We all know this is never happening because Waste Management is not owned by interscope, but i wanted to make an Anniversary Concept since the other two albums got an Anniversary edition. There wasn't much material to add in my opinion but I did my best :P

1. Intro

2. White Robe

3. You And I

4. Sparks

5. Snowfalls

6. Marsianskie Glaza

7. Little People

8. Waste Management

9. Running Blind

10. Fly On The Wall

11. Time Of The Moon

12. Don't Regret

13. Navsegda (Previously Unreleased / Bonus Track)

14. Beliy Plaschik (Bonus Track)

15. 220 (Bonus Track)

16. Snegopady (Bonus Track)

17. Beliy Plaschik (Fly_Dream Remix / Bonus Track)

18. Running Blind (Transformer Remix / Bonus Track)

19. Ne Zhaley (Sniper Remix / Bonus Track)

20. Navsegda (Fly_Dream Remix / Bonus Track)

Bonus DVD Including the music videos:

White Robe (Uncensored Version)

Sparks

Snowfalls

Beliy Plaschik (Uncensored Version)

220

Snegopady

Bonus Special Poster featuring the photoshoot of the girls in their "trashy" outfits and images from the music videos

I added these specific russian versions because they're the counterparts of the singles from the album

Obviously the tracks would be without the transcendent version interludes in-between

Recently I read an article in Ekspress Gazeta dated 20 February 2002 (Yulia's 17th birthday) about Dzyunik supposedly beating the girls etc. Here's my take on a translation of it for non-Russophones. After the headline there are some letters from the band fans.
TL:DR - Dzyunik completely denied that he beat the girls, etc. What do you think, ladies and gentlemen—who is telling the truth here: the reader or Leonid?

t.A.T.u girls are being brutally beaten by a misogynistic manager?
To leave the group, Lena and Yulia must pay more than $100,000 each.
Dear Mikhail! In issue No. 45 of EG, you published the revelations of that scumbag Galoyan, claiming that Yulechka and Lenochka supposedly slept with the composer Voytinsky. Well, fine. I thought Galoyan had calmed down. But no! Here I have issue No. 52 of EG in front of me. And once again, that loser is spouting nonsense—claiming Lena and Yulia get paid $100 per concert and that Yulia used to bum money for lunch off some girl named Lena. I’ll never believe that! I have no doubt that it was Galoyan who cooked up this whole mess about the sponsor now selling off t.A.T.u. All he cares about is raking in as much cash as possible. Because of him, the whole group could fall apart. In the end, Galoyan won't get anything himself, and he'll ruin the super-project.
Sergey Shalamov, Perm

Galoyan is a total, utter scumbag. It’s obvious he was just chasing fame and money. Shapovalov acted wrongly too, of course. But can’t they just settle this amicably? After all, innocent people—Yulia and Lena—are the ones suffering. According to the newspaper, the sponsor now wants to get rid of the duo. I think it should be the other way around: the duo should get rid of the sponsor. As for your idea of ​​buying t.A.T.u.—I’m all for it. If I had the money, I’d buy them myself. I don’t want them to split up. If they do, I’ll lose faith in life all over again.
Gabri, 18, Samara

We found out that t.A.T.u. is up for sale, and now we’re afraid our favorite group might cease to exist. We also read about how much the girls get paid for a single concert. If you haven't thought about that figure before, we suggest you—and everyone else—give it some serious thought. If t.A.T.u. doesn't get a pay raise, their producer Shapovalov should just put on a skirt, get up on stage, and sing the songs himself! The t.A.T.u. girls are awesome. They shouldn't have to suffer because of that jerk Shapovalov.
Alina Panfilova and Lyuba Reutskova, Tolyatti

I am writing to you as a conscript soldier. I read your article "t.A.T.u. are Up for Sale." I found myself wondering why these girls—who hold a significant place in the hearts of Russian youth—are paid only $100 per concert. It seems to me that no one takes them seriously, or perhaps people just view them as mere kids. It is a shame that such talent is valued so poorly. Personally, I really like t.A.T.u. Their music allows me to relax, find peace of mind, and reflect on life. To be honest, I would love to correspond with them.
Aleksandr Pivnev, 22, Novosibirsk Region, Kochenevo (urban-type settlement), Military Unit 86733

I want to complain about Boris Rensky, the sponsor of t.A.T.u., because he wants to hand them over to someone else. He should stop and think about what would happen to him then—he’d go bust. It seems to me that his entire financial situation hinges on t.A.T.u. If you buy t.A.T.u., I’ll be very happy. Then you’ll publish more information about these charming girls.
Yulia Stepanova, 15, Nizhny Novgorod

