How many people watch strictly come dancing

Strictly Come Dancing 2022 suffers blow as viewing figures drop for first show | TV & Radio | Showbiz & TV

Strictly Come Dancing 2022 suffers blow as viewing figures drop for first show | TV & Radio | Showbiz & TV | Express.co.uk

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Strictly Come Dancing returned with its first live show of the anticipated 20th series on Saturday. With the glitzy competition marking the start of the BBC's run-up to the festive season, the popular show usually draws in a large share of viewers, but this year, numbers seemed to fall significantly.

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Strictly's Will Mellor dedicates routine to late dad

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The first live show saw the 15 new couples take to the dancefloor after being introduced to the public on Friday's launch show. Despite many eager fans expressing their excitement for the return of the BBC competition, Strictly Come Dancing recorded fewer viewing numbers than usual. Overnight ratings recorded an average of 6.8 million viewers, down from 7.9 for last year's opening show.

The figures, reported by the Evening Standard, show a steep reduction in how many members of the public tuned in to catch the first instalment of the dance show.

The BBC has said Saturday's show reached a peak of 7.2 million, still less than last year's average.

Friday's introduction show also reeled in fewer fans than usual after the airdate was delayed.

It is claimed that it was watched by an average of 5.6 million, with a recorded peak of 5.6 million.

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Strictly Come Dancing: The show saw a drop in viewers (Image: BBC)

Strictly: Actor Will impressed the judges with his jive (Image: BBC)

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The 2021 launch show, on the other hand, saw 7 million viewers on average, peaking at 7. 3 million.

The launch wasn't originally intended to be shown on the day before the first live episode but had to be postponed from Saturday, September 17, due to Queen Elizabeth II's death.

A few other popular shows aired at the same time as Strictly Come Dancing on Saturday, including The Voice and The Masked Dancer, both on ITV.

Social media seemed to reflect a usual buzz around the opening show, with fans eagerly awaiting the start of the 20th series.

Strictly: Hamza matched Will on the leader board with 34 points (Image: BBC)

Strictly Come Dancing: 2022 line-up (Image: Express)

Twitter user Niamh Lyons wrote prior to the show: "So excited for tonight #Strictly is back! Can't wait to watch all the couples perform.

"Can't believe it's been a year since last year's series feels like only a few months ago it ended #Strictly."

Victoria commented: "I can't wait to see their dances tonight! #Strictly. "

Simon Kaston remarked: "Loved last night's amuse bouche but can't wait for the @bbcstrictly main course tonight.

"Good luck to gorgeous @TessDaly & @ClaudiaWinkle. Bring on the amazing judges and fabulous pros. And to all the celebs, have the best time! #Strictly."

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However, some have also remarked they won't be watching this year despite being keen fans in the past.

@lesleycraske tweeted: "I am actually a bit bored with #Strictly now. not sure I will continue watching this year."

@Erflady1956 added: "I’ve stopped watching, too many unknowns and wannabes."

@josiemarie56 penned: "Gutted, this will be my first year of not watching Strictly.

"Apart from one celeb, I think this year is a letdown. 1 celeb openly admitting that they want the strictly curse to work for them!" (sic)

Strictly Come Dancing watched by over a million fewer than 2021 launch

The first live show of the new series of Strictly Come Dancing was watched by an average of 6.8million viewers, according to overnight ratings.

This was a drop in viewing figures from 2021’s first live show which was watched by an average 7.9million.

Saturday marked the first competition night of the popular show with 15 couples battling it out on the dancefloor, which attracted a peak of 7.2million viewers, the BBC has said.

Viewing numbers were also down for the show’s launch episode on Friday which saw the celebrity contestants paired up with their professional partners.

It was watched by an average of 5.4 million viewers, with a peak audience of 5. 6million.

While last year’s series launch received an average of seven million viewers, peaking at 7.3million.

This year’s launch show was due to air on Saturday September 17 but was postponed due to schedule changes ahead of the Queen’s funeral. Instead the BBC showed the launch just a day before the first live show.

Saturday’s show saw actor Will Mellor and wildlife presenter Hamza Yassin place joint top of the leaderboard, both achieving an impressive score of 34 in week one.

Two Pints Of Lager And A Packet Of Crisps star Will performed an electric jive to Livin’ La Vida Loca by Ricky Martin with his partner Nancy Xu which impressed judges Motsi Mabuse and Shirley Ballas so much that they gave him a standing ovation.

Hamza and his partner Jowita Przystal also dazzled with their joyful foxtrot to Islands In The Stream by Dolly Parton and Kenny Rogers to secure their top mark.

Britain’s Got Talent finalist Molly Rainford and new professional Carlos Gu came in third with a score of 31 for their energetic samba.

Following their routine to Kiss My (Uh Oh) by Anne Marie and Little Mix, Motsi described the singer and actress as a ‘shooting star’.

Singer Fleur East and new professional Vito Coppola took fourth place, with a score of 29, for their electric cha cha cha to Let’s Get Loud by Jennifer Lopez which closed out the show.

The 20th series also features two same-sex pairings, among them reigning champion Giovanni Pernice and BBC Radio 2’s Richie Anderson who delivered an energetic cha cha cha to I’m Your Man by Wham! for their first routine.

Comedian and actor Jayde Adams and professional Karen Hauer are the show’s second female same-sex couple, following in the footsteps of Katya Jones and Olympic gold medallist boxer Nicola Adams who were paired up in 2020.

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Jayde and Karen received a standing ovation from judges Motsi and Shirley, as well as the studio audience, after they performed a lively samba routine to Dirrty by Christina Aguilera featuring Redman, landing them a score of 23.

Strictly Come Dancing continues on Saturday at 6:30pm on BBC One.

Metro.co.uk has contacted reps for Strictly.

