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Valentina Vasilievna

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

Many "movie fans" 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 best of all and "made" him as a person. Many believe that it was thanks to his mother and first wife that Choi took place as a musician. And when Tsoi died, heartbroken fans went to his mother for consolation and communication, in which she never refused them, just as she did not refuse media representatives in interviews and comments. Of all the people close to Victor, she was the most sociable. And if Maryana gave interviews rather out of necessity and, as a rule, to acquaintances, then Valentina Vasilievna was open to everyone.

Victor himself never spoke about the role of a 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 Vasilyevna looked for abilities in the child and sought to reveal them, tried to educate Vitya herself and protected him from outside influences. According to her, she loved to read books from the Life of Remarkable People series to him, she wanted to interest Victor in how talented people are formed, and thus help her son open up. As you know, it was Valentina Vasilievna who noticed her son's talent for drawing and sent him to an 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 expect that their son would follow the path that Choi chose in the end.

From an interview with Robert Maksimovich Tsoi:

- Who would you like to see your son?

- Mother was sure that Victor would become an artist, because since childhood - from the age of six, probably - he painted very well. ‹…›

- At first, you did not accept his passion for music?

- It’s not that they didn’t accept it, they just didn’t believe that it was serious with him. We thought it was another hobby that would soon pass. And they could not even imagine that in addition to his musical talent, he would also show his poetic talent. ‹…›

- From the last place of work you, probably, did not come to special delight?

- I was more upset when he did not work at all. In those days, after all, as it was: if you don’t work somewhere, it means you’re a parasite, and they could have been imprisoned for this. And Viktor, when he was expelled from the Serov Art School “for poor progress”, at first got a job as a stamper at the factory, but did not last long there, and then did not work at all for two years - he lay on the couch. His famous song"The Loafer" is dedicated to that time. I was very worried then, but my mother somehow calmly reacted to this, she never reproached him. She said: “If you don’t want to, don’t work. Do what the soul lies to. And his soul has always been for music. I think her maternal 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 constantly disappeared at work. Secondly, it is no secret that I once left the family - so to speak, the sins of youth. In general, Currency turned out to be right: I thought that Victor had been doing nothing for two years, but it turned out that he had been creating all this time 742
http://www.bulvar.com.ua/arch/2010/32/4c63da03a02a4/

Did the parents want their only son to devote his whole 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'm doing my own thing. Probably, they didn't always think so."

Inna Nikolaevna Golubeva:

There were battles about his work and in general ... With Valentina Vasilievna. Valentina Vasilievna is a teacher. Not a teacher with capital letter, and the teacher. She graduated from the Lesgaft Institute and studied in absentia as a biology teacher. And so, they got him. Although, of course, they always got me rather, of course, because they all told me: Vitya must do something, Vitya must call, Vitya must work, Vitya must do something else. And somehow she calls us and says: “Well, is Vitka working?”

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

Of course, with such calls and demands, Valentina Vasilievna increasingly alienated herself from Victor. He often repeated the phrase that “everyone’s parents are like parents, but I have the devil knows what” ... Later, when all this happened and Viti was gone, Valentina Vasilievna told me: “Thanks to my upbringing, Inna Nikolaevna, he became like that, ingenious. If there was someone else, nothing would have happened, but I did. Surprisingly, everything turned out - you have such a girl, I have a boy ... " 743

Speaking of 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 he was hard to find mutual language with older people, because 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 his parents' values ​​were common 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 play some kind of incomprehensible rock music, which was not only forbidden, but also not provided a stable income. 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 strange life. Only later, when they saw that Victor had succeeded, did they slightly change their attitude towards him. But all the same, according to the recollections of numerous witnesses, neither his mother nor his father perceived him as a person who had taken place 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 often visited Natasha's house, then I visited the St. Petersburg "house with a spire" on the corner of Moskovsky and Basseinaya 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 rickety chairs, listened to Western music and drank strong sweet tea with jam, which Vita's mother treated us to. Relations between them remained quite strained - the image of the "prodigal son" forever stuck to him. Yes, he did not particularly seek to change it 744
Y. Aizenshpis. "Lighting the Stars. Notes and advice from a show business pioneer. M .: "Algorithm", 2005.

Marina Smirnova:

At first, Vitka had some complexes, while he had not yet realized himself as who he had become. Either these were echoes of children's complexes, or he grew up in a family in which it was difficult to grow up self-confident. It didn’t occur to me then to analyze the situation as I do now, but I’m sure that he didn’t have a happy childhood. 745

Alexey Rybin:

He had great relationship with parents. With mom, with dad. For some time she and Maryasha lived with Vitka, with their parents. Everything was fine 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 is what constitutes main conflict"fathers and children".

What was important for Tsoi? Remember the songs "Beatnik", "Close the door behind me" - how much desire for freedom and romanticism is in them, and how much denial of the values ​​of society is in them. “Adults” often refer to such sentiments as “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 likes, even if it brings certain material difficulties.

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

Valentina Vasilievna Tsoi:

I have always kept nervous system son and did everything possible to make him grow in love. The 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, she entered the 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 do gymnastics at the same time. Then there was a school of trainers at the Lesgaft Institute of Physical Culture ... After the birth of Viktor, she entered the biological faculty 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 entering an evening school. He graduated from 747
S. Shapran. Viktor Tsoi. Why did we love him so madly? "Soviet youth". 08/17/1991. Riga.

That is, for Valentina Vasilyevna it was important that her son "socialize". She believed that it was grinding to the standard that was a manifestation of love, so she tried to give him what she did not receive from life. However, Victor did not particularly strive for ostentatious education, so he was often called a petist, not considering that he was constantly studying, but himself. So there was no complete 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 calm. Therefore, Valentina Vasilievna herself recalled that she tried to speak with her son in a half-whisper, feeling his independent disposition. But not always they managed not to quarrel.

