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Valentina Vasilievna

Valentina Vasilyevna Tsoi (Guseva) was born on January 8, 1937 in Leningrad, where she lived a long and difficult life.

Many “film buffs” treat Viktor Tsoi’s mother with special reverence, believing that it was she who nurtured the talents of their idol, that she understood her son better than anyone and “made” him as a person. Many believe that it was thanks to his mother and first wife that Tsoi succeeded as a musician. And when Tsoi died, grief-stricken fans went to his mother for consolation and communication, which she never refused them, just as she never refused to media representatives in interviews and comments. Of all the people close to Victor, she was the most sociable. And if Maryana gave interviews more out of necessity and, as a rule, to acquaintances, then Valentina Vasilievna was open to everyone.

Victor himself never spoke about the role of his mother in his life. Therefore, everything that is known about the closeness of mother and son is known from her words.

It is believed that Valentina Vasilievna looked for abilities in the child and sought to reveal them, tried to raise Vitya herself and protected him from outside influences. According to her, she loved to read books to him from the “Life wonderful people", wanted to interest Victor in how talented people, and thus help my son open up. As you know, it was Valentina Vasilievna who noticed her son’s talent for drawing and sent him to art school, where Tsoi’s passion for rock music began.

As can be seen from numerous interviews, Tsoi’s parents completely trusted him. There were no family scenes; everyone lived peacefully. However, Victor’s parents did not imagine that their son would follow the path that Tsoi ultimately chose.

From an interview with Robert Maksimovich Tsoi:

– Who did you want your son to be?

“Mother was sure that Victor would become an artist, since he had been drawing very well since childhood—probably since he was six.” ‹…›

– At first you didn’t accept his passion for music?

“It’s not that they didn’t accept it, they just didn’t believe that he was serious.” We thought it was just another hobby that would soon pass. And they couldn’t even imagine that in addition to his musical talent he would also have a poetic talent. ‹…›

– From last place You probably weren’t particularly delighted with the work?

“I was more upset when he didn’t work at all.” In those days, it was the way it was: if you don’t work somewhere, it means you’re a parasite, and you could get imprisoned for that. And Victor, when he was expelled from the Serov Art School “for poor academic performance,” initially got a job at a factory as a stamper, but did not last long there, and then did not work at all for two years - he lay on the couch. His famous song “Idle Man” is dedicated to that time. I was very worried then, but my mother somehow reacted calmly to this and never reproached him. She said: “If you don’t want to, don’t work. Do what you feel like doing.” And his soul always lay towards music. I think her mother’s intuition told her that he would be good. Victor was generally closer to his mother than to me. Firstly, she spent more time with him; I was constantly missing at work. Secondly, it’s no secret that I left my family once – the sins of my youth, so to speak. In general, Valya turned out to be right: I thought that Victor was idle for two years, but it turned out that all this time he was creating 742
http://www.bulvar.com.ua/arch/2010/32/4c63da03a02a4/

Did the parents want their only son to devote his entire life to songs? In an interview with the Riga newspaper “Soviet Youth” in 1989, Tsoi himself briefly answered this question: “Now they think that I am doing my own thing. They probably didn’t always think so.”

Inna Nikolaevna Golubeva:

There were battles over his work and in general... With Valentina Vasilievna. Valentina Vasilievna – teacher. Not a teacher with capital letters, and a teacher. She graduated from the Lesgaft Institute and studied in absentia to become a biology teacher. And so, that means they got him. Although, of course, they always bothered me, because they kept telling me: Vitya must do something, Vitya must call, Vitya must work, Vitya must do something else. And then one day she calls us and says: “Well, is Vitka working?”

And he and his father called him not Vitya, not Victor, but Vitka. And so he says: “Well, is Vitka working?” I say: “Well, something like this...” She told me: “Well, Inna Nikolaevna, can’t you explain to him that since you got married, you have a family, which means you have to support yourself and your family? Why isn't it working? He is married, he has a child. He must work and, therefore, bring bread into the house.” I answer her: “Valentina Vasilievna, aren’t you confusing anything? In my opinion, parents should teach this to their children.” True, I never told him anything. I can fight hand-to-hand for this unfortunate “Musician”, but nothing about that.

Of course, with such calls and demands, Valentina Vasilievna alienated herself more and more from Victor. He often repeated the phrase that “everyone’s parents are like parents, but I have the devil knows what”... Then, when all this happened and Vitya was gone, Valentina Vasilyevna told me: “Thanks to my upbringing, Inna Nikolaevna, he became like this, brilliant. If there had been someone else, nothing would have worked out, but I did. Everything turned out amazing - you have a girl, I have a boy...” 743

Speaking about Tsoi’s parents, we must not forget about the cultural gap that separated Victor from his father and mother. This was a problem for many Soviet families of that time. Victor was a man with different values ​​and often repeated that it was difficult for him to find mutual language with older people, as they think completely differently.

Be that as it may, the future ruler of the thoughts of youth grew up in a completely ordinary Soviet family, and the values ​​of his parents were the values ​​of the ordinary Soviet man. His mother (like many normal parents), although she did not reproach him, was not delighted that her son dropped out of school and instead began to engage in some kind of incomprehensible rock music, which was not only forbidden, but also not gave stable income. The parents could hardly imagine that their son’s hobby could bring him material well-being and success in society, so they were extremely worried that he was living some kind of life. strange life. Only later, when they saw that Victor had achieved success, did they change their attitude towards him a little. But all the same, according to the recollections of numerous witnesses, neither his mother nor his father perceived him as an accomplished person in life, a musician, as a genius. Valentina Vasilievna said that his fans made him a hero.

Valentina Vasilievna Tsoi. Photo from the Tsoi family archive

Yuri Aizenshpis:

If I visited Natasha’s house often, I visited the St. Petersburg “house with a spire” on the corner of Moskovsky and Basseynaya just a couple of times. The apartment, I remember, is quite large, but the furnishings are average or even below average: bulky chests of drawers, old-fashioned wardrobes. We sat on slightly wobbly chairs, listened to Western music and drank strong sweet tea with jam, which Vitina’s mother treated us to. Relations between them remained quite tense - the image " prodigal son" stuck to him forever. Yes, he didn’t really try to change it 744
Yu. Aizenshpis. “Lighting the stars. Notes and advice from a show business pioneer." M.: “Algorithm”, 2005.

Marina Smirnova:

At first Vitka had some kind of complexes, until he realized that he was who he had become. Either these were echoes of childhood complexes, or he grew up in a family in which it was difficult to grow up confident. It never occurred to me then to analyze the situation as I do now, but I am sure that he did not have a happy childhood 745

Alexey Rybin:

He had an excellent relationship with his parents. With mom, with dad. For some time he and Maryasha lived with Vitka, with his parents. All was good 746

Of course, no one doubts that the mother loved her son and wanted the best for him. But the best is not from his point of view, but from the point of view of a person of another generation, with another life experience and values. This constitutes the main conflict between “fathers and sons.”

What was important to Tsoi? Remember the songs “Beatnik”, “Close the door behind me” - how much desire for freedom and romanticism there is in them and how much denial of the values ​​of society there is in them. “Adults” often call such sentiments “teenage maximalism,” and in interviews Tsoi repeatedly confirmed the position that he expressed in his work. It was important for him, first of all, to preserve himself, his inner harmony, it was important to be honest with himself, to do what he liked, even if it brought certain material difficulties.

What is usually important to parents? Stability and external comfort, one of the elements of which is education. And for Valentina Vasilyevna, as a teacher, and for Tsoi’s entire Korean relatives, this was precisely what was important.

Valentina Vasilievna Tsoi:

I always took care of nervous system son and did everything possible to ensure that he grew up in love. A child needs security and faith in a happy future.

My parents were limiters, with one class of education. They lived in a barracks and worked all their lives so as not to die of hunger. I wanted to live differently. She fought for life as best she could and taught her son this. After seven years of school I entered a technical school railway transport, but at the age of fifteen she fell in love and was expelled for poor diligence. I had to go to evening school and at the same time do gymnastics. Then there was a coaching school at the Institute physical culture named after Lesgaft... After the birth of Victor, she entered the biology department of the Herzen Institute and graduated from it. I built my own life. Therefore, when Victor was expelled from the Serov School, she insisted on his enrollment in evening school. He graduated from it 747
S. Shapran. Victor Tsoi. Why did we love him so madly? "Soviet youth". 08/17/1991. Riga.