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Alexander Anatolyevich: you must always be empty, light and accepting everything with gratitude

On the eve of the meeting, the WOW speaker "Ratio vs Emotion: what convinces better?", We met with the legend of Russian television and the first Russian VJ Alexander Belonogov, better known as Alexander Anatolievich. We talked about the role of "ratio" and "emotion" in the adoption decisions, MTV history, correct behavior and how to "pump" and involve audience.

BS: Alexander, let's start with the main question: how do you understand the mood and emotions of the audience at your concerts?

Alexander Anatolyevich: People who are curious and professional - actors, screenwriters, directors - monitoring people. I love doing it. Watching, noticing something highlight. Like the security personnel in the outdoor observation. You mark some characters, you notice very active and bright club visitors or heavy people who come with their mood - so heavy, solid and important that pull the blanket over. Those who, with their pathos and presence declare themselves too seriously, occupy a lot emotional-mood space. Note and start work with them.

BS: How?

Alexander Anatolyevich: Building invisible bridges of love and friendship - accessing them directly and seeing how they change in the process performances from the first minutes to the very end. How do they unwind on the mood. Watch how they react to your actions and bet checkboxes. This man, for example, is unbearable, and he does not deserves no attention, to be honest. Why? Because I came ready for anything but joy and fun. He came to carry his biofield, mood and occupy a space that does not belong to him. A lot of wants and does little to achieve it. And there are people who, on the contrary, came ready for all the fun. They don't take anything. They are weightless light in mood and behavior, support each other, aspire mood somewhere up, tear him away from the burden of everyday life atmosphere. Switch to fit the place and time. They are doing the right thing. These are your accomplices and you understand what you have with them. You do not negotiate with them, do not conclude deal, but you see their behavior, you feel the reaction. They are your allies brethren and supporters. The same thing happens during a performance. some live collective or group: when in the forefront, in the dancing parterre, fan zone, people sing, raise banners, waving flags or just run out onto the stage and jump into the audience. Maybe they clap in the right proportion or direct energy into a piggy bank big holiday. This is the correct behavior, but unfortunately this they don't teach anywhere. Proper upbringing can help. There are people ill-mannered. They show with all appearance that you can’t break through them. All this is them already seen a thousand times, nothing will surprise them, and we are wasting time. They are came in “so be it”: doing a favor, but in no case indulge fun with everyone. Such people are the most explosive. It is they then, realizing that the performance is ending, they break off their places, begin to barrage more than others and fill even more space, demanding the continuation of the banquet. Find something all the time find fault and always dissatisfied with something. Instead of being dissatisfied with themselves. That's all.

People who leave pathos and all sorts of claims in their wardrobe and trust the artists who perform for them are great. I also do. This is my example. I come absolutely ready for anything, I am a very grateful spectator. I am ready for any action on stage and in the hall. Ready to support the artists in everything. Once you've arrived, go ahead. No personal ambitions - all together, in one direction and in one vector: fun and celebration. When everything is over, there is an absolute triumph for artists and spectators.

Here I can post some video as I came to some stadium concert. You can see how some crazy man jumps, jumps, sings all the words that only come to mind, and at the same time does not interfere with others. people around also kind of smile and clap. Everyone is busy with their own business. Who- then he watches the artists, someone dances, hugs, someone He shoots pictures on a smartphone, and I do everything at once. The picture is not very normal for the average viewer, like “well, what are you jumping, what are you yelling about? And I'm happy, I'm happy. That's what I came for is not it? Isn't that what everyone is here for? 80,000 people in the stadium. A particularly grateful gallery rushes to the stage. Those who stand far away cheaper tickets - rattling bones and shouting any words in joy. Those who stand in some VIP places, or even sit, are those it is important to accept compliments from artists and declarations of love for public. They listen to the repertoire, evaluating and sifting it through their sight. Not properly. When the concert ends, the first ones who are unhappy that it all ended so quickly - these are the same VIPs.

You should be happy first of all. A joyful meeting with the audience, with those who just came with you at the same time and loves the same music as you. That the same in a disco of any format and in any club. Came? Be kind to make sure that the atmosphere due to your personal contribution is suiting you and suiting the rest. If there's something wrong with you - old man, well, do not overshadow the holiday with your presence and moral oppression. Just enjoy. Let go of all your regalia and titles. Take off your jacket, untie your tie, start dancing and remember what it is what you came for.

And, in the end, I would call it even more Strictly behave yourself. It's decent to yell and clap at rock concerts - yell and clap. Is it okay to dance in a disco? Dance, cheer up get sick from others. If you don't know how, learn from those who do it really sincere. Best of all, of course, on large teams concerts, club parties or outdoor venues - where the audience is very different - to receive these emotions from the young public. The most sincere of all behave children. You can't deceive them, they feel sincerity, and they start up. They don't have any weight.

BS: They have neither barriers nor borders…

Alexander Anatolyevich: Yes. There are no burdens, no boundaries they drag them along and cannot part with them. They don't care what about them they say.

The child grabs his own balloon and runs around with it. delighted, because he is just fine. Who interferes with everyone else - I don't know. Probably some complexes, prejudices. Not difficult guess what the barrier is. But I also see these people I try not to have any contact with them. Don't connect with them neither with a glance nor verbally, because this is also a contagious thing. This is the kind of darkness that they represent. Them it's hard on ourselves. They have like a diplomat who is chained to hand, and they are on a special mission. But you can’t take it off: you’re on assignment. I get it, but this is a club. Just switch. Skill switching is already everyone’s business, and how much it is for anyone it turns out - a question.

