Sandra Ann Lauer was born on May 18th, 1962 in the rather provincial German town of Saarbrücken, close to the French border. That area has always been influenced by both German and French lifestyle. You can find proof of this in the constellation of her family: Sandra’s father, Robert Lauer, is French and her mother, Karin Lauer, is German. Although seeing herself as German and being born and raised in Germany, Sandra owns a French passport, which later gave her some advantages on the French music market. There have been speculations about how good her French really is, though. Sources go from “perfect” to “not more than typical German middle school ability” - she didn't seem to grasp much of it in a French TV show when the host asked her some things in French - but it seems logical that she learned at least some French from her father. Her mother language, however, is definitely German.
Sandra has a 2 years older brother, Gaston, who nowadays works as a computer specialist. Her father owned a wine shop in Saarbrücken and her mother was working in a shoe-shop. The family was living a simple life in a terraced house, once a year they travelled to France or other European countries for their holidays.
Very early it was clear, that Sandra was much interested in music. She started to learn classical ballet dancing at the age of 5 and kept on doing this for 10 years. She took even part in such events like Tchaikovsky’s “Swan Lake”. But she had to end it because of a problem with her back.
At the age of 10, she got her first own guitar. A school teacher, who lived in the same street, used to give her lessons in guitar playing.
At first, Sandra’s childhood was very much the same as any other German kid's childhood: She was going to elementary school, then middle school and was dreaming of a career as ballerina.
That all changed in 1975. Sandra was visiting a competition in Saarbrücken, called “Young Star Festival”, where new talents for the music industry were scouted. She was not actually taking part in the competition, she was only in the audience.The version that is now part of the official Sandra biography and which is also told in the two books about Sandra, is this one:
There are two different versions of what happened next. It is hard to tell which one is true, because they have not much in common. Probably the truth lies somewhere in the middle.
When all the nominated young and hopeful kids had finished their parts and the jury was discussing the results, she told her mother that she had to go to the bathroom, stood up, walked onto the stage, talked to the DJ to put on the German cover version of a song from Olivia Newton-John, grabbed the microphone and started singing, just like that.
In the audience also was a record producer who was scouting talents for BASF, a huge German chemical corporation, which had a record label of the same name at the time. He was impressed by the talent, the self consciousness and the charisma of that young girl. At the end of the day, Sandra had gotten herself a record contract.
In Sandra's very first interview, however, an article in the magazine "Pop/Rocky" from 1976, the story is told a bit differently. Sandra reports there:
"The things on stage were partly outrageous, I hardly could sit still on my chair. I told my mother that I could do that, too, and even better. My mother tried to calm me but I didn't calm down. I asked her to go to the host and ask, if he allows me to sing a song out of competition. My mother said I was crazy but finally she went to talk to the man. I sat on my chair with great excitement. Would he allow it or not? Then the host went on stage and said into the Microphone: 'Ladies and Gentlemen, among you is a 13 year old girl, she would be happy for her life if she was allowed to come on stage and sing something for you. Do you agree to it?' The audience applauded with enthusiasm, my heart leaped of joy, I ran onto the stage, made a courtesy and then sang the song 'Er gehört zu mir' from Marianne Rosenberg. I had no stage fright, no trembling knees, I just sang. And then the applause, it was marvellous! Happily I walked back to my place. I saw how my mother put away a crumpled handkerchief, she had been much more excited than I. A few days later a man called on the phone, saying he was a record producer and wanted to record a single with me..."
In this report Sandra also tells, that her 2nd single should be a cover of a song by Olivia Newton-John. But it didn't come to that...
Sandra’s first single was “Andy mein Freund”, named after a dog she had in those days. Unfortunately, this all happened when BASF decided to cancel their music activities. The other artists went on to other record labels but for Sandra it was it. “Andy mein Freund” never got much promotion and was an almost unnoticed flop. So she went back to school after the summer holidays and life went on like before. The single was handed around among relatives and friends of the family and was taken more like a curiosity than a serious attempt to become a music star.
But from now on Sandra knew her way, knew what she wanted to become. From now on, she concentrated all her will and her power on becoming a singer. She had taken a snoop into the show business and decided that it was what she wanted.
