Marianna Tsoi and Natalya Razlogova. Favorite women of Viktor Tsoi. Favorite women of Viktor Tsoi and the country where he wanted to apply for political asylum Viktor Tsoi and Natalya Razlogova their relationship

Victor Robertovich Tsoi (June 21, 1962, Leningrad, USSR - August 15, 1990, 35th km of the Sloka - Talsi highway, 2.5 kilometers west of the village of Kesterciems, Tukums region, Latvian SSR, USSR) - Soviet rock musician, songwriter, painter. The founder and leader of the rock band "Kino", in which he sang, played the guitar, wrote music and poetry. He acted in several films.

Viktor Tsoi was born in the Moscow region of the city of Leningrad in the family of a physical education teacher Valentina Vasilievna Tsoi (January 8, 1937 - November 28, 2009) and an engineer of Korean origin Robert Maksimovich Tsoi (born May 5, 1938). The only child in the family.

From 1974 to 1977 he attended a secondary art school, where the Ward No. 6 group was formed, led by Maxim Pashkov. After being expelled for poor progress from the art school named after V. Serov, he enters SGPTU-61 as a woodcarver. In his youth, he was a fan of Mikhail Boyarsky and Vladimir Vysotsky, later Bruce Lee, whose image he began to imitate. He was fond of martial arts and often fought in Chinese with Yuri Kasparyan, professionally carved netsuke figures from wood.

In the late 1970s and early 1980s, close communication began between Alexei Rybin from the amateur group "Pilgrims" and Viktor Tsoi, who played bass guitar in the group "Ward No. 6", both of them came to visit Mike Naumenko ("Zoo ”) or to Andrey Panov (Pig), in whose apartment the punk group “Automatic Satisfiers” rehearsed.

It was there that the first apartment houses of Viktor Tsoi took place. Having gained some fame, Viktor Tsoi and Alexei Rybin, as part of the "Automatic Satisfiers", traveled to Moscow and played punk rock metal at Artemy Troitsky's apartment houses. During one of these trips, Boris Grebenshchikov noticed Viktor Tsoi, singing to the guitar with a company in the train. He offered Victor help and support not only from his side, but also from Andrey Tropillo, Sergey Kuryokhin and others.

In the summer of 1981, Viktor Tsoi, Alexei Rybin and Oleg Valinsky founded the Garin and Hyperboloids group, which was accepted as a member of the Leningrad Rock Club in the fall. Soon Valinsky was taken into the army, and the group, having changed its name to "Kino", began recording the first album. "Kino" under the direction of Boris Grebenshchikov was recorded at Andrei Tropillo's studio in the House of Young Technician, all the musicians of "Aquarium" took part in the recording.

Soon "Kino" already performed with their first electric concert at the rock club festival, the whole performance went to the drum machine, and to the song "Once upon a time you were a beatnik" BG, Mike and Panker jumped out from behind the scenes on stage with guitars . By the summer of 1982, the album was completely completed, its duration was 45 minutes, hence the name. But later, the song “I am asphalt” was removed from the final version, which can be found in the reissue of “45”, where it is included as a bonus track.

At a party on March 5, 1982, the costume designer of the Leningrad circus wrote her phone number on Tsoi's face with lipstick. The young artist and aspiring musician Tsoi couldn't help but like it. Thus began the acquaintance of Tsoi and his future wife, Maryana ... In February 1985, Victor and Maryana celebrate their wedding. Grebenshchikov, Mike, Titov, Kasparyan, Guryanov and others were invited to the wedding.

On August 5, 1985, Tsoi's son Sasha was born. She supported him in everything, but at the same time she was not only a shadow of her husband. “We were poor as church rats,” Maryana recalled. “We rented a room in a communal apartment, ate what God would send. We couldn’t even play a decent wedding. Instead of a wedding dress, I put on a white jacket and a light-colored skirt with stripes.”

Already in 1986, when his son was only about a year old, Tsoi practically left the family. He lives in the apartments of friends, rarely spends the night at home. In 1987, on the set of the film "ACCA", Tsoi met the director's assistant, Natasha Razlogova (the sister of a well-known film critic). A romance begins between a 25-year-old musician and a 31-year-old journalist. Every summer they rest near Jurmala with friends of Natalia Razlogova. Marianne did not give him scandals, and they maintained a good relationship. They were in no hurry with an official divorce and did not have time to formalize it.

Natalya Emilyevna Razlogova - Viktor Tsoi's last love, film critic and translator, sister of the famous film critic Kirill Razlogov, after Tsoi's death she married journalist Yevgeny Dodolev and left for the USA, she and her husband have two children, she can be seen in documentaries about Tsoi Sunny Days (1996), Spruce Submarine: Viktor Tsoi. Children of the Minutes (2008), Life is like a movie (2005).