I don't think it's difficult. Someone wants it learn, someone needs dope. You see a man making incredible things at some corporate party, just because he is in flour drunk. He lost everything: control over himself, control over behavior, control over what sounds in the speakers, and in general any control - even lost his own balance. He staggers, moths all over the hall. Well ok, but he's fine. He may not be aware of everything, but he is fine. And some take such an example, like "I'll get drunk and it will also be fun." It's sad that many people need dope for fun. So I'm orientated on those who are really in motion and those who follow the vibrations and the mood of the music. They are just the personification of a common atmosphere, and the leaders of this message and mood. They are really the engine what is happening.

My task is to light the fire so that everything matched. I'm in charge of music, mood and reaction, but I'm not I am responsible for other people's complexes. Sometimes the audience is scared heavy. Have to say some important words to them. I find I show them by example how to behave. Jumping out on stage, dancing, deliberately playing stupid, funny, merry songs in order to show: guys, don't take everything seriously, it's just a party. Cheerful, unbridled, sometimes a little indecent, careless, absolutely irresponsible and not calling for anything. Just fun. That's when people realize that you can do nothing and just enjoy the moment, they have such faces: “what could it be like that?" Of course you can and should.

This is the only decent thing to do on holidays. Sometimes it is difficult to choose a music format for an institution, audience, age, and I understand: the only right thing to do is to do it for yourself. I think - yeah - I would on them place with pleasure I heard this, this and this. Trying them operate with ideas about this party. These are hundredths of a second. Some kind of playlist is quickly organized. It's gone. And if it didn't work, then I experiment along the way, and they wake up.

All people are normal. It's just that someone opens their eyes earlier, and someone later. At all dissatisfied, critically dissatisfied, millet sleeping and super boring not happens. Because such people will not take this step - they will not step over disco threshold, for respectable people. It's like a dress code, only setting code. If you caught him, then everything else will be OK. It's easy.

BS: It turns out like Zakhar Prilepin: serious people ruined world?

Alexander Anatolyevich: There are many quotes about this and Munchausen's famous phrase: "A serious face is not yet a sign of intelligence." Smile. As my colleague said, it annoys everyone.

This is such an irresistible optimism. But the point is not in him, but in the fact that you are ready for yourself allow within the bounds of decency. In other words, if you dance and does not interfere with anyone - a feast for the eyes. Good for a person is contagious and is transmitted. This is great. You share. And we, in fact, for this and gathered, to be honest.

I share my music and mood. They are share your feelings with others. We have something like this circle of fun.

BS: Do you understand the emotions of the audience at concerts?

Alexander Anatolyevich: Moreover, I feel them. They need to be felt. Because observation and just ticking some boxes is nothing. does not give. You need very important information - emotional, but it cannot be calculate or write in a formula. Formulas of happiness, love, fun - a mystery that everyone has their own and with derivatives and nuances. But in general you can move the math and just go in cycles together in this very mutual responsibility of fun.

BS: Now - at concerts - you feel the audience, but how do you feel it did you understand when they were publishing News Block in the first years?

Alexander Anatolyevich: Well, first of all, we had feedback. At the beginning it was bags of letters, then there were endless messages on the pager. There were faxes, postcards. Moreover, there was word of mouth.

Live people came and handed over these letters and notes. Left them on guard or at the reception, went up, or caught at the entrance and convinced that what is important and what is not. And we didn’t move a single one, like without you we know. Nobody has ever been ignored because it is forbidden. After all, it's all about the viewer.

We have treated this with the utmost care and - yes - we read those bags of letters. We read all paging messages. All these fax papers - when not everything is visible, not everything printed, somewhere "chewed". We could get back to you and find out exactly what was meant. We could invite a person to studio. And in general, I collected this information for myself, so that understand what they want. Our task is to provide them with information, which they are waiting for. Naturally, this was not dictated, but we could not help but pay attention to it. Because the audience should be happy. Their joy is our joy. The audience tore and metal. They had a picture: from morning to night we only do what we study, what is better and what is worse, what to put on the air, we argue about tastes, about some primary sources information, doing interviews and, in general, the way it was. They saw us. There was no internet then. We saw that they are looking at us, we are with them. talked and literally got recharged. She was transmitted from energy, with messages. It's easy to decipher.

If the letter says “Listen, you know that…”, it means that he is with you talks like a friend, and nothing that he is half your age. Nothing that he lives far away and you've never seen him in your life. He trusts you a lot, and if you do not appreciate it or underestimate it, and also ignore worse, then you're not doing well.

We tried to speak the same language with them, and it's all a very emotional story. Then there were direct calls on the air to my colleagues - they called and said: “here, I want to say”, they made criticism, then some notes, then compliments, something told. We have always given the audience the word because each of their emotions, each word has weight.

BS: You are an excellent speaker and a great speaker in public.

Alexander Anatolyevich: Do you think?

BS: Yes! I grew up on News Block! But back to the question. What skills you have developed to achieve a well-trained voice and a good speech?

Alexander Anatolyevich: Honestly?

BS: Of course!

Alexander Anatolyevich: I did not achieve anything. I'm like that by nature wonderful. You know, the old school of actors used to say in situations like this: “I was very lucky with the teachers” or “my wonderful teachers”, and so on people began to list all the titles of their teachers, their names, patronymic, warmly pronounce some quotes from seminars and lectures. This is a very true phrase indeed. In this case, I could say the same thing, but I don’t have a theater school behind me or Faculty of Journalism. It's just that I was born in the theater and have been attending theater all my life. rehearsals, runs, performances and participated in them to the best of my ability, abilities and age.

Children's productions in theater studios, where I always took on any role and always coped best of all - this is the habitat. Islander to praise that he swims well, that he is fit, that he is tanned - strange. Because it's a given.