Valentina Vasilievna Tsoi:

Because of Natasha Razlogova, my son and I quarreled. Not because she was unsympathetic to me. Quite the contrary: Natasha is a beautiful woman, very beautiful, like a young Gina Lollobrigida. I was not surprised that Victor fell in love with her. But I didn’t like how he builds 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 for film set in Alma-Ata. In the note, I gave him a stick about Natasha, Mariana and Sasha. After that, for a whole year, my son deleted me from his life - he didn’t call, he didn’t come. I then got angry and decided: I will not remind myself, but at the same time I will find out who I raised! 748
There.

Valentina Vasilievna was a strict person. Sometimes very harsh. But she honestly says that Tsoi did not talk to her for a whole year, because after he left Maryana she spoke to him incorrectly.

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 to parental education at that time quite frankly in a conversation with a correspondent for the Komsomolskoye Znamya newspaper in Kyiv, where the group performed at the Sports Palace.

From an interview with Viktor Tsoi:

- And your parents were strict, they often punished you, if so, for what?

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

- Well, but you have no complaints against them, for example, they didn’t show it, they didn’t teach it?

“But I don’t think that parents can teach anything at all. 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 (he says the last phrase with a mockery). Parents can give education there, whatever they want, and the personality is formed by itself, under the influence environment. But the same environment influences some in one way, others differently ...

If we recall the early songs of Tsoi, then in them one can find a reflection of the misunderstanding that reigns between "adults" and "children" in general. They feel some kind of restlessness, uselessness to society, a clear strong resistance to the values ​​of "adults".

And I laugh, even though I'm not always funny,
And I get very angry when they tell me
It's impossible to live the way I do now.
But why? Because I live.
No one can answer this...

(My friends)

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

(Slacker)

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

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

(Once you were a beatnik)

The opinion that a mother always knows her son best of all is erroneous. It happens that it is the parents, classmates, classmates who 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 reveal himself to them.

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

Valentina Vasilievna Tsoi:

He did not succeed in art education ... And what about music? I think he will play and quit. But it turned out differently... 749
There.

Alexey Vishnya:

Parents wanted him to go to study, work, and he - dry wine, guitars and punk companies. What can I say - of course, according to the parents, this is all complete shit ... but. My dad took a serious look at my music only when he picked up a Melodiya record. Then yes. Preferences immediately went, and before that he only did what he plugged 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
There.

. Georgy Guryanov:

We have never raised this topic. Choi never talked about his parents. But I have not seen any disrespectful attitude or anything else. 752
From an interview with the author - 2012.

Rashid Nugmanov:

Never, with a single word or gesture, did Victor express his contempt for his parents to me. True, I never met them during Victor's lifetime, and we had no reason to talk about them. Victor treated my mother very warmly, and I somehow automatically projected such an attitude towards his own parents. I must say that I have repeatedly witnessed a critical attitude towards them from Maryasha and her mother Inna Nikolaevna, but I let it all pass by, since it was none of my business, especially since Victor did not react to such conversations. kept quiet 753
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 a taste, 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 Viktor and the surname “Tsoi” often helped her, for example, when she faced the disregard 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 here is Robert Maksimovich. They put him on the jury. And he has everything 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 Vasilievna used to say that this was her upbringing 754
There.

Andrey Tropillo:

Parents found out that their son was a hero and genius only after his death. 755
From an interview with A. Tropillo. The film “Loud de-lo. Special project. Viktor Tsoi. RenTV, 2010.

For the first time after Victor's death, his parents had a courtyard at home, the door did not close - crowds of fans went to them to express their sympathy, sit and talk ... Those who were on the verge of suicide also came, ready to go after their idol , and Valentina Vasilievna sat with everyone - talked, convinced of the absurdity of suicide ... This was what struck me the 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 an interview with Valentina Vasilievna Tsoi to Oleg Belikov:

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

I'm 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 allegedly alive. For me it is very difficult.

We somehow walked with Robert from the cemetery, and all around on the fence there were inscriptions: "Tsoi is alive." And I say to him: “Robert, how could you believe that your Viti is gone?” 756
http://tsoy.hoha.ru/int8.html

28 On November 2009, Valentina Vasilievna died in a hospital in St. Petersburg. Over the past month and a half, she has suffered two severe heart attacks. They buried the mother of Viktor Tsoi at the Bogoslovsky cemetery, not far from the grave of his son ...

Natasha

Natalia Razlogova is the most closed figure of all those who were close to Viktor Tsoi in his short life. She received a lot of reproaches addressed to 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 "movie fans" on the site of Rashid Nugmanov) 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 well-known Russian film critic, director of the Institute of Cultural Studies Kirill Razlogov (because of the age difference, many mistake him for Natalia's father), her older sister Elena is a doctor of philological sciences, a teacher at MTU. Natalia herself is a linguist by education, she graduated from the philological faculty of Moscow University. At the time of her acquaintance with Victor, she was engaged in translations and lectured on French cinema to members of the Union of Cinematographers. I went to the shooting of ACCBI at the personal invitation of the director Sergei Solovyov in order to watch “live” how films are made, to feel the atmosphere of filming. There he and Victor became close. Since Tsoi and Razlogova were people from different worlds, they had no other chance to cross paths. So, purely by chance, another woman appeared in the life of Viktor Tsoi. Hence the division among fans - someone respects and honors Maryana, someone - Natalia. Everyone has their own perception and opinion. Maryana's supporters are in the majority, and some of them react quite aggressively even if someone likes Natalia.

