a less frequently intended, pejorative connotation of carelessness about personal hygiene and marital fidelity. The Spanish Gypsy in the French opera "Carmen" set in Seville, is referred to as a "bohémienne" in Meilhac and Halévy's libretto (1875).

The term Bohemian has come to be very commonly accepted in our day as the description of a certain kind of literary gypsy, no matter in what language he speaks, or what city he inhabits .... A Bohemian is simply an artist or "littérateur" who, consciously or unconsciously, secedes from conventionality in life and in art. (Westminster Review, 1862^[2])

Henri Murger's collection of short stories "Scènes de la Vie de Bohème" ("Scenes of Bohemian Life"), published in 1845, was written to glorify and legitimize Bohemia.^[5] Murger's collection formed the basis of Giacomo Puccini's opera La bohème (1896). Puccini's work, in turn, became source material for Jonathan Larson's musical Rent. Like Puccini, Larson explores a Bohemian enclave in a dense urban area, in this case, New York City at the end of the 20th century. The show features a song, "La Vie Boheme", which celebrates postmodern Bohemian culture.)

In English, Bohemian in this sense was initially popularized in William Makepeace Thackeray's novel, Vanity Fair, published in 1848. Public perceptions of the alternative lifestyles supposedly led by artists were further molded by George du Maurier's highly romanticized best-selling novel of Bohemian culture Trilby (1894). The novel outlines the fortunes of three expatriate English artists, their Irish model, and two very colorful Eastern European musicians, in the artists' quarter of Paris.

In Spanish literature, the Bohemian impulse can be seen in Ramón del Valle-Inclán's play Luces de Bohemia (Bohemian Lights), published in 1920.

American bohemianism[link]

Bohemian Grove during the summer Hi-Jinks, circa 1911–1916

In 1845, Bohemian nationals began to immigrate to the United States, and from 1848 the wave included some of the radicals and ex-priests who had wanted a constitutional government. In New York City in 1857, a group of some 15–20 young, cultured journalists flourished as self-described "Bohemians" until the American Civil War began in 1860.^[6] Similar groups in other cities were broken up as well; reporters spread out to report on the conflict. During the war, correspondents began to assume the title "Bohemian", and newspapermen in general took up the moniker. Bohemian became synonymous with newspaper writer.^[6] In 1866, war correspondent Junius Henri Browne, who wrote for the New York Tribune and Harper's Magazine, described "Bohemian" journalists such as himself as well as the few carefree women and lighthearted men he encountered during the war years.^[7]

San Francisco journalist Bret Harte first wrote as "The Bohemian" in The Golden Era in 1861, with this persona taking part in many satirical doings, the lot published in his book Bohemian Papers in 1867. Harte wrote, "Bohemia has never been located geographically, but any clear day when the sun is going down, if you mount Telegraph Hill, you shall see its pleasant valleys and cloud-capped hills glittering in the West..."^[8] Mark Twain included himself and Charles Warren Stoddard in the Bohemian category in 1867.^[6] By 1872, when a group of journalists and artists who gathered regularly for cultural pursuits in San Francisco were casting about for a name, the term Bohemian became the main choice, and the Bohemian Club was born.^[9] Club members who were established and successful, pillars of their community, respectable family men, redefined their own form of bohemianism to include people like themselves who were bons vivants, sportsmen, and appreciators of the fine arts.^[8] Club member and poet George Sterling responded to this redefinition:

Any good mixer of convivial habits considers he has a right to be called a Bohemian. But that is not a valid claim. There are two elements, at least, that are essential to Bohemianism. The first is devotion or addiction to one or more of the Seven Arts; the other is poverty. Other factors suggest themselves: for instance, I like to think of my Bohemians as young, as radical in their outlook on art and life; as unconventional, and, though this is debatable, as dwellers in a city large enough to have the somewhat cruel atmosphere of all great cities.^[10]

Despite his views, Sterling associated very closely with the Bohemian Club, and caroused with artist and industrialist alike at the Bohemian Grove.^[10]

Oscar Ferdinand Telgmann and George Frederick Cameron wrote the song "The Bohemian" in the 1889 opera Leo, the Royal Cadet^[11]