I just listened a lot good speech, heard very correct intonations and commands directors. I understand how important every intonation, every nuance, every line, every aria. The theater in which I grew up is musical. I heard every note that needed to be played differently - to another - at all chants, choreographic classes or rehearsals. At I have a big piggy bank of it all. Big chest in which I am everything I folded it, and which I always carry with me with pleasure. He absolutely light, but bulky. Clogged with the most useless information files: “where? what? how?". Disassemble them completely impossible. classify too. But when I rummage through it, I find all that is needed.

Every nuance was spoken out, and then I already understood that no unimportant moments. These very nuances are the salt of the earth. Just throwing remarks from the stage is a crime. Just say the words that don't mean anything doesn't make sense. All this must be experienced. Probably, in a theater school, they would have explained this to me in a circle a lot more once authored by some of the greatest directors, such as Stanislavsky or Mikhail Chekhov, and, probably, I missed a lot by not going through the theater school as a student. But I had such a school - immediately practical. BUT given that since childhood I have been an unusually serious person - much more seriously than now - he absorbed everything like a sponge, and instantly issued rants. I was surprised. Never talked like a child. No one "fluffed up". I never let it and always absolutely on Equal worked with everyone in the studio. I was not needed at the rehearsal, but I was I am sure that without me something will go wrong and never missed them. On the sometimes they looked at me and saw that if I indulge in this scene and stand I depict some “pas”, or I can sing something - with the face of each to play a line - they understood that the boy was hooked. I am like indicator, like litmus: reflected, showed the reaction - whether it happened or not. It probably worked. Not only did I amuse everyone with my judgments, they could ask me: “well, what can you say about the scene?” I'm straight he could take it and say: “this is not how they shoot from a bow.” It seemed to me that that's what I know. And the questioners thought - here is a young spectator, he knows for sure how to shoot. And I've seen enough of millions of films and could show how to properly stretch the bowstring. They think the guy is right we could miss something, but he has this opportunity to observe more developed. The child cannot be wrong, he wants to see the truth and he tells it. Maybe my school could be stronger with professional acting education. But if you decide what would I preferred: to grow up and live in the theater for many years, wandering on tour and variety venues, or just go through all the theater students, I would still choose what I have - practice. This practice is direct combat and much more expensive to me. Moreover, the people who surrounded, I was also raised. Let indirectly. Every vocalist the theater necessarily considered it necessary to sing some note with me or any party. For example, they loved to sing along with me Fragment from "Silva" by Imre Kalman. There were several fragments. Or from bat. I love Strauss very much from a young age. Of course it's funny sounds like a child. And when such a mischievous chant sounded before performance: “for what, for what, oh, my God. For what? Why, oh my God!”, I stood along with everyone in a line and sang: “for fto, for fto, oh, my bofe!”. to me it seemed that I combined voices and I did it! They were looking at my enthusiasm, I looked at their experience, and we created this chant together, and together entered into a state of fun and enthusiasm. To with this state go on stage and give it to the audience.

BS: It turns out that you have absorbed theater since childhood?

Alexander Anatolyevich: Consider that yes.

BS: As a DJ and musician, what emotions do you associate with your creation?

Alexander Anatolyevich: Fun and rock and roll. Sooner or later, even DJ sets, I can play tracks that lead to unbridled fun, like at rock concerts. Club music can serve differently. You can distinguish between genres, break it all into BPM. For example, the first part of the set you play 100 strokes, then 120, you accelerate to 130, but at least 160. You can break the whole rhythm and suddenly in order to put on a funny but funny ballad about a battery, so that the whole audience sings or, for example, “slow, so that you cry.” They are touching, touching. Everyone had a graduation at school, even if in the hall and only forty year olds. And you can put something unprecedented and unheard of. You can put on an unforgettable super hit, under which more than one generation has grown up, and which will be received with a bang, and it will looks like an AC/DC concert. There are bands in the world that like absolutely everyone. You may not be a fan, but no one has the Beatles causes negative emotions. You can not love them, not listen, not keep their CDs, but so that you don't smile and don't know about them - impossible. The same situation with the ABBA group or Rolling stones. Great dispute over which of the greats is greater. Sounds like something old and good, and your eyes open immediately.

We all want to have fun, but what is this achieved at a cost? The simplest goals. simple, understandable, familiar, favorite music and a pleasant environment. Don't you would you think that the environment is pleasant if everyone does and feels the same as you, and you are on the same wavelength? When you look at a person - you see that he is somewhat similar to you, somewhat reminiscent of your behavior, your style, and you already involuntarily begin to sympathize. Why? Because he can no longer be well done, since he looks like you. Caste is created.

At concerts, when JETLEG is on stage, when I perform as a DJ, it's the same. We are here to have some fun. Let's just enjoy. What works can we perform? For example, "smoke on the water". We can perform our repertoire, which no one has ever heard and move on to a strange, incomprehensible cover version of a song that eventually recognize and will sing and dance to it.

Lightness should be in everything. We don't take everything seriously. The irony in what we do overcomes any rough edges. We don't sound perfect as a band because we have a real live sound. I can imperfect track put, but it will make people stir and move.

I will name, say, a few tracks now, and your reader will say - is it good for dancing? Come to my performance and you will see that dance to everything and always. Any fun and energetic music can be dance. The main thing is to get in the mood.

BS: In the mood of the audience?

Alexander Anatolyevich: Of course. It doesn't have to be disco. That's just 120 beats per minute. It doesn't have to be new from iTunes or from the hit parade. It can be forgotten and pleasant old.

All of a sudden it sounds “January blizzard is ringing and showers are whipping resiliently." Some of the readers will definitely exclaim: “junk. This is a song from Ivan Vasilyevich is changing his profession. Yes, but if it immediately sounds after a powerful hit from the new Chemical Brothers album, she "smiles" everyone, cheer up and make you move and laugh. Why? Yeah it's connected to our emotional pleasurable experiences. Native images immediately flash, and something good in the soul rises.