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

I. Razlogova “beat off” Tsoi from Maryana, acting as a “fatal woman”.

For the first time, Natalia and Victor met briefly at Mosfilm during preparations 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 "ACCA", there are at least three "significant" places there: the Oreanda Hotel, where they rented Krymov's room, the Tavrida Hotel with a winter garden and a restaurant, where they filmed the famous tunnel “Change!”, as well as the hotel “Ukraine”, where the film crew lived, a very beautiful, but now abandoned mansion that looks ominously romantic. Well cable car, certainly.

There are only a few pieces of evidence that shed light on the origin 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 an unknown author from the archive of Rashid Nugmanov

Tsoi did not arrive in Yalta immediately. Maybe a month later or a little less, somewhere at the end of January. We have already started filming, but in fact, the preparations were still going on. And there he met a girl who worked as an assistant to Viktor Trachtenberg, dying. Her name was Natalia Razlogova. And they began a very tender friendship. Tsoi has 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 cut down by one sculptor from one piece of marble: two identical lush black shocks of hair, very slender figures. I do not want to compare anyone, but everything played a role. Maryasha by that time began to abuse alcohol very much, Choi, as far as I know, spent a lot of energy trying to explain something to her. Later, in last years, she managed to transform herself very much: she learned Japanese and 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, not going beyond his really great 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 reason left his wife and child for another woman. In fact, past relationships have, in general, ended. Marina Smirnova confirms this, mentioning in one program that "Tsoi left completely when there was already ashes in his past relationship." Even Maryana Tsoi herself in "Reference Point" says that by the time Tsoi met Natalia, they were absolutely free people.

Mariana Tsoi:

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

Photograph by Natalia Razlogova, colorized by Viktor Tsoi. From the archive of Natalia Razlogova

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

In addition, at the time of their acquaintance, Tsoi was no longer a boy, he was an adult and not at all a henpecked person, whom they sometimes like to expose him to. If we accept the version that he was “turned around” and that Maryana “made” Tsoi as a person, then we have to admit that Viktor 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 on a pedestal such a weak and 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: is this opinion true or does it simply characterize the fans themselves?

2. Razlogova "twisted" him not from Great love, but simply in pursuit of fame and money of 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 with translations than rock musicians with 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 "ASSY", which made Tsoi a hero for all time, happened almost a year after meeting Razlogova. And at the time of the meeting of Tsoi and Natalia, he was an exotic character for representatives of the cinema world, a mysterious hero of the rock underground, about which they knew almost nothing. So, when meeting Tsoi, it was his personality that hooked Natalia, and not the status of a star.

Since Natalia studied at music school at the conservatory, some believe that she (like Maryana) left a mark on Tsoi's music, having come up with an arrangement move in "A Sad Song".

Yuri Kasparyan:

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 reverently pulled this tune out of her at 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 Cinema” there is a completely different arrangement that was included in the film ... 759
www.yahha.com

It must be said that Kasparyan prefers a different version of the song, earlier, with pronounced guitars and a distinct second vocal by Georgy Guryanov.

Yuri Kasparyan:

I like a different rendition of this song. Recently I heard it. The record came out "KINO in the cinema" - there was this performance 760
From the program “Chronicle” on “Our Radio” (“Album “Blood Type”, 1987”), also published in the book by A. Chernil “Our Music: The First Complete History of Russian Rock, Told by Himself”. St. Petersburg: "Amphora", 2006, p. 246.

Nevertheless, Natalia, apparently, never aspired to "contribute" to Tsoi's music, and indeed at first she was far from the music of the KINO group.

According to Natalia herself, for the first time she heard Viktor Tsoi's songs in Plienciems. Some of the vacationers in the summer of 1986 brought the recordings 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 in all respects as Natalia, because it is difficult to impress her. Or rather, impossible. Well-known directors and cult TV presenters tried to look after her. To no avail. But Choi succeeded. It is not easy to explain what his unusualness for her was, because the unusualness follows from the context. Apparently, Choi was very different from her surroundings. He was absolutely independent in his judgments, uninfluenced and confident in his dao of a man, which must have been fascinating.

Surrounding 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 so that twenty-year-olds can envy her. That is, this is an amazing beauty - both external and internal - a person, she was completely from another planet, an intellectual, from a cinematic family, that is, a person with a certain background, with a huge inner space. With an incredibly clear mind. She became a guide for Vitya, simply took his hand and led him on. I think that this meeting could not have happened. By this time, he had already outgrown youthful relationships and companies. She for Tsoi, of course, became a teacher who opened other layers to him. Look, he even began to speak differently after meeting her - this can be seen from his interview. He had some breakthrough. She is an incredibly beautiful, smart and subtle person. She could not help but attract attention, because she was very different from everyone in the party. 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 in such a way that he began to win against everyone, to what - a paradoxical understanding of the essence of things. She generally perceived him as an alien. There are no more, never were, and probably never will be. I can't speak for Natasha, but I saw how it was from 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. In general, he was a very integral person, a genius in everything. While he was with Mariana, he did not allow himself anything. Then Natasha appeared, and he, just as completely devotedly, was completely given to her. When there were shootings in Aralsk - and this is some kind of incredible wilderness, the Kazakh steppe, there is nothing, some phone booth, from where you need to call on a coupon, and it was possible to get through only theoretically. But Natasha wasn’t even in Moscow then, she traveled all over the Union with lectures on modern French cinema, on the “new wave”, so she still couldn’t be caught. Nevertheless, every evening we went hand in hand to this call center with him, and the conversations were only about her. I was still unfamiliar with her then, but it was a kind of ritual. He loved her incredibly. For him it was a whole cosmos 761
A. Zhitinsky. Choi forever. St. Petersburg: "Amphora", 2009.