At the port studio "Yamaha MT44" "Kino" begin to record the album "Blood Type". In the fall of 1987, Victor flies to Rashid Nugmanov in Alma-Ata to shoot his last film, Needle, in connection with which Kino finalized Blood Type and temporarily stopped concert activities. In 1988, "Needle" and "Blood Type" were released, which gave rise to "film mania": thousands of teenagers cut their hair "under Tsoi", dressed in black and learned to play the guitars.

In the spring of 1988, a draft was recorded, and in the winter the final version of the album "A Star Called the Sun", which they decided to release in the fall. Tsoi meets Yuri Aizenshpis, who since 1989 became the producer of Kino, organizing concert tours and frequent television appearances, after which the group gains all-Union popularity.

In early 1989, the Kino group traveled abroad for the first time to France, where they recorded and released the album The Last Hero. In the summer, Victor and Yuri Kasparyan are going to the USA. Meanwhile, the "Needle" comes in second place in the box office of Soviet films, and at the "Golden Duke" film festival in Odessa, Viktor Tsoi is recognized as the best actor of the USSR.

On June 24, 1990, the last Kino concert was held in Moscow at the Luzhniki Grand Sports Arena. After that, Tsoi and Kasparyan retired to a dacha near Jurmala, where they began to record material for a new album with an acoustic guitar. This album, completed and mixed by the musicians of the Kino group after the death of Tsoi, was released in December 1990 and was called the Black Album, because of the color of the cover.

At the end of July 1990, Victor, taking his son Sasha and his new lover Natalya Razlogova, went on vacation to the Baltic states. August 15, 1990 at 12:28 pm Viktor Tsoi died in a car accident. The accident occurred at the 35th kilometer of the Sloka-Talsi highway near Tukums in Latvia, a few dozen kilometers from Riga. According to the most plausible official version, Tsoi fell asleep at the wheel, after which his light gray Moskvich-2141 flew into the oncoming lane and collided with the Ikarus-250 bus.

On August 19, Viktor Tsoi was buried at the Theological Cemetery in Leningrad. The grave of Viktor Tsoi is a place of pilgrimage for his fans. It is located 150 meters from the Church of St. John the Theologian on Bratskaya (Central) Alley. The death of Viktor Tsoi was a shock to many fans. A few fans even committed suicide. Hundreds of people came to Victor's funeral.

In Krivoarbatsky Lane (Moscow), a “wall of Tsoi” appeared, which the group’s fans covered with inscriptions “Kino”, “Tsoi is alive”, quotes from songs and declarations of love to the musician. It is still customary for fans of Tsoi's work to leave a broken, lighted cigarette in a special ashtray near the Wall.

"Wall of Tsoi" in Krivoarbatsky Lane in Moscow.

It was also planned to erect a monument to the musician there: barefoot and sitting on a motorcycle, but due to the protests of the residents of the surrounding houses and the singer's fans themselves, the monument was not erected. In 2006, the wall was painted over by a group of vandals, but subsequently restored by fans.

Wall of Viktor Tsoi in Minsk.

In Minsk (Belarus), since the mid-90s, there has also been a "Wall of Tsoi", now, after several transfers, located in Lyakhovsky Square.

Wall of Viktor Tsoi in Mogilev.

There is also a "Wall of Tsoi" in Mogilev (Republic of Belarus), which is located at st. Leninskaya, 61 (the building of the Lyceum at the Belarusian-Russian University). The "wall" was painted by students of the lyceum and serves as an element of the "Moscow courtyard" in Mogilev.

# The name of Viktor Tsoi is asteroid number 2740.
# In 1999, a Russian postage stamp dedicated to Viktor Tsoi was issued.
# In Kyiv, on Lake Telbin, where the short film "The End of Holidays" was filmed, old willows still grow, which are visible on the frames of the film, and this place is a cult place for Ukrainian fans of Viktor Tsoi.
# In May 2007, the public of St. Petersburg and representatives of youth left movements (in particular, AKM) managed to prevent the demolition of the museum - the former boiler room, in which Viktor Tsoi worked at one time, the so-called "Kamchatka".