OK, I can put on a song by Igor Kornelyuk "Rain". You think, when we heard this before, we thought that “Song - 85” was completely out of the question. And time passed and it turns out that she is dear and close to all her emotions. And not by myself the song is important at this moment, and everything connected with it. And then we can switch to Limp Bizkit's brutal hardcore and that will work too. Why? Because it sticks together according to the mood, and a sharp transition lead to a burst of energy. How to feel, I don't know. But if it turns out - it's a thrill! Does not work? Then keep trying. But how to program it? I'm afraid not.

BS: How do you feel when you play?

Alexander Anatolyevich: I get high along with everyone. I dance and rejoice. I although I hear these tracks, I know them by heart, and for the millionth time they I scroll - but I'm still happy, because I'm doing what I Like. And I continue to play what I like. And we sing with the group what we like. Because it is the key to any success. If you are you will do something under pressure - not close to you, boring - and roll back a mandatory program, then sooner or later it will habitual, routine. Routine is never fun. Never.

BS: As a teacher, what do you emphasize in your classes? On the logical presentation or emotional presentation?

Alexander Anatolyevich: And here is how I learned a long time ago: what is unimportant there are no moments, and the awareness of everything you do is the “zen” of your work. It is important. As in martial arts: you must be aware of every movement, every smooth transition with all his body. Here is every word in the text, every emotion that you manifest or create, you must become aware of everything. If you are unconsciously you behave, then it is just a stream of thoughts. Well if thoughts, or maybe just a blizzard. You have to go from point A to point B. If you convey some idea to people, then you need to submit it to good digestible form. You have to figure out who's in front you, and, of course, emotions are indispensable here. This is your condiment accelerator of what is happening. There must be meanings, and these understand meanings. You need to pass them through yourself and be aware. Not there should be nothing superfluous, but there should not be complete asceticism in to all - such stinginess and speech poverty. I have to convey information accompanying her emotions.

You can say whatever you want, it's cold and sparingly - and no one will even hear your voice. Can be presented the same text is emotional, and any insignificant thing will thunder. It is impossible without emotions. I can't put something in second place.

Here everything is on the first line - on the front. Absolutely intertwined. What is more important in songs? Words or music? No answer. If you're doing something, it's should carry an information code. Emotions are also information in some mathematical sense. It also needs to be somehow cooked inside and issue. All this is added, of course, to taste - here and now. Gotta be always ready for an immediate response. For this, experience is important. I I will never believe that a young speaker in front of any audience will come out and will make a successful performance. He needs to prepare not only for speech, but to prepare in general to speak in front of an audience and to any questions. It doesn't work in a second. This is a certain group. muscles that need to be pumped up and worked out. It can be done quickly, but not in a second it will not work. At the moment you can not get this shape. It needs to be processed and maintained. If you started - you can be in the rearguard. The public doesn't forgive when you pass.

BS: How did you keep a sincere interest in products for a new generations and themselves carried away by this? Like DJing?

Alexander Anatolyevich: I have been DJing since 1977, so I got carried away a long time ago. I'm interested in doing this. It doesn't matter, I found or did not find a common language with the audience. I love being praised.

I love it when people dance to my tune. I'm like any normal artist - if we speak in high-sounding terms - I love it when I influence on people, and they - people - are grateful for it. This is a thrill. This is the best praise when they show up again when they clap, when they smile and sing along, that is, when they do something with you what do you like.

You are taking them with you on this interesting journey. There are two hours of DJ set - and you are together in a big company. Fun. Did not work out? Of course it's a pity. But here you draw conclusions and move on. The moment you go out and do something for others and they love it - terrible doping. It is impossible to refuse it. Once received from this is a real thrill, you can no longer get off it, and, it seems to me, that this is one of the most useful dope on the planet. Did you feel high? Continue. This only makes it better for everyone.

BS: Where do you get the most emotion: performing as a DJ or hosting lectures?

Alexander Anatolyevich: Master classes, lectures - very cool. It's over hectic work. There is no such separation as at the concert. If you are you sing, rush around the stage and get a short circuit with the audience - it faster achieved in time and more powerful in its current. And in the classrooms we have more of it all stretched out in time, because it’s impossible for something to teach. At a concert, you can quickly blow up. Sang a good song, everyone I liked everything, you gain momentum - an explosion - you went into orbit. Everyone in bliss. That's the way it should be. For an hour and a half of the performance, total fun.

We have to do this. And from the first minute. But this is not the case in education. AT study should be more careful, more affectionate or something. The process is designed so that it goes more gradually, so that it takes root and enters into a reflex.

It's like learning to play a musical instrument: you can't to teach a person to play quickly, you can only show three chords. He will learn them and will remember them all his life. But he is not yet a musician, but just an expert on chords. And if you know how to use an instrument real, then he probably studied not for a month, not two, but for several years. That's why that you must fully master this profession. Here is the field stretched: different rhythm and different tension. There are no such closures. short. Everything is distributed between us - students and teachers.

It is more insinuating and similar to when you are slow and calm earning your resources. When you teach something, teach - in in a good way - you show everything by your example, it takes certain time. That's the way it should be. The time factor is not cannot be defeated; on the contrary, it cannot be defeated. He is very important.

BS: What skills do you think are important to have in public today? personality? What should modern man be able to do if he wants to to achieve success?

Alexander Anatolyevich: Success in what?

BS: In life, career.

Alexander Anatolyevich: Everyone has a certain success before eyes. In order to truly become successful, one must be very sober. You need to understand exactly what you want. Understand exactly what means are you ready to go for it, and how ready are you to give up some things to get what you want. We have a lot of excess. Some knowledge disappears sooner or later, and some come in handy.