That is, for Valentina Vasilievna it was important that her son “socialize.” She believed that polishing to the standard was a manifestation of love, so she tried to give him what she had not received from life. However, Victor did not particularly strive for ostentatious education, so he was often called a student, not taking into account that he was constantly studying, but himself. So there was not complete mutual understanding between Victor and his mother, since their points of view on life were diametrically opposed.

They are also different in character. At first glance, it seems that Tsoi is a soft, compromising person, but in fact he was independent and freedom-loving. He just acted calmly. Therefore, Valentina Vasilyevna herself recalled that she tried to speak to her son in a half-whisper, sensing his independent nature. But they did not always manage not to quarrel.

Valentina Vasilievna Tsoi:

My son and I quarreled because of Natasha Razlogova. Not because I didn't like her. Quite the opposite: Natasha a beautiful woman, very beautiful, looks like a young Gina Lollobrigida. I wasn't surprised that Victor fell in love with her. But I didn’t like how he built his relationship with Maryana and his son Alexander. I put a note in Vitya’s coat, which he asked me to repair and send to him. film set in Alma-Ata. In the note, I poked fun at him about Natasha, Maryana and Sasha. After that on whole year my son cut me out of his life - he didn’t call, he didn’t come. I then got angry and decided: I won’t remind anyone about myself, but at the same time I’ll find out who I raised! 748
Right there.

Valentina Vasilievna was a strict person. Sometimes quite harsh. But she honestly says that Tsoi didn’t talk to her for a whole year, because after he left Maryana she didn’t talk to him correctly.

As you know, Victor spent only his youth with his parents, and then left them and began to live independent life. Tsoi expressed his attitude towards parental education at that time quite frankly in a conversation with a correspondent of the Komsomolskoye Znamya newspaper in Kyiv, where the group performed at the Sports Palace.

From an interview with Viktor Tsoi:

– Were your parents strict, they often punished you, if so, then for what?

– Quite strict, yes. But to be honest, I don’t remember what they were punished for. What are children usually punished for? For children's misdeeds.

- Okay, but you don’t have any complaints about them, let’s say they didn’t show this, they didn’t teach this?

– And I don’t think at all that parents can teach anything. A child is a person with his own destiny, and it seems to me that we attach too much importance, so to speak, to the formation of personality by parents ( last phrase pronounces mockingly). Parents can give education there, whatever they want, and the personality is formed itself, under the influence environment. But the same environment affects some in one way, and others differently...

If you remember Tsoi’s early songs, you can find in them a reflection of the misunderstanding that reigns between “adults” and “children” in general. They feel a kind of restlessness, uselessness to society, and an obvious strong resistance to the values ​​of “adults.”

And I laugh, although it’s not always funny to me,
And I get very angry when they tell me
That it’s impossible to live like I am now.
But why? After all, I live.
No one can answer this...

(My friends)

Everyone says that I need to become someone,
And I would like to remain myself.

(Slacker)

Dad, your son doesn't want to be anyone.

You were ready to give your soul for rock and roll,
Extracted from photographs of someone else's aperture,
And now TV, newspaper, football,
And your old mother is pleased with you.
And you were once a beatnik...

(You were once a beatnik)

The idea that a mother always knows her son best is wrong. It happens that parents, classmates, and fellow students know the least about a person, because they are not chosen, and very often a person (especially a person who is selective in communication) does not fully open up to them.

Parents know Victor only as their child, but they have hardly seen the real him - the way he revealed himself in communication with like-minded people. That is why they did not take his singing in the bathroom and strumming the guitar seriously AT ALL - for them it was a childish prank, while for Victor it was a matter of life.

Valentina Vasilievna Tsoi:

He didn’t succeed in his artistic education... What about music? I think he’ll play and quit. But it turned out differently... 749
Right there.

Alexey Vishnya:

His parents wanted him to go study and work, but he wanted dry wine, guitars and the company of punks. What can I say - of course, according to the parents, this is all complete sh... but. My dad took a serious look at my music only when he picked up a Melodiya record. Then yes. Immediately the preferences came, and before that all he did was cover his ears so as not to hear my squeak 750
From an interview with the author – 2011.

Irina Legkodukh:

I don't remember him ever saying anything about mom or dad 751
Right there.

. Georgy Guryanov:

We have never raised this topic. Choi never spoke about his parents. But I didn’t see any disrespectful attitude or anything else. 752
From an interview with the author – 2012.

Rashid Nugmanov:

Never, not with a single word or gesture, did Victor express to me his contempt for his parents. True, I never met them during Victor’s life, and we had no reason to talk about them. Victor treated my mother very warmly, and somehow I automatically projected such an attitude towards him. own parents. I must say that I have more than once witnessed a critical attitude towards them on the part of Maryasha and her mother Inna Nikolaevna, but I turned a deaf ear to all this, since it was none of my business, especially since Victor did not react in any way to such conversations. Kept silent 753
Right there.

People change over time, especially after losing a child. And in general, when you lose a person, you always feel guilty, there is a feeling that you did something wrong with him. Victor’s parents, of course, instilled taste in him, but they “accepted” their son, in fact, only after death. His death. Which changed them both a lot. Only post factum Valentina Vasilievna realized that her son had achieved a lot in life - it was not without reason that her relationship with Victor and the surname “Tsoi” often helped her, for example, when she was faced with the disregardful attitude of doctors in clinics...

Inna Nikolaevna Golubeva:

Today Robert Maksimovich is talking to journalists. And he looks at it from his position. Maryasha was still alive - as soon as something is needed somewhere, we have representatives: first Valentina Vasilievna, now Robert Maksimovich. He is put on the jury. And all he has is Vitka and Vitka... Only now he realized what Vitya is. And then everyone: “What is he doing there? What can he do on his guitar?” It was later that Valentina Vasilyevna used to say that this was her upbringing 754
Right there.

Andrey Tropillo:

Parents learned that their son was a hero and a genius only after his death 755
From an interview with A. Tropillo. Film “Loud Deal. Special project. Victor Tsoi." RenTV, 2010.

The first time after Victor’s death, his parents had a courtyard at home, the door did not close - crowds of fans came to them to express their sympathy, to sit and talk... Those who were on the verge of suicide, ready to go after their idol, also came , and Valentina Vasilievna sat with everyone - talked, convinced them of the absurdity of suicide... This was what struck me most, because it was not easy for her at that time, after the loss of her only son, and she still managed to support others.

From Valentina Vasilyevna Tsoi’s interview with Oleg Belikov:

I know what a car accident is, I know that he died. I can't help but believe Natasha. The examination report is an indisputable document. But after I tried to read it for the first time, I didn’t approach it for two months. I am psychologically prepared for death, but this is the death of my son...

I am not going to be specifically interested in the facts of his death; from the act I understood that he had a terrible hole in his chest and that he died instantly. But the guys from Bogoslovsky constantly torment me with talk that he is supposedly alive. This is very difficult for me.

Once Robert and I were walking from the cemetery, and all around us there were inscriptions on the fence: “Tsoi is alive.” And I tell him: “Robert, how could you believe that your Vitya is gone?” 756
http://tsoy.hoha.ru/int8.html

28 November 2009 Valentina Vasilievna died in one of the hospitals in St. Petersburg. Over the past month and a half, she has suffered two severe heart attacks. Viktor Tsoi’s mother was buried at the Bogoslovskoye cemetery, very close to her son’s grave...

Natasha

Natalia Razlogova is the most private figure of all those who were next to Viktor Tsoi in his short life. She received a lot of reproaches against her, mainly from Victor’s fans, with whom she refused to communicate (she also did not communicate with the press). However, her rare comments (when she entered into communication with “film fans” on Rashid Nugmanov’s website) were always distinguished by clarity, clarity and depth of understanding.

Little is known about her. Natalia is the daughter of a prominent Bulgarian diplomat who lived half his life in France. She spent her childhood in Paris, her first language is French. Her brother is a famous Russian film expert, director of the Institute of Cultural Studies Kirill Razlogov (due to the age difference, many mistake him for Natalia’s father), her older sister Elena is a doctor philological sciences, teacher at MTU. Natalia herself is a linguist by training; she graduated from the philological department of Moscow University. At the time of meeting Victor, she was translating and lecturing about French cinema to members of the Union of Cinematographers. I went to the “ACCBI” shooting at the personal invitation of director Sergei Solovyov in order to see “live” how films are made and to feel the atmosphere of filming. There she and Victor became close. Since Tsoi and Razlogova were people from different worlds, they had no other chances to cross paths. So, purely by chance, another woman appeared in the life of Viktor Tsoi. Hence the division among fans - some respect and honor Maryana, others Natalia. Everyone has their own perception and opinion. The majority of Maryana’s supporters, and some of them react quite aggressively even to the fact that someone likes Natalia.

