At the end of April, the aggressor-controlled “media” began to actively distribute “discrediting materials” regarding the “musical project” “Artik & Asti”, which actively serves the undemanding “cultural needs” of the aggressor, whose “singing mouths” in recent years have been Artem Umrikhin (Artik), a native of Zaporizhzhya, and Sevil Valieva (Asti), a Crimean Tatar from Simferopol.
The fact is that, obviously striving to preserve the audience of third countries and freedom of movement around the world for their “imperishable works” in the style of clips “about the sweet life” of Russian bandits, Umrikhin and Valieva do not hold their concert “harvest” in occupied Crimea, complaining about “poor logistics”.
However, the level of “compromising evidence” poured out on them about how “for a 45-minute performance at a corporate party the singer asks for six million” rubles and “60 thousand per diem for the team”, and in the “dressing room there should be Macallan whiskey, MOËT champagne, pork-free cuts and restaurant food” can impress only the Crimean old men who watch such cuts only on the “blue screens”.
But it is obvious that the revelations about the “business class transfer” arose in the aggressor’s propaganda for a reason: Kremlin needs urgently a “Crimean Tatar singer of the Russian world” with an extremely small “personnel reserve” on this issue.
Apparently, the aggressor’s special services will soon take the aforementioned “creative tandem” into tight circulation, and instead of endless tracks of one and a half chords, about how “feelings fly along the highway in a BMW”, Ms. Valieva will have to “tightly work off” her whiskey from Moscow’s five-star hotels, according to the full propaganda program of the Kremlin.