Joanna Stingray:

He loved Natasha very much, and the 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. Viktor Tsoi. Poems, memoirs, documents. St. Petersburg: "New Helikon", 1991.

Rashid Nugmanov:

After meeting with Natasha Tsoi, he became very homely, his social circle was limited to a few people. Of course, everyone wants to have their own corner. They were going to buy an apartment with Natasha. Everything is clear here - if at the age of twenty the disorder can be endured relatively calmly, then in 1990 he was already twenty-eight and wanted to live like a human being ” 763
www.yahha.com

In general, to oppose 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. This is probably why for a long time there were rumors that not everything was going so smoothly between Victor and Natalia, that by August 1990 their relationship was almost completely destroyed and reached a dead end. Therefore, Tsoi began to write songs full of hopelessness and sadness. Some even accuse Natalia of Tsoi's death!

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

Interview details

Interviewed by:

Alexander Yagolnik

Dating:

May 1990

Material Source:

– Victor, your latest work is called “A Star Called the Sun”. Knowing that you put a lot into titles and lyrics, unlike "pop" bands, I want to ask: is the title of the album a hint at yourself or something indefinite?

“More on the indefinite than on yourself. Although... I don't know.

- And you can personally call yourself a “star”, after all, you collect stadiums, and I would not say that Viktor Tsoi is not popular. Your prediction: how long will you shine in the pop sky?

I don't know, I didn't think about it. I do not think that this is the main thing - universal popularity. Of course, I am very glad that now KINO is gathering such halls, but, in principle, all this was not an end in itself. It was important for us to play the music that we like, and we will play it even if less people like it. I don't predict success. It is not interesting for me. I'm interested in songs.

- Such a question: the image that you created on the screen (the film "Assa", "Needle"), how does it compare with the real Viktor Tsoi?

- I didn’t create anything special, I didn’t try to get into someone else’s shoes. 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 play the role of Mowgli in some kind of musical - you know, maybe it's witty, but the idea of ​​\u200b\u200bthis musical was completely, to put it mildly, not what we would like ...

- In this case, what image in the cinema 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 - on the movie screen and at the concert, you know? For me, the most important thing is to maintain the self-respect and freedom that I have now. But it is very difficult to keep. You have to fight all the time. And if the question becomes that I have to play music that I don't want to play, but that people will like, it would be dishonest to play it, right?

- Now they say that Soviet rock music is in crisis. Aren't you afraid that soon you, Viktor Tsoi, will be out of work?

- We have had rock music banned for too long, and when it became possible to go to a rock concert, any rock band gathered the audience. And when there was a choice, people, of course, went for something else. This is completely normal. And as for "out of work" - I think it does not threaten us. Even if I'm in prison and I have a six-string guitar, I will not 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 turning around, or something. What are the pros and cons of all this?

- I don't fit in at all... As for the musical system, we still stand apart, although if before we were an underground group, now we can no longer be called that. On the one hand, I never considered popularity an end in itself, and on the other hand, I never considered that it was 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 to be transported to the past - where would you prefer to go and why?

– I don’t know, somehow I didn’t think about this topic. And then I am very philosophical about troubles and I think that they just need to wait out - and everything will work out.

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

“Maybe I don’t introspect. I am who I am and that's it.

- Your very big enemy from people, from human vices, in yourself?

– I really don’t know... I won’t undertake to judge what is a vice for a person, what is a disadvantage, and what is a virtue. In the end, there is no consensus on this matter. Therefore, I believe that a person is what he is. Good or bad - and who are the judges?

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

“I don't think about the future. I just know when such a question arises, I will somehow solve it. Until then, what do you think about it?

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

- Certainly.

- Favourite dish?

- I do not know...

- Favorite flowers?

- Favorite football team?

- No such.

- Favorite sport?

- Well, there are quite a lot of sports related to martial arts.

- Favorite season?

- Darling western group?

- I don’t know, there isn’t one like that, just to be loved. And the rest are all unloved.

- Victor, and the 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 ...

The personality of a talented person always carries an element of mystery. Many are interested in answers to questions about how Viktor Tsoi treated life, what was his favorite color, etc. Someone periodically ranks him among the prophets, "unknown messengers." Others call him a perestroika singer, a fighter for a just cause, a hero of the 80s generation. Answers to these and other questions can be found in an interview with Viktor Tsoi.

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

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, except for “yes - no - I don’t know”, you can’t get a word anymore! She just loved him as a person, empathized and wanted to understand.

Such interviews also include: Sergei Shapran in Minsk, L. Chebanyuk in Arkhangelsk, answers to notes in the DC Communications and 344 schools in Leningrad.

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

Another thing is the questions of journalists. They, as a rule, did not differ in variety, and only for this reason the musician did not want to repeat himself, which is humanly understandable. Not every one of the “sharks of the Soviet pen” could set Victor up for frankness 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 put a question outside the box, then Victor's answers were also unusual and interesting. For example, we can name an interview 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, an interview in the programs “Vzglyad”, “Up to sixteen and older”, “Morning Mail” and others

We must also not forget that many of Tsoi's interviews had to be given in an atmosphere of concert noise and touring bustle.

Therefore, Viktor Tsoi's "eastern taciturnity" is a bit 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 a baby, her son preferred peace and quiet to any noise. However, what is oriental about this? You might think that all Russian talkers, and Koreans and Japanese are silent. Of course it isn't. On the other hand, the persistent myth about Tsoi's taciturnity is associated with numerous memories of this by his friends, or rather acquaintances. Everyone else had nothing to do but repeat the words of people with whom Choi, for one reason or another, did not want to be frank.