"Earth - Sky. Between the Earth and the Sky - war. Having sung this one line, Viktor Tsoi could no longer sing anything. He said everything. Simple and brilliant. Tsoi's death is still incomprehensible to me; I assume that he was a conductor of the White forces and clearly did not have time to complete the mission assigned to him. He left suddenly. I think that, having relaxed for a moment, he lost control of himself and thus opened a gap in the energy field of protection, and he did it so unexpectedly that White did not have time to react, while Black reacted instantly. There is no Tsoi, just as there is no Vysotsky. Igor Talkov

Zarathustra, the first psychologist of the good, is therefore the friend of the evil. When a decadent kind of people ascends to the level of the highest kind, this can only happen at the expense of the opposite kind, a kind of people strong and confident in life. When a herd animal shines in the brilliance of the purest virtue, then the exceptional person must be reduced to the level of evil by judgment. When falsity, at all costs, seizes the word "truth" for its optics, then everything that is truly truthful must bear the most bad names. "

F. Nietzsche

For a person who has long been brewing in the party of Tsoi's fans, the contradictory attitude of Victor's fans (more precisely, fans) towards the woman who played a big role in his life, Natalia Razlogova (M. Lesko), is very noticeable. Both as a person and as an author of articles and a media ideologist. Some admire her, consider her perfect in every respect, an ideal match for their idol, defend her in every possible way, the latter treat both her and her with misunderstanding and hostility. "defenders". This rather amusing situation of a split in the Internet environment of Tsoi's fans has escalated since the appearance of the VKontakte group dedicated to Marina Lesko, which has now died in the Bose group. Referring not only to the camp of "supporters", but to the administration of this now murdered group of them. M. Lesko, who has always been on good terms with this person, I will consider some of the ideological moments of our holivars.

The arguments of our opponents, both from people we know and from strangers, are always repeated and reduced to a set of established theses.

Thesis: I still understand how different people Natalia and Viktor are - just an abyss between them ...

Victor is generally from another world, from another reality, with other values: with such energy, with such a radiant smile, with such positivity.

Naturally, two people cannot be alike in everything. And not always the difference of natures prevents people from being happy together. Don't demonize it. For some reason, after all, many do not notice that the gap between Tsoi and other people from his entourage is much larger than between Tsoi and Natalia. And this abyss does not prevent them from treating these people with great reverence and considering them to be those who truly loved Tsoi.

Besides, how big was this abyss? Some fans are of the opinion that Victor and Natalia were the perfect couple, and this can be seen supposedly even in the photographs. The environment formulates similar thoughts:

“They were somewhat similar. That is, there was a feeling that they were cut down by one sculptor from one piece of marble: the same two magnificent shocks of black hair, very slender figures. (S. Bugaev).

The difference between their worlds, of course, takes place, but it lies, in my opinion, rather in the fact that they both express the same message in different forms. The meaning of their messages comes down to the liberation of a person from dogmatic thinking and the burden imposed by society. Tsoi expressed this more simply, but at the same time more vaguely, Natalia, due to her mindset, profession and background, was more specific, ironic, harsh, with references to her intellectual baggage, and because of this, less clear and pleasant for the average movie fan.

Yes, and as for Dodolev himself - as he calls himself "a receptacle of sin, unlike his father." It is very clear that they are a couple - they have a common manner of speaking, common arguments, they both give off a feeling of stench for all their groomed. Their sarcasm, packaged in an intellectual vyser, is somehow an extremely unpleasant feeling .. Arrogance emanates from both of them and a condescending tone is heard when they explain their point of view.

Here are all the convictions of Marina and Natalia - in this speech, "Art should belong to the people." By the way, Dodo is also from an intellectual family, like Razlogova. world, a reflection of her own complexes and fears - she does not feel the warmth of human emotions, only cold calculation, the systemic existence.

Such hostility is explained by the fact that Natalia, like Dodolev, often touches on topics in her articles that shock the target audience of the so-called Russian rock groups, which are distinguished by some inertia. Which, by the way, was not inherent in their idol at all.

For example, M. Lesko in her articles and interviews has repeatedly raised the question of how ethical it is to tell the truth in the media and memoirs, and, probably, it was the attempts of Evgeny Dodolev and Marina Lesko to convey to people that in the pursuit of "decency" we forgot about honesty, exposes them as "immoral" in the eyes of an ordinary fan of Russian rock.

And the collectors of information about Tsoi, by the way, face similar ethical problems in real life, which create barriers for fans to understand and know the truth. Perhaps that is why the position of Dodolev and Lesko is more understandable for the “researchers” and not for the fans. (Even these notorious arguments about “copyleft”, which the unknown critic of M. Lesko’s statements did not like so much, are very understandable and close to collectors, bloggers who are forced to provide information in a truncated form, since the authors, say, interviews or photographs demand for publication (yes and just for the ransom of photographs) crazy sums or forbid copying of the material at all.)

Reality in general often offends the feelings of believers, and in this regard, Tsoi was creatively a little less merciless, but this does not mean that he, in contrast to Natalia, is a simple, pleasant and comfortable positive boy. His paintings, wood carvings and prose often do not carry a special “positive”, and some works from the point of view of “morality” should shock all the same fans. And Natalia has nothing to do with it, some of them were made at the time of punk youth. True, some “movie fans” who had at least the courage to see the truth were really disappointed in the “holiness” of their idol and began to vehemently denounce him, which was also an excess.