Two years later, Sandra finished school. The contact to Hans Scherer, the former head of promotion for BASF records, had never been cut, they still knew each other and he arranged a contact with “Melodie der Welt”, a Frankfurt music publishing house. At that time Wolfgang Mewes, the head of “Melodie der Welt”, was in the process of creating a girl group with the name Arabesque. 1978 was the time of the disco sound, with artists like Donna Summer, Silver Convention, The Pointer Sisters or Clout. Disco girl groups were very popular and successful back then and were dominating the sound of pop music like never before. Arabesque started without Sandra at first. But after the first recorded album "Friday Night" changes were made in the group and finally the time had come for Sandra.
Sandra liked Wolfgang Mewes’ concept and joined Arabesque. She moved to an apartment in Frankfurt. Completed with Michaela Rose from Frankfurt and Jasmin Vetter from Freiburg the trio recorded their next record. The chosen studio was “Europasound Studios” in Offenbach, near Frankfurt. It was owned by famous producer Frank Farian, the creator of Boney M. and later Milli Vanilli.
One of the young, innovative and ambitious musicians there was a keyboarder with the name Michael Cretu. Michael was jobbing in the studio to finance his music college. Sandra and Michael quickly realized that they have one thing in common: The same birthday date. They became good friends.
Although Arabesque and their music were hardly recognized in Germany, things got in motion in January 1979 at the “Midem” in Cannes, at the time the most important annual meeting point for those who made music or were somehow involved with it. The trends for the next 12 months were set there.
In 1979 it was Arabesque who got the attention of Mr. Kita, a representative of the big and mighty Japanese record company Shinko Music. He decided to release the single “Hello Mr. Monkey” in Japan.
Four weeks after that, Arabesque was leading the charts in Japan for the first time. All in all the single stayed for 38 weeks in the Japanese charts.
A new period in Sandra’s life had begun. For the first time, she was away from her family, appeared on stage and on T.V. in foreign countries, gave interviews, sang at concerts and had promotion dates. It was a hard school and she had to deal with it all alone.
She also developed new talents during that time, for example designing stage costumes for the group. It was necessary, because the photographers always wanted new outfits for their pictures. At her 16th birthday, Sandra was a star.
Although in the following years Arabesque was having a lot of success in other European countries and in the Soviet Union, too, Germany never paid much attention to the group. They only had 1 Top 10 hit in 1981 with “Marigot Bay” and that was it.
One of the reasons probably was that Arabesque was most successful in Japan. Thus the songs were more and more written for the taste of the Japanese record buyers and didn’t quite hit the taste of German music fans. Also the German critics completely ignored the group, although they appeared from time to time in the famous "Musikladen", Germany's No. 1 music TV show at the time, hosted by Manfred Sexauer. And they also were part of a Japan documentary of popular German TV host Frank Elstner.
In 1982, Sandra was 19 years old. She had seen the world and was a famous, celebrated pop star in many countries of the world. But she started thinking about the future. It was clear that the end of Arabesque’s success was only a question of time, because the era of disco music was coming to an end. And the thought of ending her career at an age where normal girls just end school, was not very appealing to her.
She had to move on but how? She only knew that she didn’t want to wait for the end without having done anything to prevent it. She wanted to take her fate into her hands, wanted to steer her career by her own as much as possible.
She also realized that there was something missing in her life: Privacy. Being alone in her Frankfurt apartment, she realized that she had missed one of the usual things that happen in a young woman's life: Making friends for life, changing boyfriends etc. She didn’t have friends to chat with, had nobody who could renew her power and energy after the long journeys. Most people she knew now, were also working in the music business and friendship is a rare good there.
Michael Cretu was the one who got more and more important for her in those times. They still knew each other from the time in “Europasound Studios”. In the meantime, though, Michael had begun building himself a career as music producer.
Michael Cretu immigrated from Romania to Germany in the early 1970’s to study classical music in Frankfurt. But he soon realized that it was not satisfying for him. It was all repetitive and there was nothing new to develop. Michael wanted to be a creator of new music, new sounds and that was not possible with classical music. Although he loved and still loves classical music very much, he switched to pop music after completing his musical studies. He graduated as classical piano player, with a special remark for his brilliant composing abilities.