Let's try to look at the main points regarding the claims against Natalia.

I. Razlogova “recaptured” Tsoi from Maryana, acting as a “femme fatale.”

For the first time, Natalia and Victor met briefly at Mosfilm during preparation for the filming of ACCBI. They really got to know each other already in Yalta. Tour guides still proudly say that ASSU was filmed in this city. According to local residents, guides and according to Barabanov’s book “ASSA”, there are at least three “iconic” places: the Oreanda hotel, where Krymov’s room was rented, the Tavrida hotel with winter garden and the restaurant where they filmed the famous entrance to the beginning of “Changes!”, as well as the “Ukraine” hotel, where the film crew lived, a very beautiful, but now abandoned mansion, looking ominously romantic. Well, and the cable car, of course.

There are only a few pieces of evidence that shed light on the origins of the relationship between Razlogova and Tsoi - this is the aforementioned book by Barabanov about the filming of ASSY, an interview with Georgy Guryanov, where he admits that it was he who introduced Tsoi and Natasha, and the memoirs of Sergei Bugaev:

Viktor Tsoi and Natalia Razlogova. Photo by unknown author from the archive of Rashid Nugmanov

Tsoi did not come to Yalta right away. Maybe a month later or a little less, somewhere at the end of January. We had already started filming, but in fact, preparation was still underway. And there he met a girl who worked as an assistant to Viktor Trakhtenberg, having died. Her name was Natalia Razlogova. And they began a very tender friendship. Tsoi had a long black or dark blue, I don’t remember now, coat, and periodically on the Yalta embankment - I won’t say in the bushes, but in secluded places - one could see two mysterious slender figures. They were somewhat similar. That is, there was a feeling that they were carved by the same sculptor from one piece of marble: the same two lush black heads of hair, very slender figures. I don’t want to compare anyone, but everything played a role. By that time, Maryasha had begun to abuse alcohol very heavily, and Tsoi, as far as I know, spent a lot of effort trying to explain something to her. Later, in last years, she managed to transform herself very strongly: she learned Japanese and she made such efforts on herself that people rarely make. But at that moment Natalia Razlogova played her role as a harmonizing factor... And thanks to Razlogova, he felt stable and confident, without going beyond his truly enormous fame 757
A. Zhitinsky. "Choi forever." St. Petersburg: “Amphora”, 2009.

These words are at odds with the popular version, according to which Tsoi, for no apparent reason, left his wife and child for another woman. In fact, the past relationship has already, in general, ended. Marina Smirnova also confirms this, mentioning in one program that “Tsoi left completely when his past relationships were already ashes.” Even Maryana Tsoi herself in “Starting Point” says that by the time Tsoi met Natalia, they were absolutely free people.

Maryana Tsoi:

Natalia tore Tsoi away from St. Petersburg and took him to Moscow. It turns out that I belong, but she doesn’t. It turns out that I am decent, but she is not. Although it is not known which of us is more decent. The last period of Vitya’s life was with her. This lasted three years, and it was very serious... Judging by the fact that he trusted her very much, she did not make a single wrong move. Because with Tsoi it’s enough to take one wrong step - and that’s it. Maybe I just stumbled once 758
From an interview with A. Zhitinsky with Maryana Tsoi, September 14, 1990. Published in the book “Almanac of the Rock Amateur”. St. Petersburg: “Amphora”, 2006.

Photo of Natalia Razlogova, colored by Viktor Tsoi. From the archive of Natalia Razlogova

And according to simple everyday logic, a man who had not been seen with anyone except his wife for several years would not suddenly have an affair with another woman if everything was good and smooth in his family. Tsoi was clearly not the type of womanizer, as far as one can judge from the recollections of acquaintances and friends.

Moreover, at the time of their acquaintance, Tsoi was no longer a boy, he was an adult and not at all the henpecked man that they sometimes like to make him out to be. If we accept the version that he was “twisted” and that Maryana “made” Tsoi as a person, then we will have to admit that Victor was a dependent and driven person who easily fell under the influence of a woman. There is nothing to object to this - if people like to put such a weak and an ordinary person, who is nothing of himself and owes everything to his wives - this is their right and their own choice. But the question arises: does this opinion correspond to the truth or does it simply characterize the fans themselves?

2. Razlogova “wrote” him not from Great love, but simply in pursuit of fame and money as a promising rock musician.

Tsoi had neither money nor fame at the beginning of 1987. Natalia, being a representative of the Moscow film elite, earned much more from translations than rock musicians from concerts. That is, at that time, the “filmmakers” were poor and widely known only among fans. The filming of the film “The Needle” and the release of “ASSA,” which made Tsoi a hero for all time, happened almost a year after he met Razlogova. And at the time of the meeting between Tsoi and Natalia, he was an exotic character for representatives of the cinema world, a mysterious hero of the rock underground, about whom they knew almost nothing. So, when she met Tsoi, Natalia was attracted by his personality, and not by his star status.

Since Natalia studied at the music school at the conservatory, some believe that she (like Maryana) left her mark on Tsoi’s music by inventing the arrangement in “The Sad Song.”

Yuri Kasparian:

In a wonderful, delightful way, she took it and came up with it. She had a melody in her head, she came up with this riff - ta-ta-ta-tam-tam-tam- tam-tam... Vitya very carefully pulled this tune out of her in the studio, and we played it. In "A Star Called the Sun" he is. Well, there's a more extended solo, yes. And in “KINO in Kino” there is a completely different arrangement that was included in the film... 759
www.yahha.com

I must say that Kasparian prefers a different performance of the song, an earlier one, with pronounced guitars and a distinct second vocals by Georgy Guryanov.

Yuri Kasparian:

I like the different rendition of this song. I recently heard it. The record was released “KINO in the cinema” - this performance was there 760
From the “Chronicle” program on “Our Radio” (“Album “Blood Type”, 1987”), also published in the book by A. Chernil “Our Music: The First full story Russian rock, told by himself." St. Petersburg: “Amphora”, 2006, p. 246.

Nevertheless, Natalia, apparently, never sought to “contribute” to Tsoi’s music, and in general at first she was far from the music of the KINO group.

According to Natalia herself, she first heard the songs of Viktor Tsoi in Plienciems. One of the vacationers in the summer of 86 brought records of “Aquarium” and “KINO”, and Natalia’s seven-year-old son Zhenya began to sing the song “Knight Sasha”.

Many people wonder how Tsoi managed to conquer such a strict woman like Natalia in all respects, because it is difficult to impress her. Or rather, it is impossible. Famous directors and iconic TV presenters tried to court her. To no avail. But Tsoi succeeded. It is not easy to explain why it was unusual for her, because unusualness follows from the context. Apparently, Tsoi was very different from her circle. He was absolutely independent in his judgment, uninfluenced and confident in his Tao, a man that was certainly fascinating.

Those around them confirm that Victor and Natalia treated each other in a special way.

Marina Smirnova:

Natasha is seven years older than me. But even now she looks in such a way that twenty-year-olds can envy her. That is, this is a person of amazing beauty - both external and internal, she was completely from another planet, an intellectual, from a cinematic family, that is, a person with a certain background, with enormous internal space. With an incredibly clear mind. She became a guide for Vitya, she simply took his hand and led him further. I think that this meeting could not have happened. By this time he had already outgrown his youthful relationships and companies. For Tsoi, she certainly became a teacher who opened up other layers for him. Look, he even began to speak differently after meeting her - this can be seen from his interview. He had some kind of breakthrough. She is incredibly beautiful, smart and thin man. She couldn't help but attract attention because she was very different from everyone else in the party. And she told me about Tsoi that it was simply impossible not to notice him, because his intelligence, 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 what -paradoxical understanding of the essence of things. She generally perceived him as an alien. There are no more, there never were, and probably never will be. I can’t speak for Natasha, but I saw how it was on Vitka’s side. After all, they met shortly before filming. And now the filming period, its beginning... To say that Vitka was in love is to say nothing. He was generally a very integral person, a genius in everything. While he was with Maryana, he did not allow himself anything. Then Natasha appeared, and he just as completely devotedly gave himself over to her. When there was filming in Aralsk - and this is some incredible wilderness, Kazakh steppe, there is nothing, some phone booth, from where you need to call using a coupon, and it was only possible to get through by phone purely theoretically. And Natasha wasn’t even in Moscow at that time, she traveled all over the Union giving lectures about modern French cinema, about the “new wave,” so it was still impossible to catch her. Nevertheless, every night he and I walked hand in hand to this meeting point, and the conversations were only about her. I didn’t know her then, but it was a kind of ritual. He loved her incredibly. For him it was a whole space 761
A. Zhitinsky. "Choi forever." St. Petersburg: “Amphora”, 2009.