I've written some Psalms and some songs, I've dabbled in most of the arts:

Quixote-like, righted some wrongs in fact, I have played many parts.
I have seen both the bright and the dark of the world and the things that are its,
like the dove that flew forth from the ark: In a word, I am given to flits.
For the life of a rover is mine, A rover by land and by sea:
With a lady to love and a flagon of wine, oh, the world is the village for me!
To-day, as you see, I am here, Enjoying my pipe and my bowl:
To-morrow, and I may appear inscribing my name on the Pole.
The next day may see me once more, content as a hog upon ice,
Far down on the Florida shore, existing on bacon and rice.
I have hobnobbed with peasant and king, with a hundred to run at my call;
I have seen the sweet flowers of spring lose their odor and grace before Fall.
I have loved with the warmth of the boy and adored with the passion of man,
But the altar's it's drop of alloy, so I came buck to where I began!

Chorus. For the life of a rover is mine etc.

Gelett Burgess drew this fanciful "Map of Bohemia" for The Lark, March 1, 1896.

The impish American writer and Bohemian Club member Gelett Burgess, who coined the word blurb among other things, supplied this description of the amorphous place called Bohemia:

To take the world as one finds it, the bad with the good, making the best of the present moment—to laugh at Fortune alike whether she be generous or unkind—to spend freely when one has money, and to hope gaily when one has none—to fleet the time carelessly, living for love and art—this is the temper and spirit of the modern Bohemian in his outward and visible aspect. It is a light and graceful philosophy, but it is the Gospel of the Moment, this exoteric phase of the Bohemian religion; and if, in some noble natures, it rises to a bold simplicity and naturalness, it may also lend its butterfly precepts to some very pretty vices and lovable faults, for in Bohemia one may find almost every sin save that of Hypocrisy. ...

His faults are more commonly those of self-indulgence, thoughtlessness, vanity and procrastination, and these usually go hand-in-hand with generosity, love and charity; for it is not enough to be one’s self in Bohemia, one must allow others to be themselves, as well. ...

What, then, is it that makes this mystical empire of Bohemia unique, and what is the charm of its mental fairyland? It is this: there are no roads in all Bohemia! One must choose and find one’s own path, be one’s own self, live one’s own life.^[12]

In New York City, an organization of musicians was formed in 1907 by pianist Rafael Joseffy with friends such as Rubin Goldmark, called "The Bohemians (New York Musicians' Club)".^[13] Near Times Square Joel Renaldo presided over "Joel’s Bohemian Refreshery" where the Bohemian crowd gathered from before the turn of the 20th Century until Prohibition began to bite.^{[14][15][16][17]}

People[link]

The term has become associated with various artistic or academic communities and is used as a generalized adjective describing such people, environs, or situations: bohemian (boho—informal) is defined in The American College Dictionary as "a person with artistic or intellectual tendencies, who lives and acts with no regard for conventional rules of behavior."

Many prominent European and American figures of the last 150 years belonged to the bohemian subculture, and any comprehensive "list of bohemians" would be tediously long. Bohemianism has been approved of by some bourgeois writers such as Honoré de Balzac, but most conservative cultural critics do not condone bohemian lifestyles.

Laren Stover, the author of The Bombshell Manual of Style, breaks down the Bohemian into five distinct mind-sets/styles in Bohemian Manifesto: a Field Guide to Living on the Edge. The Bohemian is "not easily classified like species of birds," writes Stover, noting that there are crossovers and hybrids. The five types devised by Stover are:

• Nouveau: bohemians with money who attempt to join traditional bohemianism with contemporary culture
• Gypsy: the expatriate types. They create their own Gypsy nirvana wherever they go.
• Beat: also drifters, but non-materialist and art-focused
• Zen: "post-beat," focus on spirituality rather than art
• Dandy: no money, but try to appear as if they have it by buying and displaying expensive or rare items – such as brands of alcohol^[18]

In the 20th century United States, the bohemian impulse was famously seen in the 1940s hipsters, the 1950s Beat generation (exemplified by writers such as William S. Burroughs, Allen Ginsberg, and Jack Kerouac) and the much more widespread 1960s and '70s hippie counterculture.