The late 1970’s and the early 1980’s saw a new development in the German music scene. Being dominated by English and American pop music with only a few exceptions, a new kind of pop music was now becoming popular. A new sound from bands like Ideal or Spliff, who dared singing in German - that was something new because German language in pop music was considered "uncool" at the time. The music of those groups, however, had an own identity, it was not just a copy of English or American sounds. Because of its success it was soon called “Neue Deutsche Welle” (New German Wave) and became increasingly successful with more and more artists joining in: Nena, Peter Schilling, Hubert Kah, Extrabreit, Rheingold, Falco and many, many others were part of this new movement and laid the foundation for lots of things to come in the future. They proved that it's possible to create a commercially successful pop music scene within Germany, even push aside imported pop music from England and the USA. In the early 1980's, German and English sung music could be seen in a 50:50 relation in the German Top 10.
Michael once admitted that he was much influenced by "Neue Deutsche Welle" (NDW), when he made his 1983 album “Legionäre”. It sounds very much NDW, with its newly created sounds and enchanting melodies.
Michael Cretu also got a reputation as a talented producer. He produced the Austrian singer and songwriter Peter Cornelius, his album “Reif für die Insel” was Michael's first production that earned gold status.
Michael also joined Arabesque on a tour through Japan as keyboarder. According to Sandra it was then, when friendship became love. Back in Germany, Sandra moved in with Michael in his Bad Homburg apartment near Frankfurt.
In 1984, the chapter Arabesque was at an end. The three girls parted and went their own ways. Sandra and Michael moved to Munich, Germany’s biggest city in the country’s South, where Michael soon owned his own studio, called "Data-Alpha", after a song from his solo album "Legionäre".
At the end of 1983, a group with the name Alphaville had a huge No. 1 hit in Germany: “Big in Japan”. Sandra liked the song. “Big in Japan”, that’s exactly what she was, wasn't she? The song title couldn’t fit better on her. So Michael produced a German version with her: “Japan ist weit”.
The idea of making a German cover version of an English hit song was not new. It was common in those days in Germany and many German singers were very successful with this method. So the odds were good that it might become a success and Sandra and Michael managed to place the single at a record company.
But “Japan ist weit” was a total disaster. Only 125 singles were sold. Sandra sold even more of her first single “Andy mein Freund”. Such things are a nightmare for every artist and and normally are a reason for record companies to let someone fall like a hot potato.
But fortunately not only Michael Cretu kept on believing in Sandra. The engine of her carrier now became three men: Jürgen Thürnau, Udo Lange and Dirk Hohmeyer. It is important to know a little bit about them to understand how Sandra’s success was possible against all odds after the "Japan ist weit" flop.
1. Jürgen Thürnau
Jürgen Thürnau started out as a record salesman and became marketing director of the record company he worked for. He also got into the creative part of the business and was involved with many productions, for example with the album “Für Usszeschnigge” of the Cologne rock band BAP. He also was responsible for the success of the NDW band Spider Murphy Gang who had big success in 1981 with the single “Skandal im Sperrbezirk”. The name of his managing company was “Mambo Music”.
At Mambo, there was a different kind of thinking. The company was more like a family, they wanted to make if different, not so hard and cruel like the rest of the music business. They believed in and supported their artists. Jürgen is still Sandra’s manager today.
2. Udo Lange
At the beginning of the 80’s, the British record company Virgin decided to create a German branch, called “Virgin Schallplatten GmbH”, located in Munich. Virgin Records was owned by the excentric billionaire Richard Branson and was known to be unconventional in its methods and open to all new things. Virgin was founded just because a young, unknown artist with the name Mike Oldfield didn’t get a contract elsewhere.
Udo Lange was responsible for the German promotion of Mike Oldfield’s first album “Tubular Bells” and he was responsible for all the artists that Virgin got under their wings. When “Virgin Schallplatten GmbH” was founded, he was the first choice as chairman for the new German branch. Udo Lange was eager to do something for German artists, to give them a chance to become popular and successful. His goal was to develop the German pop music scene.
3. Dirk Hohmeyer
Dirk Hohmeyer, the third man of the trio, started out as roadie and road manager of the group Birth Control back in the 70’s. He was offered the job as second man at Virgin Germany behind Udo Lange and accepted it. From then on he was responsible for record sales and promotion. He also accompanied the artists in the studio and at video clip shootings. He didn’t just want to sit behind a desk. With this kind of philosophy, Udo Lange and Dirk Hohmeyer of Virgin became a perfect partner for Jürgen Thürnau of Mambo Music.