Joanna Stingray:

He loved Natasha very much, and those three years that they spent together, they were inseparable. I think that most Victor felt lonely in his life, but with Natasha he found himself 762
A. Zhitinsky, M. Tsoi. "Victor Tsoi. Poems, memories, documents." St. Petersburg: “New Helikon”, 1991.

Rashid Nugmanov:

After meeting Natasha, Tsoi became very domestic, his social circle was limited to a few people. Of course, every person wants to have their own corner. He and Natasha were going to buy an apartment. Everything is clear here - if at twenty years old one can endure instability relatively calmly, then in 1990 he was already twenty-eight and wanted to live like a human being.” 763
www.yahha.com

In general, contrasting Maryana, who went through the first difficulties of life with Tsoi, and Natalia, who supposedly “came ready” to bask in the rays of glory and live carefree, is meaningless. Moreover, life with a celebrity is not at all as rosy as it seems from the outside. That's probably why for a long time there were rumors that not everything was so smooth between Victor and Natalia, as if by August 1990 their relationship was almost completely destroyed and had reached a dead end. Therefore, Tsoi began to write songs full of hopelessness and sadness. Some even blame Natalia for Tsoi’s death!

If you really think about it, there were probably difficulties. When a person achieves real success, living with him becomes difficult. In such cases, a choice arises - to become the shadow of a star or to leave. If we take into account the fact that it was by August 1990 that Victor received Maryana’s consent to the divorce (although here the opinions of memoirists differ, and some say that Tsoi allegedly did not want to get a divorce), then it becomes obvious that the moment of choice was not far off.

Personality talented person always carries an element of mystery. Many are interested in answers to questions about how Viktor Tsoi felt about life, what his favorite color was, etc. Someone periodically classifies him as a prophet, “unknown messenger.” Others call him the singer of perestroika, a fighter for a just cause, a hero of the generation of the 80s. Answers to these and other questions can be found in the interview with Viktor Tsoi.

Viktor Tsoi always found time to communicate with journalists. For example, before concerts in Moscow in October 1989, he and his producer Yuri Aizenshpis visited the major editorial offices of all Moscow newspapers for 4-5 hours. In each touring city, Tsoi gave at least one interview to a major local newspaper. If Victor met a truly sympathetic person in the person of a journalist, then he always answered his questions quite frankly.

The first director of the Kino group, Yuri Belishkin, recalled: “1989, Volgograd, journalist, Anya Goncharova, in my opinion. The only one who got through to me and clarified all the details before interviewing Vitya. So, she talked for two and a half hours - and with whom, with Tsoi, from whom, according to most journalists, you can’t get another word out of him other than “yes - no - I don’t know”! She just loved him as a person, empathized and wanted to understand.”

TO similar interviews can also be attributed to: Sergei Shapran in Minsk, L. Chebanyuk in Arkhangelsk, responses to notes in the Palace of Culture of Communications and School 344 in Leningrad.

The “eastern taciturnity” of a rock musician that has become a myth comes from modesty, and not from secrecy or isolation. “I answer when asked. If they don’t ask me, I don’t answer” - that’s his whole position.

Questions from journalists are another matter. As a rule, they were not distinguished by variety, and that is the only reason the musician did not want to repeat himself, which is humanly understandable. Not every one of the “sharks of the Soviet pen” could induce Victor to be frank, or simply turned out to be off topic, and therefore had to be content with monosyllabic answers.

At the same time, if he was faced with a professional journalist who knew how to pose a question in an unconventional way, then Victor’s answers were also unusual and interesting. For example, we can name interviews with French journalists for the films “Rock Around the Kremlin” and “Rock in the Soviets”, an interview with Sergei Sholokhov at the “Golden Duke” film festival, interviews in the programs “Vzglyad”, “Up to sixteen and older”, “Morning Mail” and etc.

We must also not forget that Tsoi had to give many interviews in an atmosphere of concert noise and tour bustle.

Therefore, Viktor Tsoi’s “oriental taciturnity” is a little exaggerated. On the one hand, the innate temperament of Tsoi himself played a role in the birth of this myth. Victor’s mother once recalled that, as an infant, her son preferred peace and quiet to any noise. However, what is oriental about this? You might think that all Russians are talkers, and Koreans and Japanese are silent. Of course this is not true. On the other hand, the persistent myth about Tsoi’s silence is associated with numerous memories of his friends, or rather acquaintances, about this. Everyone else had no choice but to repeat the words of people with whom Tsoi, for one reason or another, did not want to be frank.

History has preserved for us unique archival photos and video materials, from which we can see how Victor was a sociable, cheerful person with good feeling humor. The director of the film “Needle” Rashid Nugmanov recalled: “when they say about Victor that he is an uncommunicative person or is rude, pushes people away - this is not so. Simple, especially in Lately, he communicated with very few, but with friends he was wonderful, an open person. We could talk to him about anything - about cinema, about music, about life in general. But, probably, the essence of our conversations, like any friendly communication, was to find out whether we were right: “After all, I’m right that...”.

Interviews with Viktor Tsoi allow us to clearly see in his personality what is felt but escapes in his songs. Victor almost always thought aphoristically, but could not always formulate a literary answer to a question. With certain reservations, this can be said about songs in which the boundary between lyrical hero and the author. Tsoi's answers in some cases help to more accurately understand this or that song, which are, as it were, deciphered with the help of interviews.

There is another feature common to interviews and songs – irony. Without special feeling humor is impossible to imagine Tsoi’s work. “Aluminum Cucumbers”, “Ten to nine o’clock”, “This is not love”, “Movies”, “Baby”, hooligan songs like “Passerby”, “Mama Anarchy”, songs with social overtones like “Boshetunmay”, “Watch for yourself”, “Anthill” and some. others are distinguished by subtle irony. Tsoi's drawings, made in the neo-graffit genre, are also funny and absurd in their own way.

This feature of Tsoi did not escape the rock critic Alexander Startsev, who back in 1985 remarked about his interview: “It’s difficult to convey - all the irony of Tsoi, when any phrase begins seriously, but ends with such intonation that it is not entirely clear, laughs It's somewhere inside, or it's not. Most likely, both at the same time.”

One way or another, without an interview, the portrait of Viktor Tsoi would be incomplete. Even despite doubts about how much Tsoi’s answers correspond to what he actually said. In some cases, one can really talk about journalists being dishonest. Victor himself repeatedly complained that they “will change everything so much that you won’t recognize yourself.”

Certainly, Sometimes There are discrepancies in the recording and in the transcript of the interview, but in general the coincidences are, in my opinion, at least 80 percent. Today you can not only read most of the famous interviews, but also hear and see them recorded. The most reliable of them can become a kind of litmus test for all other publications. In the bibliography I indicated interviews preserved on audio or video media. All of them can become a good basis for creating the collection “Viktor Tsoi. Book of interviews."

Bibliography of interviews with Viktor Tsoi

Compiled by Andrey Damer

1. Viktor Tsoi comments on the beginning of the performance of the group “Garin and the Hyperboloids”. January 1, 1982, Moscow. The concert was recorded by Alexey Didurov. Published on disc 3 of the MP3 collection “Cinema”. MOROZ RECORDS. 2000-2006.
2. Viktor Tsoi comments on the song “Refrigerator”. Acoustic concert in a rock club, 1982. Published on disc 5 of the MP3 collection “Kino”. MOROZ RECORDS. 2000-2006.

3. Answers to questions after the performance at a concert in Moscow, January 3-4, 1983. V. Tsoi, A. Rybin. Published on disc 5 of the MP3 collection “Cinema”. MOROZ RECORDS. 2000-2006.
4. Short story“Cinema”, interview with V. Tsoi and B. Grebenshchikov, November 1983. Leningrad, Rock Club. November 30, 1983 Full text in the Internet: .
5. Interview for the wall newspaper of the Faculty of Journalism Sverdlovsk University in December 1983, interviewed by Olga Tarasova. Not published.