This is a real skill - to use active knowledge, the ability to use all the skills that came into your piggy bank. calculate, what you need and what you don't is very important. Experienced traveler always it is easy and simple to assemble, and the inexperienced one takes everything with him: “a picture, a basket, a cardboard box, and a little dog." With the luggage of the inexperienced far away you won't leave. It's not about how many, you read textbooks and manuals and How many master classes did you take? Not in the amount of your knowledge, but in the quality how you chose them and how you use them. No need to get drunk phrases like in the movie "Wizards": "to see the goal and not notice obstacles." There will always be obstacles, and by overcoming them, you only become stronger and more experienced. This is your weapon. You are also armed yet. You have more and more “skills”, like in a computer game. Not there is no need to notice obstacles. They need to be respected, overcome and arm yourself with this experience. You need to see the goal constantly and clearly. She is may at some point change or move away, or may come closer. You don't have to get drunk on it. You need to soberly calculate all your strengths and replenish them: constantly learn something new, on the go or fundamentally reading books, in conversations with masters. Yet Option: learn by stuffing your bumps. Your mistakes are always closer, your experience is always more valuable. The more bumps you get, the bigger your luggage skills and knowledge. You need a specific goal. If you build any then your large-scale project, you need to understand by what means you you achieve it. We need to properly distribute our forces and resources, look at yourself soberly and ironically, always learn along the way and always ask yourself. Don't be afraid to ask questions. Let them be stupid or ridiculous. When you ask, you still follow the route to this goal. And if you are closed to information and say: “I already I know” – you become a closed substance, and there is nothing else before you does not reach. Take the most valuable thing with you and this knowledge will be like bricks, who show you the way to your destination. Don't stop at achieved and never disregard anyone's advice. Remember: closeness cuts you off from the goal. One must always be empty, light and accepting everything with gratitude.

BS: How often do you personally change your own decisions under the influence of emotions?

Alexander Anatolyevich: I weigh everything. I can be very emotional, but emotions cannot change my decisions. I'm an adult still an uncle. You can not make decisions on serious emotions. Tem especially if they are important to you. Moreover, they may depend on other people. You still need to be extremely cold and prudent, and to emotions have nothing to do with it. Decision making can do many times, and then come to some denominator in them. At the peak emotions, you look at the same object in different ways, and in a calm state you may not come close to this idea at all. It happens, when you are suddenly disappointed in something and your idea seems empty to you idea, you want to spit and give up on everything, and then you connect everything together and you understand that your first emotional, intuitive warm human sense - it is probably more true. Think you do a long choice - to do it or not to do it - you doubt. Once you tormented by doubts - it means that there are a lot of factors against, it is necessary set aside and think again. If the first impulse to you unconditionally prompts - it's yours, do it, then do it. Because the first impulse to match falling in love: the first impression is the most sincere, the most correct. Follow him. It must exist, it must always be in tone, not stained by any emotions and prejudices. It should prompt you. In some creative tasks, in choosing a track, song for the repertoire, the movie that you will watch today.

If you are truly creative, you must have this note and you must understand - mine / not mine. Not “why not?”, But “why not take a chance?”. This magnet should work flawlessly for you. There are Of course, there are glitches in the program. Suddenly you realized - not mine. Here is my student now she comes and says that she studied economics all her life, received diploma and realized that it was not hers. What? I studied for five years and did not understand this? I didn't understand. And then I realized when I directly encountered conclusion. She must have felt it. It just didn't matter. BUT such feelings must be respected. This is the same intuition that is in everyone. She needs to pay attention. All is necessary. She is yours intuition, and it should not let you down. She is always there for you. This is what most creative. But keep in mind, on the basis of intuition alone, you should not make some serious important decisions, but do not listen to her at all in no way possible.

BS: Alexander Anatolyevich, last question! What would the news look like? Block" today, if you had just started doing it?

Alexander Anatolyevich: Exactly the same. One to one. It's perfect product. Here, without any modesty - false, true - I'm not saying this, and the time has shown it. We came up with the program precisely because it was necessary. Just like in the history books: a historical figure appears when the need arises. It's objective a truth that has existed all my life. There was a need: combine all this news into a clot of informational energy.

At that time there was little information, but it was distributed on the air of various channels. I really wanted her to be in one place, at one time and reached a large audience. Release of news from the world of show business - it's simple. We got together and did it. They made a pilot, it was approved, he went on the air and since then has not left it for a second. And so moved then on MTV. None of us did anything special. Just all these years 24 hours a day, 7 days a week, 365 days a year we are a small a team of people made these releases many times a day. Filmed, took from sources and made a normal journalistic story in the news genre. After some time, we had analogues.

We have found that very golden mean, the very ideal format that is called neither subtract nor add. It is impossible to make it better and worse ... You can spoil everything, but why? How about doing better? Yes, where even better? Yes, we were young clumsies that learned on the go! But because we could, and it was useful to others!

Therefore, if they told me now: “Let's return News Block to the air”, I would answer without hesitation: "let's".

Open interview with Max Startsev at Pershak

Last week, together with MTS Music, we held an open meeting with Max Startsev, the promoter, art director of the Hooligan and 4-4-2 bars, and this year the program director of the new Stereo Weekend music festival . Why you need to fly in at the first concert, how much Minsk promoters earn and what will happen if you organize a concert on January 9 - catch a capacious transcript of our conversation.

There is no place in the whole world for you

- You are presented as a promoter, director of the bars "Hooligan" and "4-4-2". As a homework assignment for Kavanov, I asked Max to tell about his creative path in the format of ten photos. What have you been doing in recent years?

– I'll tell you like in a movie: what I have now and what happened 10 years ago. I'm currently the program director of a brand new music festival, something I've been dreaming of for a very long time.