There are also taunts in Tsoi's texts. For example, Georgy Guryanov admits that the "filmmakers" loved to wash everyone's bones, and in the song "Boshetunmai" Tsoi bulldozes over famous figures of Soviet rock.

There is no need to talk about how many vices Choi was attributed to his former friends. By the way, the list of these vices also includes arrogance and prudence. Yes, and complexes are often attributed to him, in fact, complexes cannot be understood in the way in which most people who are not familiar with psychoanalysis understand him). But after all, many fans are well aware that this can be an estimated error. And it is quite likely in relation to Razlogova.

So all this only proves the similarity of the characters of Natalia and Tsoi and the similarity of their vision by people with the opposite worldview.

And if we approach Tsoi’s work and personality with the same standards with which Tsoi’s fans approach Natalia’s statements and her articles, then it turns out that no less vices attributed to Razlogova can be found there. But after all, almost all "film fans" are neutral to this in Tsoi, but hostile to this in M. Lesko.

A possible reason for the negative attitude towards Natalia is subjective attitudes. The so-called prejudices, which can be figuratively defined by the statement "I have not read Pasternak, but I strongly condemn." After all, in fact, none of the fans are familiar with the REAL Natalia and not her media image.

Affects this perception and the so-called "gala effect". Fans, having read a lot of negative reviews of other similar fans about Razlogova, without delving into the topic, automatically begin to perceive it exclusively from one side. We see an absolutely identical phenomenon in the perception of other people who are familiar with Victor. So, Aizenshpis is an enemy, a representative of the enemy side, and any rocker familiar to Tsoi is an authority by default. Even if he is wrong.

Further, it is generally accepted that Natalia allegedly wanted to lead or even led Tsoi in fact. Many people talk about this both with positive connotations (for example, Yu. Shumilo or M. Smirnova expressed the opinion that Natalia enriched Tsoi's inner world by becoming his teacher of life), and with negative connotations (Yu. Belishkin believes that her influence had a negative impact on him, because because of her and Aizenshpis, Tsoi moved to Moscow, which was allegedly his tragic mistake). The comments in LiveJournal by S. Stillavin that Razlogova allegedly “spoiled” Tsoi, making him more sarcastic and cynical, are also indicative. Apparently, this is where the fans come from:

I think that what he perceived as an equal relationship, she apparently considered as a relationship with a teacher who opens up a new world for him ...

And I don’t really like that this communication still affected him, somehow there were a lot of sarcastic notes in his voice - this can be seen in interviews, especially on Chaliapin ...

However, no one took into account the opinion of Natalia herself - and she denied that she perceived herself in relation to Tsoi as a teacher. Moreover, she even sometimes claimed the opposite. In her answers to questions from fans, she noted that it was the strength of Tsoi's character that attracted her.

It is unlikely that a woman who seeks dominance would be attracted to a man with such a strong character as Natalia saw in Tsoi.

as for the appearance of supposedly "sarcastic notes" in Tsoi's voice in recent interviews -

Probably, the fact that fans now fit Tsoi into a completely alien context played a role. And they are surprised when Tsoi as a rock musician and Natalia as a film critic talk about this artificial context with sarcasm. In general, specifically in the topic of this interview on the ship "Fyodor Chaliapin", the sarcasm of Tsoi and Natalia was associated with the phenomenon when various honored figures of a completely different generation began to use the rock party in their works, with completely different aesthetic attitudes. They were alien to rock. There really was an abyss between whom and Tsoi. And the fact that the film "Needle" got to the film festival "old-style cinema" was very funny for people from "Tsoi's world". Not without reason, Soloviev, in the program "Closed Screening", timed to coincide with the film "Classmates", admitted that he "understood what Tsoi was singing about only now."

Thesis: I understand why she treated his work so coolly, and indeed, she did not treat him as a talented person - just, apparently, as an ordinary man.

Partly - yes, Natalia does not belong to the number of fans of rock music. However, with regard to her assessment of Tsoi's personality, this judgment is clearly erroneous.

A. Lipnitsky : « perhaps the main thing that she singled out in her lover and why she distances him from many people from his company, who, as she believes, just make an image against his background, is his self-esteem. It was completely unprecedented against the background of the general Soviet squalor. And she emphasizes this all the time, his self-esteem and the fact that he never stooped to the point that other musicians and people of his company allow themselves. Therefore, ononyms do not communicate.