6. Viktor Tsoi comments on the song “Trolleybus”. Concert with P. Kraev (Songs with a guitar), 1984. Published on 2 discs of the MP3 collection “Cinema”. MOROZ RECORDS. 2000-2006.
7. Viktor Tsoi comments on the song “I’m Walking Down the Street.” Mike and Choi. Concert at P. Kraev’s, December 1984. Published on 2nd MP3 disc of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
8. Why not “Kino”? Answers to questions after the speech at the con. December 1984 in Akademgorodok, Novosibirsk, railway. ID, No. 2 and No. 3, March-May 1985. The recording has been preserved.

9. Fragment of an interview with V. Tsoi in the film “Rock Around the Kremlin”, Zarafa Films. France, summer 1985. The recording has been preserved.
10. CINEMA: A look from the screen, an interview with V. Tsoi and Y. Kasparyan conducted by Alek Zander (Alexander Startsev), Roxy, No. 10, September-December 1985. Leningrad. Included with abbreviations in the collection VIKTOR TSOI: Poems, documents, memories (L., Novy Helikon. 1991, pp. 176-177). Full text online: Goldenunder.
11. Fragments of an interview with V. Tsoi, interviewed by Joanna Stingray on Veteranov Avenue, Leningrad, 1985. They were first shown on Russian television channels, selectively published in the album Viktor Tsoi. Photo album. Red Wave. MOROZ RECORDS, 1996. Partially published (video) on disc 2 of the MP3 collection “Cinema”. MOROZ RECORDS. 2000-2006. The recording has been preserved.

12. Interview with V. Tsoi to the newspaper “Polytechnic”, Leningrad, April 24, 1986. Included in the collection VIKTOR TSOI: Poems, documents, memories (L., Novy Helikon. 1991, p. 196).
13. A short interview, after a performance at a concert in Tallinn (DK Kreuksa), October 5, 1986, interviewed by N. Meinert, desktop newspaper Pro Rock (press organ of the Tallinn rock club), July-October 1986. Reprinted in the collection This is Sweet word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 60-61).
14. From V. Tsoi’s speech at the Leningrad Youth Palace during a concert by gr. “Kino”, October 19, 1986. Published on disc 6 of the MP3 collection “Kino”. MOROZ RECORDS, 2000-2006.
15. Answers to questions after a performance at an unknown concert in Leningrad, 1986. Published in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 135) . Partially published on the 2nd MP3 disc of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
16. Answers to questions after the speech of V. Tsoi and Y. Kasparyan in Leningrad (DK Svyaz) in December 1986 at a meeting with the Virauca club. Published in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 129-134). Published on disc 7 of the MP3 collection “Cinema”. MOROZ RECORDS, 2000-2006.

17. Fragment of an interview with V. Tsoi in the film “Rock” (dir. A. Uchitel), 1987. The recording has been preserved.
18. Interview with V. Tsoi in the newspaper “Arguments and Facts”, Moscow, 1987. No. 39. Included in the collection VIKTOR TSOI: Poems, documents, memories (L., Novy Helikon. 1991, pp. 197-198).
19. Viktor Tsoi comments on the songs “I declare my home”, “We want to dance”, “This is not love”. Acoustic concert in Moscow, 1987. Published on 1 MP3 disc from the “Cinema” collection. MOROZ RECORDS, 2000-2006.
20. Answers to questions during the speech of V. Tsoi and Y. Kasparyan in Dubna, March 1987. Published on 2 MP3 discs of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
21. Interview with V. Tsoi to the Belarusian radio, festival “Lituanika” in Vilnius, May 23, 1987. Published in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. pp. 63-64). The recording has been preserved.
22. We were deceived with all this... Youth of Estonia, May 9, 1988, Tallinn. Summer 1987.
23. Conversation between Joanna Stingray and Viktor Tsoi, fragment in d/f “ Sunny days"(dir. D. Stingray, A. Lipnitsky), 1992. Published on DVD: Viktor Tsoi and the Kino group. Part 2. MOROZ RECORDS, 2004. Text on the Internet: Tsoi16.
24. Viktor Tsoi comments on the songs “City”, “Sunny Days” and “I’m Walking Down the Street”. Viktor Tsoi’s first concert in the south, 1987. Published on disc 7 of the MP3 collection “Kino”. MOROZ RECORDS, 2000-2006.
25. A day at Kino, a conversation between Felix Aksentsev and Viktor Tsoi on the phone in November 1987, Leningrad - Alma-Ata. Published in the magazine “Rodnik” No. 10, 1988. Included in the collection VIKTOR TSOI: Poems, documents, memories (L., New Helikon. 1991, pp. 223-224).
26. Interview with V. Tsoi for the bulletin “ New film"("Zhana film"), Alma-Ata, March 1988. Included in the collection VIKTOR TSOI: Poems, documents, memories (L., New Helikon. 1991, pp. 201-203).
27. Viktor Tsoi comments on the song “Take care of yourself.” Concert in Almaty, December 1987. Published on disc 7 of the MP3 collection “Cinema”. MOROZ RECORDS, 2000-2006.

28. Answers to questions during a speech at school No. 344 in Leningrad. Published in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 135-138). Published on the 8th MP3 disc of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
29. Fragments of V. Tsoi’s interview with the program “Up to 16 and older...”, Moscow, autumn 1988. State Television and Radio Fund. BSP no. (75-0250). The recording has been preserved.
30. Viktor Tsoi comments on the songs of the album “This is not love.” Acoustic concert at Belyaev’s, 1988. Published on 4 discs of the MP3 collection “Cinema”. MOROZ RECORDS, 2000-2006.
31. Viktor Tsoi comments on the song “When your girlfriend is sick” and answers questions. Concert in Tallinn, March 6, 1988. Published on the 4th MP3 disc of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
32. We all have some kind of instinct; the following took part in the conversation with V. Tsoi: A. Astrov, V. Andreev, A. Burlaka, G. Kazakov, April 1988, RIO magazine. No. 19, 1988. Reprinted in the newspaper Moskovsky Komsomolets, September 23, 1990. P.3. In this form it is included in the collection VIKTOR TSOI: Poems, documents, memories (L., Novy Helikon. 1991, pp. 181-189). Most likely, in the MK publication, two interviews (April 1988 and May 1990) were combined.
33. Viktor Tsoi comments on the song “When your girlfriend is sick.” Concert at the Zheleznodorozhnikov Palace of Culture, April 1988. Published on the 8th MP3 disc of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
34. Rare blood type, answers to questions during V. Tsoi’s speech at the LDM, May 1988, recorded by M. Sadchikov, Kaleidoscope, No. 33, 2000. Reprinted in the collection This Sweet Word - Kamchatka (Auth.-comp. V .Mitin, edited by A.Rybin. M., 2005. P.135).
35. I dreamed - the world is ruled by love... I dreamed - the world is ruled by a dream, an interview with V. Tsoi in Voronezh was recorded by Elena Yanushevskaya, May 1988, Peer, No. 16, 1992. Voronezh.
36. We are not saying goodbye, Victor, an interview with Tsoi in the summer of 1988 prepared by V. Kulikov, Tver Life, 1991.
37. V. Tsoi and N. Razlogova answer questions from Sergei Sholokhov at the Golden Duke film festival, September 16, 1988, Odessa. Published on disc 3 of the MP3 collection “Cinema”. MOROZ RECORDS, 2000-2006.
38. Tsoi, who walks by himself, questions from the press conference of R. Nugmanov and V. Tsoi at the Golden Duke film festival (the motor ship Fyodor Chaliapin) September 16, 1988, Odessa. Recorded by Alexander Milkus, Krasnoyarsk Komsomolets, August 29, 1989. Abbreviated and published in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 86-89). The recording has been preserved.
39. Fragment of an interview with V. Tsoi from the film “Rock Around the Kremlin”. N.Minz. France. 1988. Recording preserved.
40. New proletarian heroes, interview with V. Tsoi for the magazine 7a Paris, Paris, 1988. Translation from French.
41. Turn out the lights in the hall... The interview during the concerts in November 1988 in Moscow was recorded by V. Mamontova. Soviet Circus, 1990. Full text on the Internet:
Kinoman
42. V. Tsoi’s speech to the audience at the memorial concert of A. Bashlachev, November 20, 1988, Published on the 9th MP3 disc of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
43. Interview with V. Tsoi to Sergei Chernikov on Novosibirsk radio in December 1988, Novosibirsk. Broadcast - February 1990. The recording has been preserved.
44. Interview with V. Tsoi to A. Kozlov during a speech in the Sever village, Novosibirsk, December 1988. Published in January 1989. Reprinted in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, ed. A Rybina, M., 2005, p. 35).