The three became friends, which is rather seldom in the music business. Michael Cretu fit perfectly into this group, because each one had his special talents and responsibilities and together they made a perfect match. In spite of the flop with “Japan ist weit”, it was clear that if Sandra and Michael were deciding to do something new, the three others (and Virgin) would be supportingly involved again, too.
Michael and Sandra wanted to go on. But they didn’t rush it. They took their time. Nobody pushed them, nobody wanted immediate results. And this time it should be an own song.
In 1984, Michael Cretu was producer of Hubert Kah, a German singing band that was just developing into a serious pop group with an international quality, after the "Neue Deutsche Welle" had faded. Hubert Kah consisted of singer and songwriter Hubert Kemmler, guitar player Markus Löhr and bass player and lyricist Klaus Hirschburger. Their 1984 album “Goldene Zeiten”, produced by Michael Cretu and Armand Volker, included the single hit “Engel 07”. All three should become a very important part of Sandra’s success.
Hubert Kemmler, Markus Löhr and Michael Cretu had written a song called “Maria Magdalena”. The lyrics were written by Englishman Richard Palmer-James.
With "Maria Magdalena", they created more than a new song - they created a new sound: The “Sandra Sound”.
It consisted of great keyboard sounds, an “earworm” melody and a kind of “voice dialogue” in the refrain between Sandra and her male counterpart, which was sung by Hubert Kemmler himself.
Dirk Hohmeyer remembers: “The Southern European Countries grabbed the song first. Spain, Italy, Greece and France didn’t hesitate for a moment. It was exactly the music that was wanted there. And the song first entered the charts in Italy.”
“Maria Magdalena” was released In March 1985. While in Sandra’s own country Germany nothing happened at all again at first, some other countries reported positive reactions. Sandra was booked for TV shows and interviews. In Germany, nobody wanted her yet.
The success in France was also possible because of Sandra’s French passport. The French strongly protect their music market and only a certain quota of foreign music is allowed. Thanks to her passport, however, the French market was wide open for Sandra.
The year went on and German tourists, who spent their holidays all over Europe, heard “Maria Magdalena” on the radio in their holiday countries. Back in Germany, they started asking for that song in the record shops. At the end of June, Sandra appeared with “Maria Magdalena” in the music show “Rock Pop Music Hall” on German TV. Finally the success was coming to Germany, too - with a vengeance. The song climbed to No. 1 in the charts and stayed in the Top 20 for 16 weeks. The following single releases "In the Heat of the Night" and "Little Girl" proved that Sandra had the potential to become a real big pop star.
Her first album "The Long Play", released in November 1985, went straight into the Top 10 of the German album charts. She became very popular all over Europe (except England), in South America, Asia and in the Eastern Block countries. In many countries she broke records, was more successful than for example Abba or The Beatles.
It was clear from the beginning, that Sandra wanted the success but she wanted it the “clean” way, meaning: No scandals, no sex affairs, no drugs, no negative headlines. She wanted to convince with her music, not with yellow press articles. Her principles were and still are: Discipline, hard work and professionalism. Now that she had success, she also wanted to work on herself to become better.
As a result, in February 1986 Sandra moved to London for half a year. There she took singing lessons from one of the best singing therapists of the music scene: Helena Shenel. Helena also had been responsible for the voice training of stars like George Michael, Jimmy Sommerville, Paul Young or Alison Moyet. Sandra took 6 hours of training every day.
She also joined the London Berlitz school for languages, where she improved her English abilities and took drumming lessons to get a better feeling for rhythm and timing.
For the weekends she went back to Munich during this time period, where she continued working in the studio on her new songs and also made her “homework” from language school.
All in all, Sandra did not like the time in London much. The mentality of the London citizens and their prejudices about Germans made her angry. She was treated not very politely in daily life and also mentioned an incident where a punk was trying to steal her handbag and a nearby Bobby did not help, because “nothing had happened”.
In October 1986, "Mirrors", her second album was released. All four single releases went straight up into the charts.
With the 1987 compilation “Ten on one” also came a video release, that not only contained her video clips, but also offered a look behind the scenes and into her life. Sandra had become a world star. The only countries where she remained unknown, were Great Britain and the U.S.A., although a remix of her 1987 mega hit “Everlasting Love” also had some success there. It was the only one, though.On the peak of her career, in 1988, Sandra was the most successful female pop star in Europe, more successful than competitors like Madonna, Kylie Minogue or Kim Wilde. Life in Munich became more and more difficult because of the increasing fame, so Sandra and Michael moved to a new home on the Spanish island of Ibiza, into a 500 year old, renovated farm house in the Ibizan hills.