Rainbow Gatherings may be seen as another contemporary worldwide expression of the bohemian impulse.^[19] An American example is Burning Man, an annual participatory arts festival held in the Nevada desert.

In 2001, political and cultural commentator David Brooks contended that much of the cultural ethos of well-to-do middle-class Americans is Bohemian-derived, coining the paradoxical term "Bourgeois Bohemians" or "Bobos".^[20]

Former bohemian communities[link]

By extension, Bohemia meant any place where one could live and work cheaply, and behave unconventionally; a community of free souls beyond the pale of respectable society. Several cities and neighborhoods came to be associated with bohemianism in the nineteenth and early twentieth centuries:

Europe

• Montmartre and Montparnasse in Paris
• Chelsea, Fitzrovia, and Soho in London
• Mitte in Berlin
• Schwabing in Munich
• Skadarlija in Belgrade
• Tabán in Budapest
• Cais do Sodré, Mouraria and Alfama in Lisbon

United States

• Greenwich Village, New York City^[21]
• North Beach, San Francisco, California
• Venice Beach, California^[22]
• Topanga, California^[23]
• Tiburon, California^[24]

Australia

• Fremantle, Western Australia^[25]
• Newtown^[26]
• Potts Point, Sydney ^[27]
• Fitzroy in Melbourne.

See also[link]

References[link]

Notes

Bibliography

• Easton, Malcolm (1964). Artists and Writers in Paris. The Bohemian Idea, 1803–1867 (ASIN B0016A7CJA ed.). London: Arnold. 
• Graña, César (1964). Bohemian versus Bourgeois: French Society and the French Man of Letters in the Nineteenth Century. New York: Basic Books. ISBN 0-465-00736-8. 
• Parry, Albert. (2005.) Garretts & Pretenders: A History of Bohemianism in America, Cosimo, Inc. ISBN 1-59605-090-X
• Stansell, Christine (2000). American Moderns: Bohemian New York and the Creation of a New Century. Henry Holt & Company. ISBN 0-8050-4847-2. 
• Wilson, Elizabeth (2002). Bohemians: The Glamorous Outcasts. Tauris Parke Paperbacks. ISBN 1-86064-782-0. 

Further reading

• Levin, Joanna (2010). Bohemia in America, 1858–1920. Stanford University Press. ISBN 978-0-8047-6083-6. 
• Siegel, Jerrold (1999). Bohemian Paris: Culture, Politics, and the Boundaries of Bourgeois Life, 1830–1930. The Johns Hopkins University Press. ISBN 978-0-8018-6063-8. 

External links[link]

• Bohemianism and Counter-Culture

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Tuli Kupferberg
Born	Naphtali Kupferberg (1923-09-28)September 28, 1923 New York City, New York, U.S.
Died	July 12, 2010(2010-07-12) (aged 86) New York City, New York, U.S.
Education	Brooklyn College
Occupation	Author, poet, cartoonist, pacifist, anarchist, musician
Years active	1958–2009
Known for	The Fugs 1001 Ways to Beat the Draft 1001 Ways to Live Without Working
Spouse	Sylvia Topp

Naphtali "Tuli" Kupferberg (September 28, 1923 – July 12, 2010)^[1] was an American counterculture poet, author, cartoonist, pacifist anarchist, publisher and co-founder of the band The Fugs.

Biography[link]

Naphtali Kupferberg was born into a Jewish, Yiddish-speaking household in New York City.^[2] A cum laude graduate of Brooklyn College in 1944, Kupferberg founded the magazine Birth in 1958.^[3] Birth ran for only three issues but published notable Beat Generation authors such as Allen Ginsberg, Diane Di Prima, LeRoi Jones, and Ted Joans.

Kupferberg reportedly appears in Ginsberg's poem Howl as the person "who jumped off the Brooklyn Bridge and walked away unknown and forgotten into the ghostly daze of Chinatown". The incident in question actually occurred on the Manhattan Bridge,^[4] and is mentioned in the prose poem "Memorial Day 1971" written by Ted Berrigan and Anne Waldman:

'I asked Tuli Kupferberg once, "Did you really jump off of The Manhattan Bridge?" "Yeah," he said, "I really did." "How come?" I said. "I thought that I had lost the ability to love," Tuli said. "So, I figured I might as well be dead. So, I went one night to the top of The Manhattan Bridge, & after a few minutes, I jumped off." "That's amazing," I said. "Yeah," Tuli said, "but nothing happened. I landed in the water, & I wasn't dead. So I swam ashore, & went home, & took a bath, & went to bed. Nobody even noticed."'