45. Interview with V. Tsoi on English language Danish Radio, Copenhagen, 14 January 1989. Not published.
46. ​​Interview with V. Tsoi to Alma-Ata radio, Alma-Ata, February 1989. First published in the newspaper “ Friendly guys", March 25, 1989. Included in the collection This sweet word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 65-67). Audio file of interview excerpt: .
47. Interview with V. Tsoi during a tour in Alma-Ata, February 1989. Alma-Ata, Tutti-news, No. 5, March 1991. Included in the collection This sweet word is Kamchatka (Auth.-compiled by V. Mitin, under edited by A. Rybin, M., 2005, pp. 67-69).
48. Don’t make yourself an idol, interview during a tour in Alma-Ata, February 1989. Alma-Ata, Lenin’s shift, June 22, 1991. Included in the collection VIKTOR TSOI: Poems, documents, memories (L., New Helikon. 1991, pp. 209-210).
49. Fragments of an interview with V. Tsoi in France in April 1989 from the film “Rock in Soviet”, France, 1989. One fragment was published on 2 MP3 discs of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
50. Viktor Tsoi: “I usually try to believe in the best,” during a tour in Murmansk, April 1989. Interviewed by Tatyana Bavykina, Murmansk, Komsomolets Zapolyarya, May 13, 1989. Included in the collection This sweet word is Kamchatka (Auth.-comp. V. Mitin, edited by A. Rybin, M., 2005, pp. 71-73).
51. I refuse to reincarnate, interview with Murmansk TV in April 1989. The recording has been partially preserved. Full text on the Internet:
Kinoman
52. Interview with V. Tsoi to the newspaper “Soviet Youth”, Riga, May 6, 1989. Included in the collection VIKTOR TSOI: Poems, documents, memories (L., New Helikon. 1991, pp. 206-209).
53. Viktor Tsoi: “Don’t touch my soul...”, during a tour in Volgograd, April 1989. Interviewed by A. Goncharova, Volgograd, Young Leninist, May 6, 1989. Included in the collection VIKTOR TSOI: Poems, documents, memories (L ., New Helikon. 1991, pp. 203-206). The entry has been saved
54. Creativity is possible without fuss, during a tour in Sverdlovsk, May 1989. O. Matushkin, To replace! June 3, 1989. P. 4.
55. Interview with V. Tsoi to Sergei Shapran during a tour in Minsk (May 7, 1989), Minsk, Znamya Yunost, September 1989. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybina, M., 2005, pp. 73-83). The recording has been preserved.
56. Without hunting this interview, Krasnodar, Kinoekran Kuban, July 1, 1990. During a tour in Krasnodar, May 1989. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. With .126-127).
57. I sing about what worries me, Olga Panchishkina talked with V. Tsoi during the tour of the group. “Cinema” in Krasnodar, May 1989, Komsomolets Kuban, June 30, 1989. Included in the collection This sweet word is Kamchatka (Auth.-compiled by V.Mitin, edited by A.Rybin. M., 2005. P.83- 86).
58. CINEMA by Viktor Tsoi, interview with A. Petrov, Guardian of the Baltic, Kaliningrad, September 24, 1989. During a tour in Kaliningrad, September 16-17, 1989.
59. V. Tsoi: “I live in hope for best time", interviewed by Alexander Igudin, Leningrad, Leninskie Iskra, September 30, 1989. P.6. Reprinted with abbreviations in the magazine “Koster”, No. 8, August 1991. Included in the collection This sweet word is Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 92).
60. You had strict parents, fragment of an interview during a tour in Kharkov, September 20-21, 1989. The recording has been preserved.
61. Interview with V. Tsoi to Ukrainian radio during a tour in Kharkov, September 20-21, 1989. Program “4 M”; Published in the article Tsoi: “I want to be myself...” // Oar, No. 1-2. 1991, Kyiv. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V.Mitin, edited by A.Rybin. M., 2005. P.89-91). The recording has been preserved.
62. Interview with V. Tsoi to Dmitry Shitlin, Alexey Tarnopolsky, Kharkov, Start, No. 1, 1991.
63. Ticket to the evening show, interviewed by Igor Voevodin during a tour in Moscow (October 1989), Moskovskaya Pravda, November 4, 1989. P.3. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V.Mitin, edited by A.Rybin. M., 2005. P.94-95).
64. He is not looking for fame, interview with Artur Gasparyan during a tour in Moscow (October 1989), Moskovsky Komsomolets, October 26, 1989.
65. Interview with V. Tsoi to Evgeny Stankevich for Moscow radio. During a tour in Moscow, October 1989. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V.Mitin, edited by A.Rybin. M., 2005. P.95). The recording has been preserved.
66. Fragments of V. Tsoi’s interview with Moscow TV during the recording of clips in October 1989. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P.92 -93). The recording has been preserved.
67. Fragment of an interview with V. Tsoi in the program “Vzglyad”. Moscow, 1989. Included in the collection This sweet word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 64-65). The recording has been preserved.
68. Interview with V. Tsoi to Yuri Nikolaev for the “Morning Mail” program. Moscow, November 19, 1989. The recording has been preserved.
69. A man from the generation of janitors and watchmen, Lev Belyaev asked questions to V. Tsoi, Krasnoyarsk Komsomolets, December 9, 1989. During a tour in Krasnoyarsk, December 1-4, 1989. Included in the collection This sweet word is Kamchatka (Auth.-comp. V. Mitin, edited by A. Rybin, M., 2005, pp. 95-99).

70. Interview with Viktor Tsoi and Rashid Nugmanov in New York on February 6, 1990, Premier magazine, 1990.
71. Viktor Tsoi: in “Kino” and in life, interview with G. Kaipova during the tour of the “Kino” group in Tashkent, March 9-11, 1990, Tashkentskaya Pravda, May 12, 1990. Full text on the Internet: Kinoman
72. Interview taken by Y. Kazachenko during a tour in Tashkent, Evening Tashkent, March 11, 1990. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P.103-104).
73. Interview by V. Tsoi with the newspaper “Komsomolets of Uzbekistan”, Tashkent, March 17, 1990. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 105-106).
74. Interview taken by I. Serebryakov during the tour of the Kino group in Zaporozhye, Black Saturday, October 4, 1990.
75. One of latest interviews Victor Tsoi, interview with I. Burlakova during the “Kino” tour in Kyiv, March-April 1990, Event, March 23, 1991. Also on Ukrainian radio in the program “Gart”, “UT” in June 1990. Audio recording. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V.Mitin, edited by A.Rybin. M., 2005. P.112-113). The recording has been preserved.
76. Viktor Tsoi: “Our hearts require change!”, Tatyana Denisova and Dmitry Gordon talked with V. Tsoi, Vecherny Kyiv, April 7, 1990. P.1. During the Kino tour in Kyiv, March-April 1990.
77. ...And he said: “Good luck to everyone in the service!”, interview with Sergeant I. Krol, Arkhangelsk, Chasovoy Severa, December 26, 1990 - January 1, 1991. During a tour in Kiev, March-April 1990. Most likely, this is an interview revision of the previous one (76), although several new questions have been added.
78. And for those who go to bed, restful sleep, Lyudmila Mikityuk and Lyudmila Chugunova, Youth of Ukraine, talked with V. Tsoi. 4 kvitnya 1990.
79. Fragment of an interview with Alexander Yagolnik for Ukrainian radio. Radio broadcast "Blitz". Broadcast on April 18, 1990. During a tour in Kyiv, March-April 1990. The recording has been preserved.
80. Interview taken by Alexander Yagolnik during the Kino tour in Kyiv, March-April 1990.
Printed in many versions, with different amounts questions, their different sequence and edition:
a) Place to step forward. // Komsomol banner. Kyiv, September 23, 1990 A. Yagolnik. In this form it is included in the collection VIKTOR TSOI: Poems, documents, memories (L., Novy Helikon. 1991, pp. 257-270).
b) V. Tsoi: “I want to be myself...” // Oar, No. 1-2. 1991. This publication combines various interviews.
c) Close the door behind me, I'm leaving! // Magazine "Club". No. 7. 1991. Abridged version.
d) I want to be myself. // Rock Fuzz, No. 7. 1992. Text on the Internet: Kinoman
81. Interview with V. Tsoi to Perm TV, Perm, April 25-28, 1990. Video. The recording has been preserved.
82. Interview taken by Grigory Volchek during the “Kino” tour in Perm, March 1990. Perm, Young Guard, April 28, 1990. Included in the collection This sweet word is Kamchatka (Auth.-compiled by V. Mitin, ed. A Rybina, M., 2005, pp. 108-111).
83. Well, the body didn’t finish singing a little, Well, the body didn’t get enough love, Perm, Young Guard, No. 30. August 25, 1990. During the Kino tour in Perm, March 1990. Text on the Internet:
Kinoman
84. Interesting “Cinema” by Viktor Tsoi, interviewed by Yu. Lvov. Perm, March 1990.
85. Interview with V. Tsoi for the newspaper “Evening Ufa” during the “Kino” tour in Ufa in April 1990.
86. Star from the boiler room, interview with T. Baidakova in the summer of 1990, MS, 45th parallel, August 1991.
87. Interview with V. Tsoi to the magazine “Musical Olympus”, Moscow, 1990. Included in the collection This sweet word is Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 119- 121).
88. Interview with V. Tsoi to the magazine “Soviet Screen”, Moscow, No. 2. 1990. Included in the collection This sweet word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P. 127-128).
89. Interview taken by G. Zinchenko during the “Kino” tour in Leningrad on May 6-7, 1990, Moskovskaya Pravda, December 5, 1991. Included in the collection This sweet word is Kamchatka (Auth.-compiled by V. Mitin, ed. A. Rybina, M., 2005, pp. 115-116).
90. V. Tsoi’s speech to the audience during a concert at the SKK, Leningrad, May 1990. Published on the 10th MP3 disc of the “Cinema” collection. MOROZ RECORDS, 2000-2006.
91. Viktor Tsoi: It is very important that they understand me, A. Bushuev talked, Glory of Sevastopol, May 20, 1990. During the “Kino” tour in Sevastopol. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V.Mitin, edited by A.Rybin. M., 2005. P.116-118).
92. Interview taken by V. Kulchitsky during the “Kino” tour in Odessa, May 15, 1990, Evening Odessa, December 4, 1990. Included in the collection This sweet word is Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybina, M., 2005, pp. 118-119).
93. I don’t want to be part of... the system, interview with S. Mukhametshina. Odessa, Komsomolskaya Iskra, August 21, 1990. During a tour in Odessa, May 1990.
94. A star named Tsoi, digest interview compiled by Vladimir Chistyakov, Odnoklassnian magazine, No. 2. 1991.
95. Viktor Tsoi: “Life is not serious,” talked to L. Chebanyuk, Northern Komsomolets, June 15, 1991. Included in the collection This Sweet Word - Kamchatka (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005. P.121-126). Arkhangelsk, June 1990.
96. Blitz interview before the performance at the Last Concert in Luzhniki, Moskovsky Komsomolets, June 24, 1990.
97. V. Tsoi’s speech to the audience at the Last Concert at the Luzhniki Stadium, June 24, 1990. Published: DVD: Viktor Tsoi and the Kino group. Part 1. MOROZ RECORDS, 2004.