M. Smirnova : And she told me about Tsoi that it was simply impossible not to notice him, because his intellect, his abilities were simply amazing - from playing chess, when in an hour he could be taught to play so that he began to win against everyone, to some paradoxical understanding of the essence of things. She generally perceived him as an alien. There aren’t any more and probably won’t be.”

In the program "Cult of Cinema" Natalia called him a man from nowhere, a man from the future, whole, listening to all opinions, but at the same time acting as he saw fit, smart, grasping everything on the fly. According to her, he attracted attention both here and abroad. This can hardly be called an attitude like an ordinary man.

Natalia Razlogova was born in Bulgaria on October 20, 1956. She is a renowned journalist, critic and translator. She is the sister of film critic Kirill Razlogov. But most of all, Natalya became famous as the last girlfriend of the famous musician Viktor Tsoi.

The girl spent her childhood in France, as her father was a diplomat. In 1979, Razlogova graduated from Moscow State University. She studied at the Faculty of Philology, Department of Structural and Applied Linguistics. According to the memoirs of her entourage, she was distinguished by "bohemianism and erudition."

The fateful meeting with Viktor Tsoi took place in 1987, on the set of the film Assa. Natalya worked there as the second assistant to director Viktor Trakhtenberg, and Tsoi played one of the roles in the film.

At that time, Razlogova was 31 years old, and Viktor was 25.

A stormy romance broke out between them, which lasted until the death of the musician.

Every summer they went on vacation to Jurmala, where they stayed with Natalia's friends.

At this time, Choi was officially married. Marianna real wife, who knew about her husband's affair with Natalya, did not make scandals for him and was rather tolerant of this connection, maintaining good relations in the family. According to rumors, Tsoi even wanted to marry Natalya, but did not have time.

After the death of Tsoi, in 1991, Natalya got married. Her chosen one was the music journalist Yevgeny Dodolev, from whom she gave birth to two children. She went with him to America.

For more than twenty years, Natalya has not given any interviews about her relationship with Viktor Tsoi.

On the day of the 50th anniversary of the cult musician, a documentary called "Tsoi - Kino", created by Natalya Razlogova, was released on the television screen.

She accidentally found a lost cassette on which the song "Ataman" was recorded, once sung by Tsoi to the guitar. He himself rejected it because of the similarity with the work of the Alisa group, popular in those years.

Razlogova is sent to St. Petersburg, where she met Alexander, the son of Viktor Tsoi, in his Dada club. After Natalya meets with the musicians of the Kino group. In the final, together with Igor Vdovin, a producer and a good friend of the group, they record the song "Ataman" in the studio.

Now Razlogova works on Channel One.

She avoids communicating with the press, does not give any interviews. However, sometimes he meets with fans of Viktor Tsoi and answers their questions.

Moreover, he does not want to write memoirs, although sometimes he corrects inaccuracies or errors in biographical data, clarifying details that are not related to personal relationships.

According to the memoirs of producer Yuri Aizenshpis, Natalia was "a wise and charming person." It was Razlogova who informed him about the death of Tsoi.

Victor and Natalia were very close, she did a lot for him. Unfortunately, she got only memories.

Natalya Razgolova - the last love of Viktor Tsoi

Were you afraid to agree to participate in the project? Still, this is your personal life, relationships with loved ones. And here it is in front of everyone on the screen.

Very scary. There was an attempt to make a movie about this before. They asked to help a talented young man, so to speak, to express himself. I thought then that I could keep everything under control, and even the work began, but suddenly I “saw” a picture: a huge poster on the house, the title of the film was small, it was hard to make out, and in capital letters: “The Unknown Love of Viktor Tsoi.” That's horror! She came to her senses, refused and banned in a rather harsh form.

And a few years later it started again, and then “Your life is not only your life!” You have to think about those who love Mike and Russian rock!” I won’t say who hammered it into my head, but drove it firmly. It is, indeed, very difficult.

The publicity is bad. Sitting in the corner of the sofa, reading, knitting, playing - this is mine. But still, when they say: “Because of your whims, people will never recognize Mike's songs,” I lose my will and obediently go to the slaughter.

Not from a great mind, it must be ...

- What do you like the most about Summer? What do you think could make it even better?

I've only watched the movie once so far. There were so many emotions in connection with its release, meeting with friends at the premiere, expectations and fears that, I'm afraid, it will not be possible to give an objective (at least slightly detached) assessment.

Thank you for the words "even better"! I think if we had more time to communicate with Kirill, and he had more time to stay on the set, if not for the monstrous force majeure and time pressure, everyone would be much better.

- What was your function as a film consultant?