The above paragraph by Berrigan and Waldman is a poetic fiction, according to Kupferberg, and did not really occur as stated. Ginsberg's description in Howl is likewise fictional, Kupferberg told his friend Thelma Blitz and other friends such as Larry Sloman and Steve Dalachinsky in personal conversations. He did jump from the Manhattan Bridge in 1944, after which he was picked up by a passing tugboat and taken to Gouvernor Hospital.^[5] Severely injured, he had broken the transverse process of his spine and spent time in a body cast.^[6] He told Blitz he feels it's important that people don't think they can emulate this leap and walk away unscathed as the poetic accounts suggest he did.

Kupferberg self-published the book Beatniks; or, The War Against the Beats in 1961. Perhaps his best-known book is 1001 Ways to Beat the Draft (1966), a satirical collage created with Robert Bashlow. In 1961, he wrote 1001 Ways to Live Without Working, which actually contains 1005 ways to live without working. The book also contains a number of old advertisements, for items such as raffles for slaves, and unfailing ways to cure cancer and obesity. One of his last published volumes is Teach Yourself Fucking, a collection of cartoons, which was published by Autonomedia in 2000.

In 1964, Kupferberg formed the satirical rock group The Fugs with poet Ed Sanders.^[7] Kupferberg took their name from Norman Mailer's substitute for the word "fuck" in his novel The Naked and the Dead. He was one of the band's singers and wrote many of their songs such as "Morning, Morning," "Kill for Peace," "CIA Man," "Supergirl," "Carpe Diem," and he set to music Matthew Arnold's pacifist wedding hymn "Dover Beach." He also released two solo albums: No Deposit, No Return in 1966, which is a collection of found pop poetry, and Tuli & Friends in 1989.

Kupferberg was active in New York pacifist anarchist circles. He appeared as a machine-gun-toting soldier policing Manhattan in W.R.: Mysteries of the Organism, a 1971 film about the revolutionary psychiatrist Wilhelm Reich by Dusan Makavejev. An anti-police-brutality skit from his Revolting Theatre appeared in the 1971 Richard Pryor underground film Dynamite Chicken. More recently Tuli appeared in the music video for Williamsburg Will Oldham Horror by Jeffrey Lewis.^[8] His bi-weekly television show "Revolting News" still airs on Manhattan Neighborhood Network's Channel 56, RCN Cable channel 83, Verizon FiOS ch. 34 and MNN.org ch. 2 on alternate Mondays, 10 PM, New York time, now produced by Thelma Blitz with archival and new material.

Kupferberg suffered a stroke in April 2009 at his home in New York City, which left him severely visually impaired and in need of regular nursing care. After treatment for a number of days at a New York hospital, followed by convalescence at a nursing home, he recuperated at home. He continued to write songs and add "perverbs" to his YouTube^[9] and DailyMotion channels, both called "tulifuli." According to The Fugs website, the band had been in the studio completing a new CD, entitled Be Free, featuring five of Kupferberg’s new songs, including the anthem “Backward Jewish Soldiers” and a setting of his famous poem “Greenwich Village of My Dreams.”.

Kupferberg died in New York Downtown Hospital in Manhattan of kidney failure and sepsis on July 12, 2010.^[1] In 2008, in one of his last interviews, he told Mojo Magazine, "Nobody who lived through the '50s thought the '60s could've existed. So there's always hope."^[10]

Bibliography[link]