Note

1. The bibliography from the collection “Joseph Brodsky. Book of Interviews” was used as a sample. Comp. Professor of Russian literature Valentina Polukhina. M.: Zakharov, 2005. P.757-774.

2. The collection "VIKTOR TSOI: Poems, documents, memories" (L., Novy Helikon. 1991) was repeatedly republished under different names. Compiled by Maryana Tsoi, Alexander Zhitinsky.

3. The collection “This sweet word is Kamchatka” (Auth.-compiled by V. Mitin, edited by A. Rybin. M., 2005) can be found on the Internet. In particular: Page Title

4. This bibliography of interview with Viktor Tsoi first published on the official website of Rashid Nugmanov. Reproduction on other sites is prohibited.

Tsoi Forever. Documentary story Zhitinsky Alexander Nikolaevich

Appendix I Viktor Tsoi: interview diary (fragments from the book of the same name published by Andrei Damer)

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Fragments of an interview with Viktor Tsoi “...I don’t write poetry, only songs” Newspaper “Polytechnic” (Leningrad) 02/24/1984 What is the main thing, in your opinion, in music? What is the secret of its popularity? I think – relevance. But in general, the songs should be good. We know your poems - and simple ones,

From the author's book

Appendix I Viktor Tsoi: interview diary (fragments from the book of the same name published by Andrey

Interview details

Interviewed by:

Alexander Yagolnik

Dating:

May, 1990

Source material:

- Victor, yours last work called "A Star Called the Sun". Knowing that you, unlike “pop” groups, put a lot into names and lyrics, I want to ask: is the album title a hint at yourself or something vague?

– More towards the indefinite than towards oneself. Although... I don't know.

– But you personally can call yourself a “star”, after all, you pack stadiums, and I would not say that Viktor Tsoi is not popular. Your forecast: how long will you shine on the stage?

– I don’t know, I haven’t thought about it. I don’t think that universal popularity is the main thing. I am, of course, very glad that KINO is now gathering such halls, but, in principle, all this was not an end in itself. It was important to us to play the music that we like, and we will play it even if fewer people like it. I don't predict success. I am not interested. I'm interested in songs.

– Here’s a question: how does the image that you created on the screen (the film “Assa”, “Needle”) relate to real Victor Tsoi?

“I didn’t create anything special, I didn’t try to get into someone else’s skin. He behaved the way he wanted and how he would behave in such circumstances. And I did it because I was interested. And when quite recently they offered to star in the role of Mowgli in some musical - you know, maybe it’s witty, but the idea of ​​​​this musical was completely, to put it mildly, not what we would like...

– In that case, what movie character is close to you, who do you want to play?

- No, the fact of the matter is that I didn’t want to play anything. I want to be myself everywhere - both on the silver screen and at a concert, you know? The most important thing for me is to maintain the self-respect and freedom that I have now. But it is very difficult to save. You have to fight all the time. And if the issue becomes that I'm forced to play music that I don't want to play, but that people will like, it wouldn't be fair to play it, right?

– Now they say that Soviet rock music is going through a crisis. Aren't you afraid that soon you, Viktor Tsoi, will find yourself out of work?

– In our country, rock music was banned for too long, and when it became possible to go to a rock concert, any rock band would pack the hall. And when there was a choice, people naturally went for something else. This is completely normal. As for “out of work”, I think this does not threaten us. Even if I am in prison and I have a six-string guitar, I will no longer be out of work - because I will continue to do my job. I don't care where to play...

– For a very long time you were, as it were, outside our system. And now you’re slowly getting the hang of it, or something. What are the “pros” and “cons” of all this?

– I don’t fit in at all... As for the music system, we still stand apart, although if before we were an underground group, now we can no longer be called that. I have never considered popularity an end in itself, on the one hand, and on the other hand, I have never believed that it is necessary to artificially create some kind of obstacles between myself and the public. Therefore, it is very good that we play concerts that anyone can come to.

– If you were given the opportunity in the most hard days in the present, travel back in time - where would you prefer to go and why?

– I don’t know, somehow I didn’t think about this topic. And then I have a very philosophical attitude towards troubles and believe that you just have to wait them out - and everything will work out.

– I got the impression that you are a fatalist by nature?

“Maybe I’m not self-analyzing.” I am who I am - that's all.

- Yours big enemy from people, from human vices, in yourself?

- I don’t know... I won’t undertake to judge what is a vice, what is a disadvantage, and what is a virtue for a person. In the end, consensus there is no such thing as this. Therefore, I believe that a person is what he is. Is he good or bad - who are the judges?

– Let’s say that in a few years the hype around the KINO group will subside, and you will have to earn money to feed your family... Are you sure you can solve this problem?

- I don't think about the future. I just know that when such a question arises, I will somehow solve it. In the meantime, what should we think about it?

– A few quick questions in the style of Bravo magazine: your favorite color is probably black, right?

- Certainly.

- Favorite dish?

- Don't know...

- Favorite flowers?

– Favorite football team?

- There is no such thing.

- Favorite sport?

– Well, quite a lot of sports related to martial arts.

– Favorite time of the year?

- Darling western group?

– I don’t know, there isn’t one, just my favorite one. And the rest are all unloved.

– Victor, and last question... The cherished dream of the PINK FLOYD group is to fly into space. Which cherished dream KINO groups?

– (Thinking for a long time, as if anticipating something) I don’t know, probably also into space...

Report on the topic:

Victor Tsoi

Severo – Zadonsk 2002

Brief biographical information.