To be honest, I would have removed this caption. Not to offend anyone - well, what kind of consultant am I? It turned out like this: many years ago, the writer Alexander Zhitinsky asked to talk about Tsoi - not the famous, poster, beloved rock and roll hero, but about the young boy Vitya. He promised that my story would be just a "raw material" for his book, which is very important for the veracity of the image. Old friends need help. "Truthfulness of the image" is also a holy cause.

But with Vitya we had a relationship that cannot be defined in one word: something like a tender friendship. It is not a shame to remember them (there is only light and sadness), but it is not necessary for everyone to know.

All the same, I decided, I wrote as to a girlfriend: here, Sasha, everything that I remember, what I felt, take it, use it, do not pay attention to the composition - it's just a stream of memory, not literary processed; I give for greater convexity of the image of the Legend.

Zhitinsky suddenly sent a touching letter, in which he begged to insert the text without changes, they say, he was so impressed! Yes, and Mike and Vitya, it turns out, are so noble, and why not talk about it? We argued in letters, but I gave in. Already taught that my life - not quite mine. That's how the text got into the book, on the Internet. Then some people liked it and they wanted to make a movie.

And my consultations, I'm afraid, interfered more. In a nutshell: I could not agree that the script is more of a guide to action, an instruction for the film crew, and not a book. On the one hand, she argued: “We didn’t congratulate a friend like that, we didn’t say that.” But, on the other hand, the more I noticed fantasies - light, with elements of the absurd - the more sympathy it aroused.

- What kind of relationship did you develop with Kirill Serebrennikov while working on the film?

Relations did not have time to develop, there are just impressions. Cyril, for starters, listened carefully to the comments and criticism of the unsuccessful script. He understood all my fears and awkwardness of the situation. In itself, the romance of a young married lady with a young man (who cannot even be called a novel - neither you cheat, nor you quarrels with duels) is of no interest to anyone; and if you need it for the plot - well, God bless him, shoot, discuss. Only the piquancy is this: that young man became the Great Tsoi, almost a bronze monument. Everyone listened to him and loved him - from the poet Alexei Didurov to the last gopniks. And suddenly some Natalya showed up and said: Vitya and I met.

I really did not want to be in a huge company of Vita's classmates, eighth graders and girlfriends. Vulgarity is impossible. And Kirill Semenovich understood this too.

He said that without a story that moves the plot, it is impossible to do, but he will do everything carefully. And the promise was fulfilled. Thank him for this!

- Did you like the casting decisions of the film?

The director chose the actors, he knows better. It is pointless to argue - similar, not similar - everyone has their own memories or ideas about a person. The guys did their best, the ensemble turned out, they are great!

- And the image created by Irina Starshenbaum - how much is "you"?

Irochka is much prettier than me in my youth. And taller. Natasha turned out to be very nice, just a Madonna. Well, how can I evaluate myself from the outside?

The film touches on the topic of mentoring, it is also found in other materials about the musical history of that time, and the “senior comrade” is either Mike, Choi, or Grebenshchikov. What did this “mentor status” depend on, how was it determined that this particular friend was an authority?

I can only repeat what was with me; what I remember myself. Tsoi said many times that Mike's words about his songs are especially important, that he trusts Mike the most. I also remember how Marianna (Maryana Tsoy, Victor's wife. - Approx. Aut.) and I sat on a bench on Sofya Perovskaya Street, while Mike and Vitya paid, apparently, a very important visit to Boris Borisovich. Maryasha was terribly nervous: somehow God would accept Tsoi. I can only answer for this.

In the film, Mike is too protective of Vitya, just an impeccable knight and teacher. In life, I think Grebenshchikov did something very important for Tsoi. Or a lot of things. Brought it to another level. It’s really hard for me to judge, I wasn’t very interested then.

Mike was always happy to see a new talented musician. He was asked: "Are you jealous?" He was genuinely amazed: “What? We do one thing. The more of us, the better!”

- You knew Mike best - if Mike watched "Summer", what would he say?

Oh, it's hard to guess!

I often think what Mike would say if he knew that Bob Dylan is a Nobel Prize winner, that you can watch concerts of Jethro Tull, McCartney without leaving the country. Or go out and have a look. That you can safely buy any book, or you can download it. And any music in excellent quality.

I believe he would have good things to say about the film. I would have commented on some scenes wittily, somewhere I would have giggled. Musical numbers would definitely be very nice.

Today, when you look for information about the "Zoo" on the Web, you find only a few fan publics and sites that seem to have been created back in the 90s. There is also a club-museum "Kamchatka" in memory of Tsoi (who, according to words founders, there are no patrons and he can be evicted at any moment), walls and other memorable places have been preserved in some places in different cities. But in general, all this is very fragile and fragmented. Doesn't it seem strange to you that the state is in no hurry to preserve such an important layer - the era of the formation of Russian rock, and major patrons did not put forward such initiatives either?