There were a couple of speculations about the "true" reasons for the move to Ibiza. Besides that it is a very beautiful and sunny place to live, it obviously had something to do with the climate back in Munich. Fans were camping in their garden, people got envious about her success and lifestyle and that obviously weren’t the best circumstances for people who live from being creative.
Again, like in Munich, Michael installed a recording studio in the basement of the house on Ibiza. He called it "A.R.T. Studio". The album "Into a Secret Land" had already been recorded there and the mood of the album was clearly influenced by the move to the sunny island in the Mediterranean. Again, all four single releases went high into the charts.
On January 7th, 1988, at 1:30 p.m., Sandra and Michael finally married on Ibiza and Sandra Lauer became Mrs. Sandra Cretu. The scheduled date had already been December 31st 1987, but it had to be postponed because of not foreseen difficulties with the authorities and the local Ibizan judicial office.
All the time Sandra could rely on the successful team that had already been responsible for “Maria Magdalena”: Hubert Kemmler, Markus Löhr, Klaus Hirschburger and of course Michael Cretu. For the album “Mirrors”, co-producer Armand Volker temporarily joined the team and brought in some of his touch.
After the album “Into a secret Land”, however, things changed. Hubert Kemmler left the team for personal reasons. The very sensible Hubert felt that he was neglecting his own talents and his true self and he also suffered a serious of nervous breakdowns that let him burn all bridges behind him.
1990 the album “Paintings in Yellow” brought a change in sound. The first single, "Hiroshima", became Sandra's biggest hit since 1985. Michael introduced Frank Peterson as co-producer, who’s influence is clearly audible. Also “Paintings in Yellow” already showed traces of another project that Michael Cretu was working on: Enigma.
In 1991, a song called “Sadeness, Part 1” became a huge hit in many countries all over the world. At first nobody knew who was hiding behind the alias "Enigma", but Sandra fans quickly identified her voice in it. It didn’t take long to find out that Enigma was actually Michael Cretu (alias “Curly M.C.”). Co-producer was Frank Peterson (alias “F. Gregorian”).
Enigma became the biggest success of a German music production ever and the debut album “MCMXC a.D.” has become the best selling German pop album of all time.
Because of the overwhelming success of Enigma and the more than two years break after “Paintings in Yellow”, there was an obvious gap in Sandra’s career, which was finally closed with the album “Close to Seven” in 1992. It was the first album that was almost completely made by Michael Cretu alone. The male vocals were sung by Andy Jonas, a German singer who chose the artist name Andy “Angel” Hart for himself. “Don’t be aggressive”, the first single release from "Close to Seven", once again entered the Top 20 and once again Sandra could be seen on TV very often. And finally she also got some positive attention by journalists. In 1992 Sandra and Michael were recognized as the most successful married couple and were awarded with the Golden Europe.
Despite this late recognition, though, the times had changed. The 80's were over and the 90's brought Techno and Trance Music. New artists like SNAP or U-96 dominated the scene, it was the hour of the DJ music. The Sandra sound did not really fit in anymore. Although “Close to Seven” is mostly considered Sandra's best album of all and despite its qualities as a good, solid pop music production with timeless listening qualities, the success of it couldn’t quite reach the success of her earlier albums.
It is difficult to analyse the reasons but it might also have something to do with the fact, that Sandra not only changed her musical style, but also her appearance. She looked riper, more womanly, and also seemed to be more thoughtful than before. She obviously tried to get rid of the teen idol image and intended becoming a pop star for an adult audience.
Unfortunately that didn’t work well. The second single release from “Close to Seven”, the unusual “I need Love”, was the first single after “Japan ist weit” that flopped and didn’t enter the charts. After that, the single “Johnny wanna live”, a song against animal testing, could again enter the charts but the success was not really overwhelming. Thus, the compilation “18 Greatest Hits” from 1992 marked the end of her successful solo career - till now.
In 1993 Sandra released a techno version of “Maria Magdalena”, though, which was obviously a try to take profit from the new techno sound. But the remix just didn't fit on her. Also her metamorphosis from teen idol to vamp-like techno queen was not believable. “Maria Magdalena ‘93” did not enter the charts.