History has preserved for us unique archival photos and videos, which show 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 unsociable person or that he is rude, repels people, this is not so. simple, especially in recent times, he talked with very few people, but with friends he was wonderful, an open person. We could talk with him about anything - about cinema, about music, about life in general. But, probably, the essence of our conversations, as well as any friendly communication, was to find out if we were right: "After all, I'm right that ...".

Viktor Tsoi's interviews allow you to clearly see in his personality what is felt, but slips away in his songs. Victor almost always thought aphoristically, but he could not always formulate an answer to a question in a literary way. 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 a particular song, which, as it were, are deciphered with the help of an interview.

There is another feature common to interviews and songs - irony. Without a special sense of humor, it is impossible to imagine Tsoi's work. "Aluminum cucumbers", "Ten to nine o'clock", "This is not love", "Films", "Baby", hooligan songs like "Passer-by", "Mama Anarchy", songs from social overtones such as "Boshetunmay", "Watch yourself", "Anthill" and some. others just differ in subtle irony. Tsoi's drawings, made in the neo-graffitism 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 hard to convey - all the irony of Tsoi, when any phrase begins in earnest, and ends with such intonation that it’s not entirely clear, laughs he is somewhere inside, or not. Probably 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 Tsoi's answers correspond to what he actually said. In some cases, it is indeed possible to speak of the unscrupulousness of journalists. Victor himself repeatedly complained that they "will change everything so much that you don't recognize yourself."

Certainly, sometimes there are discrepancies in the recording and transcription 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 in the recording. The most reliable of them can become a kind of litmus test for all other publications. In the bibliography, I have indicated interviews that have been preserved on audio or video media. All of them can become a good basis for creating the collection “Viktor Tsoi. Interview book.

Bibliography of the interview with Viktor Tsoi

Compiled by Andrey Dahmer

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

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

6. Viktor Tsoi comments on the song "Trolleybus". Concert by P. Kraev (Guitar Songs), 1984. Published on disc 2 of the MP3 collection "Kino". MOROZ RECORDS. 2000-2006.
7. Viktor Tsoi comments on the song "I'm walking down the street." Mike and Choi. Concert with P. Kraev, December 1984. Released on disc 2 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.
8. Why not Kino? Answers to questions after the speech in con. December 1984 in Akademgorodok, Novosibirsk, w. ID, No. 2 and No. 3, March-May 1985. The record has been preserved.

9. Fragment of an interview with V. Tsoi in the film “Rock Around the Kremlin”, Zarafa Films. France, summer 1985. Recording survives.
10. CINEMA: A view from the screen, interviews with V. Tsoi and Y. Kasparyan are conducted by Alek Zander (Alexander Startsev), Roxy, No. 10, September-December 1985. Leningrad. Included with abbreviations in the collection VIKTOR TsOY: Poems, documents, memoirs (L., Novy Helikon. 1991, pp. 176-177). Full text online: Goldenunder.
11. Fragments of an interview with V. Tsoi, interviewed by Joanna Stingray on Prospekt Veteranov, Leningrad, 1985. First shown on Russian television channels, selectively printed in Viktor Tsoi's album. Photo album. redwave. MOROZ RECORDS, 1996. Partially published (video) on disc 2 of the MP3 collection "Kino". MOROZ RECORDS. 2000-2006. The record has been saved.

12. V. Tsoi's interview with the Politekhnik newspaper, Leningrad, April 24, 1986. Included in the collection VIKTOR Tsoi: Poems, Documents, Memoirs (L., Novy Helikon. 1991, p. 196).
13. A short interview after 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 the word is Kamchatka (Author-comp. V. Mitin, edited by A. Rybin. M., 2005. P. 60-61).
14. From the speech of V. Tsoi in the Leningrad Youth Palace during the concert of 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 is Kamchatka (Author-comp. V. Mitin, edited by A. Rybin. M., 2005. P. 135) . Partially published on the 2nd MP3 disc of the Kino collection. MOROZ RECORDS, 2000-2006.
16. Answers to questions after the speech by V. Tsoi and Yu. Kasparyan in Leningrad (DK Communications) in December 1986 at a meeting with the Virauka club. Published in the collection This sweet word is Kamchatka (Ed.-ed. V. Mitin, ed. A. Rybin. M., 2005. P. 129-134). Published on disc 7 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.

17. Fragment of an interview with V. Tsoi in the movie "Rock" (dir. A. Teacher), 1987. The recording has been preserved.
18. Interview of V. Tsoi to the newspaper "Arguments and Facts", Moscow, 1987. No. 39. Included in the collection VIKTOR TsOY: Poems, Documents, Memoirs (L., Novy Helikon. 1991, pp. 197-198).
19. Viktor Tsoi comments on the songs “I announce my home”, “We want to dance”, “This is not love”. Acoustic concert in Moscow, 1987. Published on 1 MP3 disc of the Kino collection. MOROZ RECORDS, 2000-2006.
20. Answers to questions during the speech of V. Tsoi and Y. Kasparyan in Dubna, March 1987. Published on disc 2 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.
21. Interview of V. Tsoi to Belarusian radio, Lituanika festival in Vilnius, May 23, 1987. Published in the collection This sweet word is Kamchatka (Author-compiler V. Mitin, edited by A. Rybin. M., 2005. pp. 63-64). The record has been saved.
22. We were deceived with all this... Youth of Estonia, May 9, 1988, Tallinn. Summer 1987.
23. Joanna Stingray's conversation with Viktor Tsoi, a fragment in the film "Sunny Days" (dir. D. Stingray, A. Lipnitsky), 1992. Published on DVD: Viktor Tsoi and the Kino group. Part 2. MOROZ RECORDS, 2004. Text online: 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. Released on disc 7 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.
25. A day at the "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., Novy Helikon. 1991, p. 223-224).
26. Interview of V. Tsoi to the bulletin "New Film" ("Jana Film"), Alma-Ata, March 1988. Included in the collection VIKTOR Tsoi: Poems, Documents, Memoirs (L., Novy Helikon. 1991, p. 201-203 ).
27. Viktor Tsoi comments on the song "Watch Yourself". Concert in Alma-Ata, December 1987. Released on disc 7 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.