It's strange, yes. Then, as usual, they will regret it: they didn’t appreciate it on time, they were late if they knew… Although… They won’t. The state has enough of its own concerns, and these singers from the generation of janitors and watchmen caused so much anxiety to Soviet society.

In the place of the state and patrons, I would first erect a monument to Sasha Bashlachev. So far there is only a memorial plaque and a modest museum.

And I would also give a lot of money and provide the best architects for Nikolai Ivanovich Vasin. An artist, an educator, a most interesting person, and for so many years he has been fighting alone!

- What films did you watch with Mike, with Victor? What books were discussed?

I remember exactly, we went to see The Adventurers - Mike was very surprised that all my sympathies belong not to Alain Delon, but to Lino Ventura. "The Great Race", "Repentance" ... He was upset when the series "The Adventures of Sherlock Holmes and Dr. Watson" came out. Holmes, performed by Vasily Livanov, seemed too young and not very English. True, I quickly got used to it and then looked with interest. (I wonder what he would say about Sherlock-Cumberbatch?) Was just happy when TV showed "Oh, lucky!" with Alan Price and "Crossroads" by Walter Hill. We went to Moscow to watch The Blues Brothers on Sasha Lipnitsky's video.

We talked a lot about books. At the beginning of their acquaintance, Mike translated "from a sheet" Kerouac, Brautigan, read aloud a copy of "Moscow - Petushki" that miraculously fell into his hands, brought from his sister to read samizdat books ("Master and Margarita", for example).

Mike liked Turgenev. Oblomov loved and defended: “And why does everyone scold him? Kind, honest person. It just doesn’t do what it considers stupid!” He constantly quoted - and "Fried fish, dear crucian", and "A cockroach sits in a glass", and "It's scary to live in this world, there is no comfort in it."

"Anecdotes from the life of Pushkin" Kharms, of course. Brodsky, Akhmadulina - many favorite authors.

- What made Mike Naumenko happy in the 1980s? Viktor Tsoi? You?

Youth. Magical confidence that all difficulties will end soon, and everything will be fine.

- Communal apartments, lack of money, shortages - this is understandable, but what good is left in that era, what do you miss?

I wouldn't want to go back there. Everything nostalgic is connected only with my personal life time (youth, which no longer exists), but not with the era, not with history. The ice cream was delicious, and the tomatoes, even store-bought ones, smelled of the sun and the same seedlings on the window.

- "Summer" is an excellent driver for the generation of 15-25-year-olds to learn about Mike's work, who are basically all in rap and know only some basic things about the main music of the 80s. Which of Mike's songs would you advise them to listen to, in which, say, three or five compositions, his personality is most clearly manifested?

Firstly, not all young people only listen to rap. My children and their many friends (so as not to go far for examples) listen to very good music, and I cannot boast that I strongly interfered with their tastes.

What Mike songs to listen to? Let everyone listen. No one knows what words will suddenly pop up from memory and suggest something, support something. The song "Sitting on the White Stripe" will tell a lot about Mike. Now we can certainly say that he remained true to himself, did not lie, did not cave in.

Mikhail Efremov, in an interview with Dudyu, recently said that Russian rock is not music, it's a mood. What is Russian rock for you? Did Mike distinguish "Russian rock" from rock and roll in general?

I will answer with Mike's words from various interviews. “There is no such thing as Soviet rock music. There are different bands that make different kinds of music. There are no borders…” (1990). “My job is to entertain people. And I don’t see anything wrong with that…” (1990). “Our rock and their rock originated, developed and continue to develop in different conditions - this is understandable ... We have a commendable craving for serious rock with good lyrics. The minus of domestic rock is the absence of tinibop for teenagers ... ”(1978).

What is Russian rock for me? Piece of life. Acquaintance and friendship with good people.

- What kind of music do you listen to?

Well, there is no such thing as sitting down and listening. Usually - on the road, in the subway. I upload a complete set of all sorts of stuff into the player. Of course, rock and roll (for vivacity), something beautiful, something nostalgic (music is a powerful time machine) and something fresh on the recommendation of daughters (do not want to lag behind the youth). If you need names - well, perhaps selectively: Bach, Prokofiev, Irish music, all British rock classics, Moon River, Aquarium, VIA Accord, Chopin, blues, Muse, Kasabian and much more. But I can’t listen to Vysotsky and Bashlachev for a long time, I love to read them.

You recalled long conversations with Viktor Tsoi. Everyone knows that he was a direct, but secretive person. What really worried him?

I don't remember much in particular. At first, it was absolutely striking that we both prefer black in clothes. Somehow they discussed it, justified it ... They talked a lot about children. About music. Which song do you like better from this Aquarium album or from Bowie's last album.

