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Tokio Hotel aims to translate Euro success to U.S
Sat Oct 10, 2009 1:05pm EDT
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By Mark Sutherland
LONDON (Billboard) - Sometimes, much weirder things happen at the MTV Video Music Awards than Kanye West interrupting an acceptance speech.
Take the 2008 VMAs ceremony, for example, when the A-list glamour of Hollywood's Paramount Studios red carpet was upset by the entrance of four teenage cyborgs with preposterous hair who stood atop an enormous monster truck. Emblazoned with their band name in foot-high letters, the truck was the cyborgs' not particularly subtle way of telling America what the rest of the planet already knew: Tokio Hotel had arrived.
So far, so Eurotrash gate-crasher. Tokio Hotel -- a curious electro-Goth-glam-emo boy band that had climbed no higher than No. 39 on the Billboard 200 -- had what seemed a token nomination in the fan-voted best new artist category. It was up against the creme de la creme of U.S. female pop: Miley Cyrus, Katy Perry, Jordin Sparks and Taylor Swift. The likelihood of Tokio Hotel winning seemed about equal to that of Satan ice skating to work the next day.
"We were at the awards watching it outside on a massive screen," recalls Martin Kierszenbaum, chairman of Tokio Hotel's U.S. label, Cherrytree Records, as well as president of A&R for pop/rock at Interscope and head of international operations for Interscope Geffen A&M. "I was half-distracted because I didn't really expect them to win -- it just seemed a little ... hopeful. But they announced it and suddenly (Interscope marketing executive) Bob Johnsen just punched me as hard as he could on the arm. Boom!"
The band and most of the audience were similarly dumbstruck. Yet no one saw the need to interrupt singer Bill Kaulitz -- the one who looks like a cross between a Bratz doll and a cockatoo -- during his incredulous acceptance speech.
"To be honest, it would have been a good moment if someone had come onstage," Kaulitz reminisces a year later. "I was onstage at the VMAs and I was speechless."
"We got very drunk," says his twin brother, guitarist Tom, with a laugh -- he's the one who looks like a cross between Predator and a Jonas Brother. "Even though we can't drink in the U.S. until we're 21."
The next day, they weren't the only ones suffering.
"Man, I had a charley horse from that night," Kierszenbaum says with a laugh. "But I'll take a charley horse any day if it means winning an award."
SWEEPING THE CONTINENT
One suspects many in the Tokio Hotel camp have been sporting similar injuries during the past four years. The band acknowledges the VMA win as "the biggest thing in our entire career," but in truth it was just another moment in a career trajectory that has defied conventional wisdom, international boundaries and, at times, logic.
Formed in the East German town of Magdeburg, the band -- which also features bassist Georg Listing and drummer Gustav Schafer, the two who look like they've come to fix the Kaulitz brothers' car and computer, respectively -- began playing under the name Devilish in 2001.
A deal with Sony BMG followed. But Tokio Hotel was dropped in 2005, when the members were just 15 -- a decision that, in pure commercial terms, is starting to compare to Decca's rejection of the Beatles. Undeterred, the twins signed with Universal Music Germany and quickly became a hot property with their 2005 German-language debut, "Schrei."
And there, frankly, the story should stop. German-language pop music is right up there with English cuisine as a concept that doesn't travel. Not since Nena's 1983-84 hit "99 Luftballons" -- cited by Bill as a formative influence -- had songs with umlauts made it beyond the Maginot Line.
Yet "Schrei" didn't just reach No. 1 in Germany and Austria and top three in Switzerland. It hit the top 10 in Greece, Hungary, the Czech Republic and Poland and, almost unprecedentedly, No. 12 in France -- a country that regards German pop music in much the same way that it looked at George Bush -- while peaking on Billboard's European Top 100 Albums chart at No. 5. Continued...
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