And it all started in your youth with the realization of yourself as a city dweller and the first inoculations of taste, when you want your fellow citizens to hear this or that artist, whom only you and three other people in the city know. And for this you need to find money, platforms and like-minded people.

- What was the first concert you organized?

- The very first concert I organized was the group "Without a Ticket". A friend of mine suggested, and I knew them and really loved them. It was only then that the second album “Painted” was released, which I consider one of the best Belarusian albums. We chose a venue, even received a tour certificate. With Vitalik Yaronsky, they went to glue posters on poles, for which they almost landed in the police. We convinced them for a long time that we were paid by some strange organizers to put up promos. And they thought we were oppositionists. The policeman looks at the poster and says into the radio: “So, “There is no place for you in the whole world. ” What is it, Seryozha? “No, the group is called“ No Ticket ”,” we justified ourselves. "Yes, shh." In the end, they gave up.

"As we later realized, it is important to fly a little at your first concert"

The concert was disgusting, with all kinds of jambs that you can think of: the lights were cut off, and because of the atmosphere and venue - the Palace of Arts - the event was called a "concert in a coffin." Even though we lost all our money, there was still a cue ball. I borrowed from my father, which soon became an important part of my live performance.

Some time later my friend Roma Dobrovolsky wanted to arrange a birthday present for his girlfriend and bring the Segodnyanochyu group from St. Petersburg. There were completely different budgets - and I went to my father. Then we were already faced with all the processes of an official concert: a tour, advertising campaigns. We were robbed then by everyone who could, because we were beginners. We had no idea how much the sound cost, how much the rent was. Contractors adored us: “Yes, by the way, there’s still a hundred to throw for this garbage.”

- How much was the fee for "Tonight"?

- About $3,000, it was 2008. We went crazy at this concert, but my father, the main investor, was still interested. Once Ilya Malinovsky told him about the Boombox group - and we decided to try again.

First success

- As we later understood, it is important to fly in a little at your first concert in order to understand the disadvantages of this wave work. We thought that we were just bringing an average artist, but it turned out that the song "Watchmen" at that time was already known to everyone. It was their first concert in Minsk and our first success.

After this concert, my father and I decided to stir up the agency. We began to look for those who were not yet with us. So we were the first to bring Noize MS, SunSay, Valentin Strykalo. Noise immediately became successful for us, and Strykalo is the artist who needed to be brought up for the Minsk audience, and this is also one of the important things. Here we came to our main principle with my father of working with artists, which, it seems to me, is ignored by many - when organizing a concert, one must proceed from human qualities. Not to become friends with a forced smile, but to understand them. First you become a friend of the manager, then you join the group - and already without you, a person who goes to Minsk does not perceive the city.

- They say that you do two successful concerts a year with Noyz and Strykalo, and everything else falls into place with you. This is true?

- That's right. At some point, we were fed by 2-3 groups: Noise, Strykalo, Boombox. That's the point: you have room in your head. With the aforementioned artists, you know how to work: you launch an advertising campaign and are more or less calm. This gives you time, financial and physical opportunities to look further. As a result, artists began to bring us money, which at first were sold with a rattle. The most recent example, when I worked without a father, is ATL. We did the first three concerts together, increasing the fees, in fact, exponentially.

This is an important point: once you flew in and waved your hand - this is wrong. We still need to see the artists in the context of modern history and pop music. Chuyka is also needed. There were a lot of great gigs that weren't successful, but they were great and super fun. Working with artists on a personal level is an amazing opportunity. Assai's director, for example, called himself and said that they didn't like the organizer they were working with in Minsk, because he treated them like garbage and put them in the 40 Let Pobedy hotel. So Assai and I became friends, so I became their tour manager and traveled with them for a month in Russia up to Ulan-Ude.

"We could even bring Arctic Monkeys once for 70,000 euros"

Economics of concerts

– Let's talk about the economics of organizing a concert. How many components are there in this story: artist's fee, venue rental, advertising money? Let's take an abstract artist of the level of "Valentin Strykalo" now...

- A strong SS medium should not cost more than $10,000. Every artist has a different approach. There are artists with whom you need to work strictly on an advertising campaign via the Internet, there are artists who need more outdoor advertising. Every artist requires an analysis of their audience. At first, we threw everything everywhere, and then we learned how to allocate advertising budgets in the right way. Now the Internet is the main force, but outdoor advertising does not interfere - it is more for effect. When we talk about the upcoming Stereo Weekend, of course, we have completely different goals here, different expectations and coverage of the advertising campaign.

– How much can organizers earn on average from our abstract concert?

- Three rubles. At such a concert-turnover, when you already know how and what to spend. And your task is to do three such concerts a month.

- What is your most successful concert in terms of earnings?

- No kickbacks, right? Noise's double concert: for two days there was an acoustic plus a zhivak. In my opinion, both there and there was a full house, and everyone was just swimming in money.

But now we are talking about the alternative scene, not about the concerts at the Sports Palace, with which we also worked. It was interesting for us to develop the scene of thousanders and five hundredths, so to speak. It is more interesting and easier purely physically. I don't know what kind of nerves the people at Atom have, who are constantly doing gigantic concerts. At one time, my father and I stopped burrowing into large areas, although there were opportunities. We even once could bring Arctic Monkeys for 70,000 euros. But then they thought that it was too early to take them to Minsk, in other words, they pissed. It was three years ago.

Stereo Weekend

- Let's get back to the festival. A new music festival Stereo Weekend starts in Minsk this summer. You are the program director. Tell me!

- There is a person here who invited me to this festival - Egor Rytvinsky. The person who made not only the Vulitsa Ezha festival possible, but also launches a musical event. Today I saw an interview from five years ago, where my father and I talked with Ultra-Music, and there I said that I dream of making a fest in five years. And I was stunned!