They argued what was more effective: graphics or painting, prose or poetry. The point, of course, was Japan, Japanese culture. They do not disguise a fish dish as, say, chicken, but, on the contrary, emphasize the taste of fish in every way. Naturalness, the cult of the seasons, admiring as an action ... That is, both of us were fascinated not by exoticism, but by the amazing care for the world, the harmony of the Japanese with nature.

We did not take into account megacities, industrial relations of people, their somewhat strange traditions. What for? There is Basho, Issa, Takuboku...

- How does the media image of Tsoi correspond to how you remember him?

I remember a shy boy with a warm light in his eyes. Later, he became more self-confident, angularity turned into grace. Added charm and irony. Everyone suddenly noticed that he was well-read and joked smartly. Then we rarely saw each other. But I read the memoirs of people who talked with Vitya in Moscow. Everyone says that he remained a pure and decent man, talented and gentle. I believe that it is.

Here is what Alexei Rybin wrote in a book about Mike: “He [unlike BG] took with his weakness, on stage he was who he really was - a boy from a good, intelligent family, who knows languages ​​​​and reads Turgenev, thin, thinking, experiencing, understanding everything - and not able to find in the world around us not only mutual understanding, but even an answer to any of your questions. Mike complained all the time - even in the most heroic and daring songs, this complaint is heard. He sang all the time about how bad he was, how uncomfortable he was, how he suffers from the fact that he lacks something - we are talking about things completely intangible, even “I want to smoke, but there is no cigarette left” in his presentation grows into a philosophical problem, into a conflict, and is not read by anyone except the most vicious gopnik as a gastronomic or narcological problem. He was strong in this weakness of his, strong in that he was not afraid of it and built all his work on it. Do you agree with this?

I agree, perhaps. I can answer with a quote from a very old article by Artemy Troitsky: “It's easy to be smart, it's easy to be serious. Easy and reliable. It's hard to be sincere, it's hard to be yourself ("but maybe..."). Alone on the stage - always the boss, the humble leader and teacher. The other is not very clear, but full of secrets, charm. One is above the hall, the other is far away. Only Mike stands among them. Naked, as in his bathroom, where so many hundreds of people suddenly ran into. He is defiantly insecure. He allows himself to look pathetic and ridiculous in the songs. He is deliberately antipathetic even in the most dramatic situations. And as a result, he reaps a harvest of stupid chuckles and whistles from normal guys and girls who have their own ideas about art. They don't want to see themselves, this mirror spits in their eyes."

On the other hand, what is the strength, what is the weakness - how to look. Mike was also strong because he remained himself. And it's not even about the principles - it's organic, its essence.

Russian rock for many was and remains primarily a desire for inner freedom: here is the state, and here we are and what we have, what no one can take away. Did you manage to feel free in those days thanks to music?

Russian rock, non-Russian rock, poetry, "Black Square", a beautiful city invented, volunteering in a dog shelter, traveling across the ocean on a sailboat - there are many means to gain freedom. This is such a huge topic!.. I used to say to the children: “Do you want it yourself? Very good! Forward! Just remember: freedom implies responsibility.” Now I think that this is not all: inner freedom is such a joy, such a strength. If you find it, then nothing is scary, as in love. The most difficult thing is to determine what your lack of freedom is, what fears interfere ... Well, okay, this is already philosophy ...

And in those days I did not think about any freedom-non-freedom. She got married early, problems - just turn around. She didn’t consider herself a rebel - she was just with a loved one who was doing her own thing. I just didn't interfere.

After reading the script for the film, which had not yet been filmed, Grebenshchikov said: "We lived differently." Do you think that in the end Serebrennikov managed to show how you lived? If not in particular, then the mood itself, the spirit of the era in which the music of Mike and his friends appeared?

Well, it was the Aquarium group that regularly went to the bay, and not the Zoo. Mike was not a big nature lover; drinking with a friend on the Fontanka embankment is another matter. To answer this question honestly and in detail, I would like to watch the movie again. For now, I will say one thing: the aftertaste of the film is definitely pleasant and nostalgic. Thank you all for this!

Did you feel then the title of “wife of the legend” on yourself, did it somehow influence your life then? And what has changed now, after the release of "Summer"?

Our boys called themselves legends and stars only as a joke. All the "joy" from her husband's fame is guests almost every day. There was, of course, a lot of good in this: very interesting people from different cities appeared. I saw that Mike is not in vain doing what he loves: he is needed, his songs are needed.

What has changed since the film's release? The children and I have even more common topics for conversation. Soon everything will boil off, everyone will speak out, calm down, “and I will wash the blood off the parquet and find my peace of mind.”