Viktor Robertovich Tsoi was born on June 21, 1962 in Leningrad in the family of physical education teacher Valentina Vasilyevna Tsoi and engineer Robert Maksimovich Tsoi. Victor was only child in family. In 1969, he entered the school where his mother worked. In total, during his studies until the eighth grade, he and his mother changed three schools. From 1974 to 1977, he attended a secondary art school, where the group “CHAMBER No. 6”, led by Maxim Pashkov, appeared. In 1977, he graduated from eight classes and entered the art school named after. V. Serova. In 1978, he was expelled from the school “for poor academic performance.” He goes to work at a factory and studies at night school. In 1979, he entered SGPTU-61 to specialize in wood carving. During the summer of 1981, together with Alexey Rybin and Oleg Valinsky, he created the group “GARIN AND HYPERBOLOIDS”. In the fall of 1981, the group "GARIN AND HYPERBOLOIDS" joined the Leningrad rock club. In the spring of 1982, the album “45” was recorded. At the same time, Victor meets his future wife Marianna. At the same time - the first electric concert of the group "KINO" in the Leningrad rock club together with the musicians of "AQUARIUM". He graduates from school with a certificate and goes to work in restoration workshops in the city of Pushkin. In the fall of 1982, he went to work at the gardening trust as a woodcarver. In the same year, 1982, the first acoustic concerts in Moscow. In February 1983 - the second electric concert of the group "KINO" in a rock club. In the spring, Alexey Rybin leaves the group. In the summer of 1983, he recorded with Yuri Kasparyan the phonogram “Demo” with Alexey Vishny, which later became known as “46”. In the fall of 1983, he undergoes examination at psychiatric hospital No. 2 on Pryazhka and receives a “white ticket”. In the spring of 1984 - "KINO" performed at the second rock club festival and received a laureate title. In the summer, autumn of 1984, he recorded the album “Chief of Kamchatka” in Andrei Tropillo’s studio together with the AQUARIUM musicians. The second cast of “KINO” is being formed: Tsoi, Kasparyan, Titov, Guryanov. In February 1985 - marry Marianne. In the spring of 1985, he received the title of laureate at the third rock club festival. August 5, 1985 - son Sasha was born. In the summer and autumn of 1985 - work on two albums - “Night” in the Tropillo studio and “This is not love” in the Cherry studio. In the spring of 1986 - performance at the fourth rock club festival. Diploma for best texts. In the summer of 1986 - filming of the film "End of Vacation" in Kyiv. The album "Red Wave" is released. Goes to work at the Kamchatka boiler house. Participates in the filming of the film "Rock" directed by Alexei Uchitel. Autumn, winter 1986 - participation in the filming of "Assa". In the spring of 1987, the last performance at the rock club festival. Prize "for creative adulthood". The album "Blood Type" is being recorded. In the fall of 1987, filming of the film "Needle" began. In 1988, “Blood Type” and Rashid Nugmanov’s film “Needle” were released. The album "A Star Called the Sun" is being recorded. The beginning of the "star" tour. In November - KINO's participation in the memorial concert of Alexander Bashlachev in Luzhniki. In 1989, a summer trip to the USA, participation in the Golden Duke festival in Odessa. According to polls by film critics of the magazine "Soviet Screen", he was recognized as the best film actor of the year. Extensive tours throughout the country. The album "A Star Called the Sun" is released. In November - the last concerts of "KINO" in Leningrad. The album comes out in France Last Hero". In the spring of 1990, a trip to Japan. In June 1990 - the last concert of "KINO" in Moscow at Luzhniki. Summer tours around the country. Recording of the last album, which was released after Tsoi's death and is called "Black Album".

On August 15, 1990, Viktor Robertovich Tsoi died early in the morning in a car accident near Riga and was buried in St. Petersburg at the Bogoslovskoye cemetery.

Group "KINO" and Viktor Tsoi.

There is something inexplicable in the popularity of the Leningrad group "KINO". Indeed, success, fame, mass recognition usually finds one or another performer as a result of a sequence of certain events; they are usually preceded by bursts of creative activity, intensive work, growing public interest and constant presence “in plain sight”. In the case of KINO, everything was exactly the opposite. The year of "KINO" began in the spring of 1988, when the group completely disappeared from musical horizons: they did not perform, did not even rehearse, and its members were busy implementing their own projects and, as it may seem, only by pure chance found a few days at the beginning of the year to complete the album, which was in a “semi-finished” state, which became known as “Blood Type”. It was he who became the catalyst for the explosion of the long-gestating “cinema mania” that swept the country in a matter of months.

It all began in the fall of 1981, when the trio “Garin and Hyperboloids” arose from the ruins of the Zhekovsky teams “WARD No. 6” and “PILGRIM”. A couple of months later, its composition was reduced to a duet, and the name became “KINO” -
- at that time, Viktor Tsoi and Alexey Rybin were hiding under it. They joined a rock club, performed with the active participation of AQUARIUM musicians on its stage, recorded an album, which was called “45” based on its total playing time, and disappeared for a whole year. Then they performed again - with the five of them and with an “electric” program and... broke up. And yet, in May 1984, KINO appeared again. Viktor Tsoi, and with him Yuri Kasparyan (guitar), Alexander Titov (bass) and Georgy Guryanov (drum) “dark horse” took to the stage of the II Leningrad Rock Festival and created a sensation, becoming one of the main discoveries of this show creative forces rock movements. The title of laureate of the KINO festival was confirmed twice more in 1985 and 1987. In the fall of 1984, A. Titov was replaced by Igor Tikhomirov, part-time member of “JUNGLE” and one of the best bass guitarists in the country. Since then, the composition of the KINO group - apart from the occasional appearances of various guitarists, percussionists and keyboardists who rarely played with the group more than one concert - has remained unchanged.

The songs of “KINO” amaze with the abundance of fresh melodic solutions, their arrangements are distinguished by restraint and laconicism, and the excellent ensemble playing, in which the contribution of each participant is equal and irreplaceable, allows us to speak of them as a classic example of a rock band. In the texts of Viktor Tsoi, and he is the author of almost the entire KINO repertoire, romantically sublime images are mixed with purely realistic, everyday sketches from nature, reflecting the inner world of the modern young man. Sharp, almost journalistic, appeals coexist in the songs of "KINO" with good humor and sometimes caustic irony, which is generally characteristic of poetic language Tsoi. In the group’s later works, the “maturation” of its hero is noticeable, a departure from the naive everyday life of the courtyards and the gateway to more serious problems, calls to action, action,
thirst for moral perfection.

In recent years, especially after the success of "Blood Type", the group's creative activity has increased significantly. "KINO" regularly performs in Leningrad and tours periodically. In 1989, the group visited abroad twice - at charity concerts in Denmark and at the largest rock festival in France in Bourges. Their music can be heard in the films “ROCK”, “ASSA”, “CITY”, “NEEDLE” - in the last of them Viktor Tsoi made his debut as the leading actor.

- What is the most important thing in music, in your opinion? What is the secret of her popularity? -
-I think - relevance. But in general, the songs should be good
- We know your poems - both simple, vital ones, on topics that concern us all, and more complex ones, with subtext. What is closer to you?
- I can’t imagine myself without it. and without the other. The world has many faces, and so do poems.
- I do not know for sure. Probably, the text and music are one, because the idea in them is the same. In general, I don’t write poetry, only songs.
- Which modern pop groups interest you most?
- The same. like you: “Aquarium”, “Zoo”. "Alice" By the way. "Alice" has now resumed work with Kinchev, we'll probably see them at a rock festival
- And from Western music?
- For us, the most interesting thing is the work of independent recording companies. What reaches us most often is music that “sells,” music for dancing. The ears get used to the standards. And independent companies release small editions of records by groups that do not adhere to standards. It's closer to us.
- Victor, do you find analogues to your creativity here or in the West?
- I'm not looking for them. Although we listen to a lot of music, it is part of our work. Perhaps there is some influence, but each of our songs passes through its own prism.
- What do you prefer - concert or studio work? And what do you try to use more, acoustic or electric music?
- Concerts and recordings are inseparable. Nowadays the problem of sound at Kino concerts is very acute." We want to turn concerts into something “hot”, so we focus on those who have heard our songs on record and know them
- What are Kino’s problems?
- Only organizational ones. In music we have no dead ends. There are a lot of thoughts and desire to work.
- What do you expect from the public?
- I want only those among the listeners. who cares about my music? It's nice to play for those who understand you.
- Finally traditional question about creative plans.
- In April we will finish recording a new album. Then we will go to Kyiv to participate in the filming of a short film feature film. Well, we will prepare for the rock festival here and in Vilnius.