28. Answers to questions during a speech at school number 344 in Leningrad. Published in the collection This sweet word is Kamchatka (Ed.-ed. V. Mitin, ed. A. Rybin. M., 2005. P. 135-138). Published on disc 8 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.
29. Fragments of an interview with V. Tsoi for the program “Up to 16 and older ...”, Moscow, autumn 1988. State Television and Radio Fund. BSP no. (75-0250). The record has been saved.
30. Viktor Tsoi comments on the songs of the album "This is not love." Acoustic concert at Belyaev's, 1988. Released on disc 4 of the MP3 collection "Kino". 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. Released on the 4th MP3 disc of the Kino collection. MOROZ RECORDS, 2000-2006.
32. We all have some kind of instinct, in a conversation with V. Tsoi took part: A. Astrov, V. Andreev, A. Burlaka, G. Kazakov, April 1988, RIO magazine. No. 19, 1988. Reprinted in the Moskovsky Komsomolets newspaper, September 23, 1990. P.3. In this form, it is included in the collection VICTOR TsOY: Poems, documents, memoirs (L., Novy Helikon. 1991, pp. 181-189). Most likely, in the publication of "MK" two interviews (April 1988 and May 1990) were combined.
33. Viktor Tsoi comments on the song "When your girlfriend is sick." Concert in DK Zheleznodorozhnikov, April 1988. Released on disc 8 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.
34. Rare blood group, answers to questions during V. Tsoi's speech at LDM, May 1988, recorded by M. Sadchikov, Kaleidoscope, No. 33, 2000. Reprinted in the collection This sweet word is Kamchatka (Author-comp. In Mitin, edited by A. Rybin, Moscow, 2005, p.135).
35. I dreamed - love rules the world ... I dreamed - the dream rules the world, an interview with V. Tsoi in Voronezh was recorded by Elena Yanushevskaya, May 1988, peer, No. 16, 1992. Voronezh.
36. We do not say goodbye, Viktor, an interview with Tsoi in the summer of 1988 was prepared by V. Kulikov, Tverskaya Zhizn, 1991.
37. V. Tsoi and N. Razlogova answer the questions of Sergei Sholokhov at the film festival "Golden Duke" September 16, 1988, Odessa. Published on the 3rd MP3 disc of the Kino collection. MOROZ RECORDS, 2000-2006.
38. Tsoi, who walks by himself, questions from the press conference of R. Nugmanov and V. Tsoi at the film festival "Golden Duke" (ship "Fyodor Chaliapin") September 16, 1988, Odessa. Recorded by Alexander Milkus, Krasnoyarsk Komsomolets, August 29, 1989. Published with abbreviations in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, ed. A. Rybin. M., 2005. P. 86-89). The record has been saved.
39. A fragment of an interview with V. Tsoi from the documentary "Rock Around the Kremlin". N.Minz. France. 1988. Recording survives.
40. New proletarian heroes, interview with V. Tsoi for the magazine 7a Paris, Paris, 1988. Translated from French.
41. Put out the light in the hall... Interview during concerts in November 1988 in Moscow was recorded by V. Mamontova. Soviet circus, 1990. Full text online:
Kinoman
42. V. Tsoi's speech to the audience at the concert-memorial of A. Bashlachev, November 20, 1988, Published on disc 9 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.
43. Interview of V. Tsoi to Sergey Chernikov on Novosibirsk radio in December 1988, Novosibirsk. Air - February 1990. The recording has been preserved.
44. Interview of V. Tsoi to A. Kozlov during a speech in the village of Sever, Novosibirsk, December 1988. Published in January 1989. Reprinted in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, ed. A Rybina, Moscow, 2005, p.35).