While Michael went on with Enigma, having enormous success with it, Sandra kind of retired.
At the end of 1994 the news got around, that Sandra was pregnant with twins. It was then clear that she decided to put her career on ice for some time to give birth to her children and raising them.
So it was a big surprise that suddenly in 1995 a new Sandra album was released with the title “Fading Shades”. Sandra recorded it being highly pregnant, she even had to sit during the recording sessions. The first single, a cover version of the famous Moody Blues hit “Nights in white Satin”, didn't have the desired success, probably because Sandra was not in the condition to do any promotion for it. Again Andy “Angel” Hart did all the male vocals on "Fading Shades". The second single release “Won’t run away” was the first one without a video clip made for it. It didn't enter the charts but still got some airplay.
"Fading Shades” showed the handwriting of Michael Cretu's new protégée Jens Gad. Many fans think it's not a good production work and it certainly has its flaws. But it surely also has its qualities and some great songs, like the beautiful "First Lullaby", a song Michael wrote for his yet unborn children.
Jens Gad obviously had replaced Frank Peterson, who left the Cretus in anger after the success of the first Enigma album. In an interview, Michael stated that Frank had “stolen sounds from him” to use for his own project Gregorian, but probably Frank also has its own version of what happened and the truth will surely like always lie in the middle.
On July 6th 1995, Sandra gave birth to her twin sons Nikita and Sebastian in a Munich hospital through caesarean section. Although she lend her voice to Michael’s Enigma project, she took a break from the music business that lasted four years. During this time she was raising her kids and probably also recovered from the stress and drains of almost 18 successful years in the music business.
Sandra’s parents had also moved to Ibiza, and were helping her a lot with the family business. “They worked hard for their whole life, now they have the right to enjoy the rest of it”, Sandra said. It obviously is Sandra’s way to thank her parents, because without their support and tolerant attitude towards Sandra’s career plans, she would have never been able to become the star we know.
In May 1999, a remix of Sandra’s 1988 hit “Secret Land” was released and entered the German charts on place 69. The video clip showed a still slim and beautiful Sandra with shorter hair.
The following double CD “My Favourites” included 12 remixes of old songs, done by Sandra’s long time band companion Peter Ries. It made its way even into the Top 20 of the German album charts and showed that Sandra still wasn't forgotten and that her fans were desperately waiting for a comeback.
In the last years there were critical statements about how Sandra’s management and Virgin Records were handling her career and also the career of Michael Cretu.
But it is all based on pure speculation and probably also an expression of frustrated fans. After all, it all might just be the way Sandra and Michael actually want it to be. They always were the ones in control of their careers and there is no reason why this should have changed.
In 2000, Sandra did background vocals on Andru Donald's single release "Precious little Diamond". Michael had invited the Jamaican Andru Donalds as vocalist for the 4th Enigma album and soon they became friends. They decided to do more together and so Michael co-wrote and produced Andru's next two albums "Snowin' under my Skin" and "Let's talk about it".
In 2001, news about a new single release and also plans for a new album filled the fans with anticipation. In October 2001, the new single "Forever" was finally released - the first new Sandra song since 1995.
It made it into the German charts up to position 47, despite the facts that there was hardly any promotion (only 2 TV show appearances and a visit to the German music TV station "VIVA") and that most of the big German radio stations didn't play the song. In March 2002, the all new album "The Wheel of Time" followed. It entered the German charts on No. 8! A sign that still many fans were desperately waiting for new Sandra music.
Although some criticised the fact that "The Wheel of Time" contained no less than four cover versions of 80's songs, including the second single release "Such a Shame", the album was received very well by the fans. But there was a big lack of promotion and it almost seemed like radio stations deliberately avoided playing Sandra in their programs. Hence the success of "The Wheel of Time" faded away quickly.
On Sept. 8th 2003, the long awaited Sandra DVD "The Complete History" was released. Now all fans are waiting for the next move of the house Cretu.
But no matter what happens next, nobody can take away the legacy of a unique and great artist in show business. Sandra was and still is Germany's internationally most successful female pop star and no matter if one likes her or not - that alone is reason enough to acknowledge her for what she is: A shining star in the sky of pop music.
Sources: "Sandra – Stationen einer Karriere" (Book by Siggi Niedergesäss)
"Sandra" (Book by Katja Röcker)
Many interviews, reports and articles in German magazines, on TV or internet
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