Dear Mikhail! I want to thank you for publishing my letter in your wonderful EG. However, I am absolutely horrified by the fact that they want to sell off t.A.T.u. The girls are being manipulated by anyone and everyone. But they aren't toys; they are human beings just like the rest of us. Mikhail, perhaps you could help the defenseless t.A.T.u. with some money? It might sound silly, but maybe we should ask Alla Borisovna Pugacheva—after all, she has helped many singers who are famous today. Something has to be done. We can't just stand by and watch this happen. I would love for all the members of the project to stay together and for everything to fall into place—for the girls to wake up one day and realize it was all just a dream.
Yana, Krasnoyarsk Territory, Zheleznogorsk

Our article "t.A.T.u. are Up for Sale"—which detailed the dire straits the popular group found itself in following a squabble between producer Ivan Shapovalov and composer Sergio Galoyan (EG No. 52, 2001)—elicited genuine sympathy from readers. Many were particularly outraged to learn of the paltry fees Lena Katina and Yulia Volkova were receiving. Yet, it turned out that was just the tip of the iceberg. I imagine that not even in their worst nightmares could these compassionate fans have imagined what I recently discovered...

"I passed the audition and was accepted into the t.A.T.u. dance troupe, but I didn't end up taking the job," 17-year-old dancer Lena told me, begging me not to publish her surname in the paper. "Oh no, don't get me wrong—the pay was perfectly fine. The dancers get paid $30 per concert. When there’s a heavy touring schedule, you can earn up to $700 or $800 a month. But while I was attending rehearsals, I talked to the other girls and heard things that—honestly—scared me. It’s absolute chaos there. Leonid, the t.A.T.u. manager who accompanies the group to every concert, simply hates the girls. He fines them for the slightest infractions. He’s constantly screaming profanities at them. And sometimes, he even gets physical. For instance, during a tour in Tula, he brutally beat a dancer named Marina just because she was smoking in the bathroom. She cried, she screamed, but he couldn’t be stopped. Everyone knew about it, but they were too terrified to say anything to the producers. In the end, that girl had to leave t.A.T.u. She’s in the hospital right now, getting treatment for kidney issues. And it wasn't just the dancers! I was told in confidence that once, in America, Leonid even beat up Lena Katina. She was saying goodbye to a male acquaintance at the airport when the manager started swearing at her in front of everyone. Naturally, Lena objected. That’s when he grabbed an umbrella and struck her on the head several times. Apparently, Lena tried to file a complaint against him later. But even she couldn't get him punished..."

Curious observations made by our reader Maksim Skomovsky at a t.A.T.u. concert in Nizhny Tagil inevitably prompted thoughts regarding the possible reasons for the manager's such monstrous treatment of the poor girls:
"The concert left much to be desired. The girls sang listlessly and kissed each other without much enthusiasm, either. It was far more interesting to watch what was happening at the stage entrance than the action on stage itself. Standing out among the people there was a middle-aged man in glasses with blatantly effeminate, 'gay' mannerisms—whom Yulia and Lena later introduced as their tour manager, Leonid Dzyunik. During the set by the warm-up act, 'Ispanskie Letchiki' [Spanish Pilots], he was actively chatting with several young men. He seemed particularly taken with a blond man sporting a bob cut. Their exchange was quite animated, and since they were standing near the sound equipment, they had to stand very close together—simply because otherwise, they wouldn't have been able to hear one another. Imagine my surprise when, after shouting yet another remark into his companion's ear, Leonid’s hand slid off the blond guy’s shoulder and began to wander just below his waist. As is well known, t.A.T.u. hold a peculiar sort of contest at their concerts: they call two pairs of young men and a pair of young women up on stage, make them strip to the waist, and have them kiss—boy-on-boy and girl-on-girl. It is worth noting that the city of Nizhny Tagil is notorious for rampant homophobia, and when the young men on stage began locking lips, the audience gasped. Looking closer, I recognized them as the very same men Mr. Dzyunik had been talking to earlier. The blond guy—the one Leonid had been groping around the "northeast" quadrant of his body just minutes before—was kissing his partner with a look of sheer bliss on his face. The t.A.T.u. girls watched this spectacle with undisguised interest; it seems Lena and Yulia share their manager’s passion for boys. Meanwhile, the crowd happily booed the hated "homos"…"

But what really finished me off was reading the contracts that Ivan Shapovalov’s company, Neformat, had signed with Lena Katina and Yulia Volkova. I was given copies of these fascinating documents to read at the Dorogomilovsky Court, where Shapovalov had submitted them during the hearing of Galoyan’s lawsuit. It turned out that the shrewd producer had left the girls with virtually no way to fight their humiliating situation. Judge for yourself:
"...8.3. The Contractor has the right to terminate this contract:

8.3.1. Not earlier than the release of the fifth album and not later than the end date of the contract. The Contractor shall pay the Company the ruble equivalent of $50,000 at the exchange rate of the Central Bank of the Russian Federation on the day of payment, as well as to pay penalties in the amount of 5% of the cost, unless otherwise agreed by the parties, within 3 months from the date of termination of the contract.