The essence of the festival is simple - to create a great entertainment event for young people, as close as possible to European music festivals. We know that we won't make Primavera and even Afisha Picnic the first time, but we are striving for it. We will invite "vernyak" artists, but also musicians, whom we will introduce to the Minsk public for the first time.

There will be a main stage with smooth rhythms and a summer rave and a second alternate stage where we will experiment in full. Everything will be there: from experimental rap to crazy, deep electronic stories.

“We know that we won’t make Primavera and even Afisha Picnic the first time, but we strive for this”

Security guards and understanding of the crowd

– You had a hand in the creation of many Minsk cult venues: Re:Public was important and still is, “Hooligan”. Let's talk about Re:Public. How do you assess what is happening with the club now? And please comment on the scandalous and ugly story with the photographer that happened there.

- I have little to do with Re:Public at the moment. Sometimes I do concerts there, but rarely. Re:Public was a super-calculative project. After working nine months at the Reactor before closing, where we were called with our father as financial and concert directors, we realized that we urgently need to take over the empty market of alternative club concerts in the next two years. We coped with this task perfectly well, having managed to bungled the club in one summer. At the first concert, Noize MC performed, which attracted about 1500 people, which cannot be done in Re:Public. Now Startsev Sr. will not allow you to collect more than a thousand.

In 2013, my father and I stopped working together: it's hard to work with friends, but it's hard to work with family. In the family, the competitive spirit is much higher than among friends.

As for that situation. If I were a photographer who often photographs events at the Re:Public club, who knows all the rules for a photo shoot during a concert and who starts downloading the rights ... You know the mechanics: you either have a badge or a special bracelet with you, you present it - and no one comes to you. If you forgot your badge, you don't say that you've been here for a long time, but you go for your badge and return with it. But I can't vouch for the security guard's sanity.

“Once my friend Pasha and I came to a concert, and he was so glad that we came there, and he showed emotions so violently that a security guard came up to us and said: “Get out of here, you’re an ass!””

– How to resolve such situations and have you met them?

– Of course, I did. I had an operation on my face in September, they adjusted my cheekbone, because I met a junkie in our bar. I was drunk, so the reaction was at zero. There are no pictures, but there is a pipets!

There must be qualified guards who must be trusted. If you are among the staff, bartenders make fun of your security workers, calling them, for example, collective farmers. Why is this necessary? You need to talk to people before hiring them. You need to see in them a sensible look and understanding of what a cheerful person and insane is. Once my friend Pasha and I came to a concert, and he was so glad that we came there, and he showed emotions so violently that a security guard came up to us and said: “Get out of here, you’re an asshole!” We had to sneak into this fucking Palace of Sports through the back door. The staff needs to be instilled with an understanding of the party, so that they think with their heads before not letting a person in a wheelchair.

***

- Let's talk a little in the blitz format. "4-4-2" or "Hooligan"?

- I have a detailed answer to this. I participate in projects that I personally need. When I needed a concert venue not only as a promoter, but also as a resident of Minsk, we opened Re:Public. When I had nowhere to hang out, we opened Hooligan and changed the industry in the city. Then we had nowhere to watch football - and we opened 4-4-2. Therefore, I cannot choose. But my tattoo is "Hooligan".

– Three best bars in Minsk?

- In "Insomnia" we most often end any night. The new Bar Duck is cool. Odessa cafe "Kommunalka" on Karl Marx.

- Zybitskaya or Oktyabrskaya?

- Oktyabrskaya.

– The best city in the world, if not Minsk?

- Where I was - Berlin, where I was not - London, of course.

- The artist you dream of bringing to Minsk?

- Now - Kendrick Lamar. I also want to work with Arctic Monkeys, The Strokes and MGMT. From the underground - Deerhunter.

- The main Belarusian artist or group right now?

- Soyuz Group.

– Which of the Belarusian artists would you not work with?

- With Krambambula.

- "Hooligan" - that one?

– We are working on it.

- The Oscar ceremony or an important Arsenal match?

- Of course, an important match for Arsenal.

– The best Belarusian festival at the moment?

- Technically - "Rock for the Beavers", cool - "Mirum".

Questions from the audience

– What mistake should not be made when organizing any concert?

- Bad choice of site and date. Once I had to cancel a concert when I realized that what a moron you have to be to put it on January 9th. As a result, we then canceled Motorama. It is also always important to keep a balance between modesty and self-confidence. The director of the band is more important than the vocalist. First you get through to him, then to the artists, if you want. You have to be in good, smooth dialogue with the director. If there is no director, then this is one of the group members, which is much more difficult: they are less stable in their thoughts and - especially - financial desires.

- Which artist has the best management?

- Great management by the Korn group. Azizbekyan is a good director, although we have never worked together. The higher the level of the artist, the more sane his management. The most difficult thing is to work with ESS stars, especially new ones. But I want to note that now people are more and more normal.

"The band director is more important than the vocalist"

– All your projects are rather short-term. You nurture them, retire, then something happens to them. What's next for the festival?

- "Hooligan" I will never leave, this is my most talented child. The festival is a bright opportunity to develop not only your pride, but also the scene in Minsk: to carry artists who will only be with us, so that people come to us, and not we go to the same Afisha. This is a project with the hope of complete dissolution in it.

– Is it possible to have a festival like Glastonbury or Coachella in our country?

– No, not possible. Because we don't have that many interested viewers. More than two million people live in Minsk. How many of them do you think go to events? A hundred thousand, if we talk not only about the alternative music concerts that we go to. We are talking about those who know what it's like to go to events, who have an understanding: "I pay for a ticket, I don't feel sorry, because I know what an artist's job is." But, on the other hand, the level of "Atlas" can be achieved.

This material was made with the support of MTS.

MTS Music is a convenient application for listening to music.

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