45. Interview with V. Tsoi on English language Danish Radio, Copenhagen, 14 January 1989. Unpublished.
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 is Kamchatka (Author-comp. V. Mitin, ed. A. Rybin. M., 2005. P. 65-67). Audio file of the interview fragment: .
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 (Author-comp. V. Mitin, under A. Rybin (ed.), M., 2005, pp. 67-69).
48. Do not create an idol for yourself, interview during a tour in Alma-Ata, February 1989. Alma-Ata, Leninskaya shift, June 22, 1991. Included in the collection VIKTOR Tsoi: Poems, documents, memories (L., Novy Helikon. 1991, pp. 209-210).
49. Fragments of an interview with V. Tsoi in France in April 1989 from the documentary “Rock in Soviet”, France, 1989. One fragment was published on the 2nd MP3 disc of the “Kino” 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 (Aut.-comp. V. Mitin, edited by A. Rybin, Moscow, 2005, pp. 71-73).
51. I refuse to reincarnate, an interview with Murmansk TV in April 1989. The recording has been partially preserved. Full text online:
Kinoman
52. V. Tsoi's interview with the newspaper "Soviet youth", Riga, May 6, 1989. Included in the collection VIKTOR Tsoi: Poems, documents, memories (L., Novy Helikon. 1991, p. 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 VICTOR Tsoi: Poems, documents, memoirs (L ., New Helikon, 1991, pp. 203-206). Record saved
54. Creativity is possible without fuss, during a tour in Sverdlovsk, May 1989. O. Matushkin, To change! June 3, 1989. P. 4.
55. Interview of V. Tsoi to Sergei Shapran during a tour in Minsk (May 7, 1989), Minsk, Znamya Yunosti, September 1989. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, ed. A. Rybina, Moscow, 2005, pp. 73-83). The record has been saved.
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 is Kamchatka (Author-comp. V. Mitin, edited by A. Rybin. M., 2005. C .126-127).
57. I sing about what excites, Olga Panchishkina talked with V. Tsoi during the tour of gr. "Cinema" in Krasnodar, May 1989, Komsomolets Kuban, June 30, 1989. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, ed. A. Rybin. M., 2005. P. 83- 86).
58. MOVIE 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 the 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 (Author-compiler V. Mitin, ed. A. Rybin. M., 2005. P. 92).
60. You had strict parents, a fragment of an interview during a tour in Kharkov, September 20-21, 1989. The recording has been preserved.
61. Interview of V. Tsoi to Ukrainian radio during a tour in Kharkov, September 20-21, 1989. Program "4 M"; Published in the article Choi: "I want to be myself ..." // Paddle, No. 1-2. 1991, Kyiv. Included in the collection This sweet word is Kamchatka (Author-compiler V. Mitin, ed. A. Rybin. M., 2005. P. 89-91). The record has been saved.
62. Interview of V. Tsoi to Dmitry Shitlin, Alexei Tarnopolsky, Kharkov, Start, No. 1, 1991.
63. Ticket for the evening session, 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 is Kamchatka (Author-compiler V. Mitin, ed. A. Rybin. M., 2005. P. 94-95).
64. He does not seek fame, interview with Artur Gasparyan during a tour in Moscow (October 1989), Moskovsky Komsomolets, October 26, 1989.
65. Interview of V. Tsoi to Evgeny Stankevich for Moscow radio. During a tour in Moscow, October 1989. Included in the collection This sweet word is Kamchatka (Author-compiler V. Mitin, ed. A. Rybin. M., 2005. P. 95). The record has been saved.
66. Fragments of V. Tsoi's interview to Moscow TV during the recording of clips in October 1989. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, edited by A. Rybin. M., 2005. P. 92 -93). The record has been saved.
67. Fragment of an interview with V. Tsoi in the program "Vzglyad". Moscow, 1989. Included in the collection This sweet word is Kamchatka (Author-compiler V. Mitin, ed. A. Rybin. M., 2005. P. 64-65). The record has been saved.
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, V. Tsoi was asked questions by Lev Belyaev, Krasnoyarsky Komsomolets, December 9, 1989. During a tour in Krasnoyarsk, December 1-4, 1989. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, edited by A. Rybin, Moscow, 2005, pp. 95-99).

70. Interview of 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. Interviewed by Y. Kazachenko during a tour in Tashkent, Vecherniy Tashkent, March 11, 1990. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, ed. A. Rybin. M., 2005. pp.103-104).
73. Interview of V. Tsoi to the newspaper "Komsomolets Uzbekistan", Tashkent, March 17, 1990. Included in the collection This sweet word is Kamchatka (Author-compiler V. Mitin, edited by A. Rybin. M., 2005. P. 105-106).
74. Interviewed by I. Serebryakov during the tour of the Kino group in Zaporozhye, Black Saturday, October 4, 1990.
75. One of the last interviews of Viktor Tsoi, an interview with I. Burlakova during the tour of "Kino" 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 is Kamchatka (Author-compiler V. Mitin, ed. A. Rybin. M., 2005. P. 112-113). The record has been saved.
76. Viktor Tsoi: “Our hearts demand changes!”, 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, Sentry of the North, December 26, 1990 - January 1, 1991. During a tour in Kyiv, March-April 1990. Most likely, this interview revision of the previous one (76), although some new questions were added.
78. And those who go to bed, good sleep, talked with V. Tsoi Lyudmila Mykityuk and Lyudmila Chugunova, Youth of Ukraine. 4 April 1990.
79. Fragment of an interview with Alexander Yagolnik for Ukrainian radio. Radio broadcast Blitz. Aired April 18, 1990. During a tour in Kyiv, March-April 1990. The recording has been preserved.
80. Interviewed by Alexander Yagolnik during the Kino tour in Kyiv, March-April 1990.
Printed in a variety of versions different amount questions, their different sequence and edition:
a) A place to step forward. // Komsomol banner. Kyiv, September 23, 1990 A. Yagolnik. In this form it is included in the collection VICTOR TsOY: Poems, documents, memoirs (L., Novy Helikon. 1991, pp. 257-270).
b) V. Tsoi: "I want to be myself ..." // Paddle, No. 1-2. 1991. Various interviews are combined in this publication.
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 record has been saved.
82. Interviewed by Grigory Volchek during Kino's tour in Perm, March 1990 Perm, Young Guard, April 28, 1990. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, ed. A Rybina, Moscow, 2005, pp. 108-111).
83. Well, but the body did not finish singing a little, Well, but the body was not given 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 Y. Lvov. Perm, March 1990.
85. Interview with V. Tsoi to the Evening Ufa newspaper during the Kino tour in Ufa in April 1990.
86. Star from the boiler room, interview with T. Baydakova in the summer of 1990, MS, 45th parallel, August 1991.
87. Interview of V. Tsoi to the magazine "Musical Olympus", Moscow, 1990. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, edited by A. Rybin. M., 2005. P. 119- 121).
88. Interview of V. Tsoi to the magazine "Soviet Screen", Moscow, No. 2. 1990. Included in the collection This sweet word is Kamchatka (Author-compiler V. Mitin, ed. A. Rybin. M., 2005. P. 127-128).
89. Interviewed 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 (Author-comp. V. Mitin, ed. A. Rybina, Moscow, 2005, pp. 115-116).
90. V. Tsoi's speech to the audience during a concert in the Sports and Concert Hall, Leningrad, May 1990. Released on disc 10 of the MP3 collection "Kino". MOROZ RECORDS, 2000-2006.
91. Viktor Tsoi: It is very important that they understand me, A. Bushuev spoke, Slava of Sevastopol, May 20, 1990. During the Kino tour in Sevastopol. Included in the collection This sweet word is Kamchatka (Ed.-ed. V. Mitin, ed. A. Rybin. M., 2005. P. 116-118).
92. Interviewed by V. Kulchitsky during the Kino tour in Odessa, May 15, 1990, Vechernyaya Odessa, December 4, 1990. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, ed. A. Rybina, Moscow, 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, Odnoklassnik magazine, No. 2. 1991.
95. Viktor Tsoi: “Life is not serious,” L. Chebanyuk, Severny Komsomolets spoke, June 15, 1991. Included in the collection This sweet word is Kamchatka (Author-comp. V. Mitin, edited by A. Rybin. M., 2005. S.121-126). Arkhangelsk, June 1990.
96. Blitz interview before performing at the Last Concert at Luzhniki, Moskovsky Komsomolets, June 24, 1990.
97. V. Tsoi's speech to the audience at the Last concert at the Luzhniki b / s, 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. S.757-774.

