On June 30, Crimean collaborators in the form of “speaker” Vladimir Konstantinov and his current henchman in the “state council” Sergei Tsekov decided to “please the Crimeans” with the announcement of a “new anthem of the republic”.
Let us recall, that the epic of “rewriting the anthem” has been going on for almost a year, for which the occupiers previously used the words and music of the anthem of the Autonomous Republic of Crimea, written by composer Alemdar Karamanov and Crimean poetess Olga Golubeva, and approved by the Supreme Council of Crimea as the anthem of the autonomy back in February 1992, for the melody, and in 2000 for the text.
What the Nazi Konstantinov so sharply “didn’t like” in this work, which, in his words, “does not reflect new realities…”, was understandable, the collaborators directly said that there was “no mention of Russia” there. However, the tragicomic epic of “hymn writing”, due to the obvious lack of those willing to “dip” into this scam even among the aggressor-controlled “poets and composers”, clearly dragged on.
And now the collaborators have declared that the project of the new “hymn” has been “preliminarily approved” by them, they have declared a joint “imperishable work” of the former “senator” from Crimea Olga Kovitidi, who “wrote the music”, and the Russian “poet-songwriter” Ilya Reznik, who “joined as the author of the text”.
Earlier, the same Reznik actively flickered in the Crimean provocations of the aggressor, mainly “tied” to occupied Yalta, and apparently the “winners of the competition” were determined by the collaborators in advance.
In the kitsch of the “new anthem”, published by the collaborators, not so much the phrase about Crimea as “the margin of great Russia”, actively and sarcastically discussed by the “competitors” of the Konstantinov clan, is noteworthy, but the role of Kovitidi in this “immortal work”, as a sudden “composer”.
Let us recall that this collaborator never had anything to do with music, in Soviet times she began her career as a typist and courier in the Crimean organs of the Communist Party and Komsomol, then received a correspondence law education, became a lawyer and before the occupation of Crimea was a deputy and functionary of various structures that had nothing to do with musical activity.
As they gossip in the Crimean “corridors of power”, the current “hymn-writing” from “composer” Kovitidi, like a “shot down pilot”, has one and banal reason – to remind about her “political existence”, in the conditions when competitors have now begun to actively look at the real estate and commerce of her clan, left without “reliable political cover” in Moscow.