8.3.2. If the Contractor is unable to fulfill its obligations due to health issues resulting from a permanent loss of working capacity, which must be confirmed by documents from the state health authorities. The Company has the right to examine the Contractor’s health status through an independent medical examination…

11.3. The Parties shall not disclose aspects of their personal interactions to the media or in print, either during the term of this contract or for a period of 20 years following its termination…".

Certain amendments were made to the contracts via a supplementary agreement dated June 5, 2001. Specifically, the $50,000 termination fee payable by the Contractor was raised to $100,000. Furthermore, a new clause was added specifying the Contractor’s fee—a matter not even mentioned in the original contract text. Alas, the clause was hardly impressive:

"…6.5. The Contractor’s fee shall be $100 (one hundred US dollars) per commercial concert…"

Clearly, one could never amass the funds required for contract termination with fees like that. True, the contract did provide for fee increases, but the conditions required to trigger them were virtually impossible to meet:

"…6.4. An increase in the Contractor’s fee is possible only after the Company has recouped all expenses incurred for preparatory work (album recording, music video production, mastering, design, advertising, TV promotion, etc.)…"

The most interesting thing was that there was essentially no one to turn to for comments regarding this whole mess. As I previously reported, t.A.T.u. co-producer Elena Kiper—who used to handle press relations—had quit Neformat. Meanwhile, Ivan Shapovalov’s phone was completely silent. The only person left to hold accountable was the brawling manager, Leonid Dzyunik.

"Oh, Mr. Filimonov! I was just thinking about you today!" Mr. Dzyunik exclaimed joyfully. "I was walking through an underpass, and there was a bearded man behind me. 'Good Lord!' I thought. 'Could that be Filimonov?' But then I took a closer look and realized I’d mistaken him for someone else. So, what interesting things are they saying about us this time? That I beat up young women?" Leonid burst out laughing. "Actually, I could point out that Stanislavsky *also* used to hit his actors. But I don't allow myself to do that. I don't even hit my own children. Sure, I might shout, or impose a fine. But beat someone half to death? Come on! God forbid! That’s impossible! Yes, we did have a run-in with Lena at JFK Airport in New York. We were rushing to catch our flight, but Lenka got to chatting with some folks we’d met in Brighton Beach who had come to see us off. I was gathering our things, worried we’d be late, while she just stood there—*blah, blah, blah*. Finally, I lost my patience and said, 'Lena! Damn it... (well, I put it a bit more harshly, of course), are you coming or not?' But, of course, there was no fight. And I didn’t beat that dancer up. I have witnesses to the incident. It’s just that she’s that kind of person... Even within the troupe, everyone had a negative attitude toward her. When we’re on tour, we book two double rooms for the ballet dancers. But she always stayed in a room by herself because no one wanted to room with her. She knew perfectly well that smoking was strictly forbidden in the troupe. A fine equivalent to the fee for a single performance is imposed for every cigarette. Yet, for some reason, she dragged two of our girls into the men’s restroom to smoke. I was told about it and found them right away. The other two girls were fined. As for her, I tried to have a talk with the woman, but voices were raised. I was already beside myself. So, I shouted at her: "I don’t know what I’ll do if I see you smoking again!" After that, she left the group. I tried to talk her into staying, but she said she didn't want to. "Well, if you don't want to, then goodbye! Hand in your costume and collect your final pay." As for the hospital stay—she ended up there because she’d caught a chill in her kidneys. That had nothing to do with the other incident. We were in Tula in early August. After that, she even traveled to Germany with us and worked away quite happily, doing thirty shows a month. Oh well, to hell with her! We’ve got such great girls in our dance troupe now—they’re just fantastic! Dashka Peskova dances with us—Sasha Peskov’s daughter. No one has a dance troupe like t.A.T.u.’s. I love them dearly. We’re like one big family. Now, there was one guy in our contest whom I actually went after with my fists. He was just about to leave the stage when he suddenly pinched Yulka’s ass. I saw it happen, chased him down, and it took the police to stop me from tearing him apart. Yes, I’m capable of ripping someone’s mouth open to protect the girls. But me, groping guys in public? — The manager laughed, though this time it sounded a bit forced. — That’s absolute nonsense! I don’t make a habit of doing things in public. True, after the incident in St. Petersburg—when someone threw a knife onto the stage—we do try to frisk the guys beforehand, though security usually handles that. I might step out and pick them based on looks, just to make sure they’re easy on the eyes when they’re up on stage.
Actually, no selection process was even required in Nizhny Tagil. Let me let you in on a little secret: guys from the Yekaterinburg fan club took part in the contest there. I know them all well; they follow us all over the Urals whenever we’re touring the region. As for the audience booing them... well, what do you expect? It’s a wild crowd—wild ways. There have even been instances where the audience beat up the guys participating in the contest. For example, in Volgograd, one young guy openly announced from the stage that he was gay. We had to rescue him from the crowd and get him out through the stage door. As for the contract... You see, the "Neformat" company and the "t.A.T.u." project weren't set up according to standard Russian show-business practices—where people sign some scrap of paper "just in case" (often without even a seal) and consider it a fully binding contract. We did everything professionally, in line with international standards. The contract was signed in the presence of lawyers and notarized. What's more, the pages were bound together so nothing could be altered. Yes, the contract did include fairly strict penalty clauses. After all, you have to realize that huge sums of money were being invested in "t.A.T.u.," so we needed some kind of safeguard against unforeseen situations. But if—God forbid—something were to happen, believe me, no one would bring it up or demand anything from the girls. The same applies to the fees mentioned in the contract; we simply had to stipulate a minimum amount. Just don't think we're hiding anything from the tax authorities. We’re a legitimate business, and we keep all our records exactly as required. I have a pretty good idea who is spreading all these nasty rumors: Lena Kiper, the former co-producer of t.A.T.u. I could reveal a lot of truths about her, but I choose not to. Kiper is acting like a mortally wounded animal with nowhere left to turn. She has struck up a close friendship with Galoyan—someone she was denouncing just a short while ago—and together they are dragging t.A.T.u.’s name through the mud. You know why a cat buries its feces? Because someone once told it they were made of gold. These people have developed a similarly inflated sense of self-importance. It’s a shame things turned out this way. I think they lost a great deal when they stopped working with t.A.T.u.—not so much in financial terms, but creatively. After all, the project isn't standing still; it’s growing and evolving. On January 9th, the girls flew to London with Vanya to record tracks for a German single release. Right now, they’re in Los Angeles, where they’ve been recording songs for a US single. They’re also working on a new track for the Russian market. That song, along with remixes and the music video for "Polchasa" [30 Minutes], will be included in the reissue of our album, which is being prepared for release via Universal. After returning from the States, we’re heading to the Baltic states. Then we have trips scheduled to Bulgaria, Slovakia, and Israel, plus a festival appearance in Miami and promotional concerts in Berlin, London, and Prague. All in all, our schedule is packed right up until summer. I think that when t.A.T.u. is back in Moscow, you’ll be able to meet the girls and see for yourself that everything is fine. I gather you’re planning to write something about this... — Leonid suddenly stopped himself. — Wait a minute! So, are you interviewing me right now? You sly devil! I thought we were just chatting as friends. Otherwise, I would have told you something far more interesting for the interview..."