• " Birth 1, The Bohemian Issue" (1958)
• ' Birth 2 'Children's Writings (1959)
• Beating (1959)
• Children as Authors: A Big Bibliography (1959, with Sylvia Topp)
• Snow Job: Poems 1946-1959 (1959)
• Selected Fruits & Nuts (1959)
• Birth 3, parts 1 & 2 Stimulants, An Exhibition (1960)
• 1001 Ways to Live Without Working (1961)
• The Grace & Beauty of the Human Form (1961)
• 3,000,000,000,000,000,000,000,000,000,000,000,000,000,000 Beatniks : or, The War Against the Beats (1961)
• Sex and War (1962)
• The Mississippi (A Study of the White Race) (1962)
• The Rub-Ya-Out of Omore Diem (1962)
• The Christine Keeler Colouring Book & Cautionary Tale (1963)
• Kill for Peace (1965)
• Caught in the Act: a Legal Vaudeville (1966)
• The Book of the Body (with Judith Wehlau, 1966)
• I Say to Masturbate is Human, to Fuck Divine (1966)
• 1001 Ways to Beat the Draft (with Robert Bashlow, 1967)
• Fuck Nam : a morality play (1967)
• 1001 Ways to Make Love (1969)
• Newspoems (1971)
• Listen to the Mockingbird; satiric songs to tunes you know (1973)
• As They Were (with Sylvia Topp, 1973)
• Universal Housewife (1975)
• First Glance (with Sylvia Topp, 1978)
• As They Were Too (with Sylvia Topp, 1979)
• O God! (1980)
• The Crazy Paper (1980)
• Less Newspoems (1981)
• Questionable Cartoons (1981)
• True Professions (1981)
• Why Don't We Do It in the Bed? (1982)
• Was It Good For You Too? (1983)
• After the Balls Are Ova (1984)
• In Media's Feces (1986)
• Kill For Peace, Again (1987)
• Reaganation (1987)
• The Tuli Kupferberg Instant Lottery Broadside (1988)
• The Dark Night of the Soul in the Poetry Mines (1988)
• Signed By the Artist (1990)
• Don't Make Trouble (1991)
• My Prick is Bigger Than Yours (1992)
• The Land that God Remembered (1992)
• The Old Fucks at Home (1992)
• You Know Helen : Maybe Chimps Know a Lot More Than We Think (1994)
• Hey Ann! : What's The Diff Between Religion & Patriotism? (with Dave Jordan, 1994)
• Whitman said : "In order to have great art you have to have great audiences!"(1994)
• When I Hear the Word 'Culture' I Reach for My Gun (1994)
• I Hate Poems About Poems About Poems (1994)
• Great Moments in the History of Sport : No. 4, The Spartans Invent Football (1994)
• Teach Yourself Fucking (2000)
• Paris I Have Never Seen (2001)

References[link]

External links[link]

• Works by or about Tuli Kupferberg in libraries (WorldCat catalog)
• Tuli Kupferberg at the Internet Movie Database
• The Fugs
• Photo of Tuli performing with The Fugs, NYC, 1967 by Michael Maggid
• Tuli's Youtube channel
• Vox Tablet Podcast dedicated to Tuli Kupferberg
• Kupferberg, Tuli (June 1997). The Fugs' Tuli Kupferberg. Interview with Jason Gross. Perfect Sound Forever. http://www.furious.com/Perfect/tuli.html. Retrieved 2007-10-08. 
• Kupferberg, Tuli (2004-01-29). Interview With Tuli Kupferberg. Interview with Matthew Paris. Xiccarph. http://www.matthewparis.com/mp/viewtopic.php?t=72. Retrieved 2007-10-08. 

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (October 2011)

Yulia Savicheva
Background information
Birth name	Yulia Stanislavovna Savicheva
Born	(1987-02-14) 14 February 1987 (age 25) Kurgan, Russian SFSR, USSR
Genres	Pop rock
Years active	2003–present
Associated acts	Maxim Fadeev "That Kind of Music"
Website	www.savicheva.ru

Yulia Stanislavovna Savicheva (Russian: Ю́лия Станисла́вовна Са́вичева) (born 14 February 1987) is a Russian singer who performed for Russia in the 2004 Eurovision Song Contest which was held in Istanbul, Turkey.

Biography[link]

Yulia was born on 14 February 1987, into a family of musicians in the city of Kurgan on the edge of Siberia east of the Ural Mountains. Frequent visitors to her parents included several Russian song writers and music producers. Yulia's father, being an avid piano player, would compose songs for Yulia to sing. This was the beginning of Yulia's career as a star.

Her first experience on stage was at the age of four, with the group Agatha Christie. Her dancing there earned her a standing ovation. After this, she began participating in a dance group where, despite her age, she performed as a soloist. A year later, when she was six, the group (in which her father also worked) was invited to work in Moscow. There, she participated in several musical events in the recreation center at MAI. Meanwhile, her mother got a job at the recreation center as manager of the children's department.

All of Yulia's free time was spent with musicians in the recreation center or in the theater. Her first major appearance was a lead role in the recreation center's New Year's performance, which was her first paid performance and for which Yulia had to learn ballroom dancing. At the same time, she was also studying in school and participating in the dance group Zhuravushka.

Her creative potential led to an invitation from L. Azadanova, offering Yulia a place in her dance group, which she took up. It was then that Yulia began to sing as well as dance. Later, in 2001, the producer Poleiko invited her to play the lead role in the New Year's performance at the Cathedral of Christ the Savior, which she did with such success that she was chosen to play the lead in the next year's performance as well.

In March 2003, Star Factory started its 2nd season. The producer of the project, Maxim Fadeev, had already crossed Yulia's path once before when she had worked as back-vocalist on Russian artist Linda's album, Vorona (Crow) in 1996. Although Yulia participated in the contest, she was eliminated in the semi-finals. Despite this, however, her songs went on to become hits, including "Korabli" (Ships), "Vysoko" (High) and "Prosti za lyubov'" (Sorry for Loving You); and Yulia later came back to host the show.

In March 2004, Yulia participated in another contest, World's Best, and in May she won 11th place at the Eurovision contest with her song, "Believe Me". Her first album was finally released in 2005 with the title Vysoko. About half the material on the album was co-written with former musicians from the band Total.

In August 2005, Yulia wrote the song, "Esli v serdtse zhivyot lyubov" (If Love Lives in Your Heart), which became the theme for the TV series Don't Be Born Beautiful on STS. The song went on to become yet another hit, and she released an album of the same name in November. The album included the title track as well as live versions of songs from her first album. In June, 2006, she released Magnit, on which Anastasia Maksimova wrote the majority of the songs. This, too, was very successful.

In September 2007, she had concerts in Japan (Tokyo and Osaka). In February 2008, she released an album titled Origami. Her latest single "Goodbye, Lyubov'" announces a new album which is yet to be finalised.

And adding up to all that she was in the musical "That Kind of Music". Acting as the daughter of a Ballet dancer who owns a big studio, but since they are about to loose it "Yulia Savicheva" and her friends try to help by making a musical of their own to earn money and this is done with help from the soccer team.^[1]

Discography[link]

• Vysoko (2005)
• Esli v serdtse zhivyot lyubov (2005)
• Magnit (2006)

1. Привет / Privet
2. Отпусти / Otpusti
3. Если в сердце живёт любовь / Esli v serdtse zhivyot lyubov
4. Здравствуй, это я / Zdravstvuy, eto ya
5. Лёгкие / Lyogkiye
6. Мало / Malo
7. Виноград / Vinograd
8. Как твои дела / Kak tvoi dela
9. Я хочу в твои глаза / Ya khochu v tvoi glaza
10. Седьмое небо / Sedmoe nebo
11. Если в сердце живёт любовь (NeoMaster remix)
12. Лёгкие (Navigator remix)
13. Седьмое небо (Andrei Harchenko remake)

• Origami (2008)

1. Любовь-Москва / Lyubov-Moskva
2. Выше звёзд / Vyshe zvyozd
3. Никак / Nikak
4. Ядерный взрыв / Yadernyy vzryv
5. Зима / Zima
6. Половинка / Polovinka
7. Это судьба / Eto sud'ba (duet with A. Makarsky)
8. Послезавтра / Poslezavtra
9. Кто-То Придумал Любовь / Kto-to pridumal lyubov
10. Пепел / Pepel
11. Никак / Nikak

References[link]

External links[link]

• Official website (Russian)
• Yulia Savicheva on Myspace
• Yulia Savicheva at the Internet Movie Database
• English translations of Yulia Savicheva's songs
• Yulia Savicheva on Facebook