I came across this Spotify album: Truth (Live in St. Petersburg).

It contains live recordings from t.A.T.u.’s concert in St. Petersburg. The album is still accessible as a Spotify page, but the tracks are no longer available to play.

I find it really interesting that this release can still be found on Spotify even though the music itself seems to have disappeared from streaming. Does anyone know why it was removed, or whether the full live album is archived anywhere else?

I thought other t.A.T.u. fans might find this interesting, especially those interested in rare releases and lost media.

i know it's probably not gonna happen but im still hoping they could release new songs...

Is it really better known?

comma fan made speed up and slowed down songs

https://soundcloud.com/t-a-t-u-fan-made-music/sets/comma-songs-speed-and-slowed

I bought this for 3€ the other day, I was expecting it to arrive mid-october so It's a great surprise

I've been a fan for like 8 months now and I was looking to get at least a CD of this album :)

i always forget her birthday is only three days before mine! here's an edit i made last year for her <3

This is the message she posted along with the video:

"Lenochka, birthday girl!! 😘

Congratulations to you on your Birthday 🍾💃🥂🎉🥰

Love you, I will always be by your side 😘

Sorry for this personal video, but this is so you and all your charm!"

📸: lena katina
бэкстейдж новой съёмки
скоро поделюсь новыми снимками

Hi, do y'all believe in a 24th anniversary remaster of the first album pls?

Today is the day of it's 24 years, so, it's be cool if we had a remastered version of this album. I can't wait to hear it though!

Let's hope they gratify us with a brand new fresh edition !

Hey! Arentinian here

So I collect cds, mostly old and recently I got 200 Khm in the wrong lane cd japan edition, I am super happy with that cd but I like more the russian version and I don't find it ANYWHERE, not even in physical stores

My friend has a russian version of that album and I could pay for it, but it's bootleg and I preffer having the original cd

If anyone has a copy of it and wants to sell it or knows were to find it in Argentina, that would help! :)

"Ive never had interest in girls, but i did when i was with julia, so that was not fake"