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

3. The collection "This sweet word is Kamchatka" (ed. by V. Mitin, edited by A. Rybin. M., 2005) can be found on the Internet. Specifically: Page Title

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

Choi Forever. Documentary story Zhitinsky Alexander Nikolaevich

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

From the book Viktor Tsoi. Poems. Documentation. Memories [no illustrations] author

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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 do you think is the most important thing 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,

From the author's book

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

Report on the topic:

Viktor Tsoi

North-Zadonsk 2002

Brief biographical note.

Viktor Robertovich Tsoi was born on June 21, 1962 in Leningrad in the family of a physical education teacher Valentina Vasilievna Tsoi and an engineer Robert Maksimovich Tsoi. Victor was the only child in the family. In 1969, he entered the school where his mother worked. In total, during his studies up to the eighth grade, he changed three schools with his mother. From 1974 to 1977 he attended a secondary art school, where the group "CHAMBER No. 6" appeared, led by Maxim Pashkov. In 1977 he graduated from eight classes and entered the art school. V. Serov. In 1978, he was expelled from the school "for poor progress." He goes to work at a factory and studies at an evening school. In 1979 he entered SGPTU-61 as a wood carver. During the summer of 1981, together with Alexei Rybin and Oleg Valinsky, he created the GARIN AND HYPERBOLOIDS group. In the autumn of 1981 - the group "GARIN AND HYPERBOLOIDS" enters 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 graduated from college with a certificate and went to work in the restoration workshops in the city of Pushkin. In the autumn of 1982 - goes to work in 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" by Alexei Vishnya, later called "46". In the autumn of 1983, he was examined in a psychiatric hospital No. 2 on Pryazhka and received a "white ticket". In the spring of 1984 - the performance of "KINO" at the second festival of the rock club and receiving the laureate title. In the summer, autumn of 1984, he recorded the album "Head of Kamchatka" in the studio of Andrey Tropillo together with the musicians of "AQUARIUM". The second composition of "KINO" is being formed: Tsoi, Kasparyan, Titov, Guryanov. In February 1985 - to 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. Summer, autumn 1985 - work on two albums - "Night" in the Tropillo studio and "This is not love" in Cherry studio. In the spring of 1986 - performance at the fourth festival of the rock - club. Diploma for best lyrics. In the summer of 1986 - shooting of the film "The End of Vacation" in Kyiv. The album "Red Wave" is released. Enters work in the boiler room "Kamchatka". Participates in the filming of the film directed by Alexei Uchitel "Rock". Autumn, winter 1986 - participation in the filming of "Assy". In the spring of 1987, the last performance at the rock club festival. Prize "for creative maturity". The album "Blood Type" is being recorded. In the fall of 1987, shooting of the film "The Needle" begins. In 1988, "Blood Type" and Rashid Nugmanov's film "The Needle" were released. The album "A Star named the Sun" is being recorded. The beginning of the "star" tour. In November - participation of "KINO" 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 surveys of film critics of the Soviet Screen magazine, he was recognized as the best film actor of the year. Extensive tours around the country. The album "Star named Sun" is released. In November - the last concerts of "KINO" in Leningrad. A record is coming 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 of the country. Recording 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 Theological 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 this or that performer as a result of a sequence of certain events; they, as a rule, are preceded by bursts of creative activity, intensive work, an increase in public interest and a constant presence in the public eye. In the case of "KINO" it was just the opposite. The year of "KINO" began in the spring of 1988, when the group completely disappeared from the musical horizons: they did not perform, did not even rehearse, and its members were busy implementing their own projects and, as it might seem, only by pure chance carved out a few days at the beginning of the year to to complete the album, which was in a "semi-finished" state, known as "Blood Type". It was he who became the catalyst for the explosion of the long-awaited "movie mania" that swept the country in a matter of months.

And it all started in the fall of 1981, when the trio Garin and the Hyperboloids arose on the wreckage of the Zhek teams "CHAMBER No. 6" and "PILGRIM". A couple of months later, its composition was reduced to a duet, and the name turned to "KINO" -
- at that time, Viktor Tsoi and Alexei Rybin were hiding under him. They joined a rock club, performed with the active participation of the AQUARIUM musicians - on its stage, recorded an album, which, according to the total playing time, was called "45", and disappeared for a whole year. Then they performed again - already five of us and with an "electric" program and ... broke up. And yet in May 1984 "KINO" reappeared. Viktor Tsoi, and with him Yuri Kasparyan (guitar), Alexander Titov (bass) and Georgy Guryanov (drum), "dark horse" entered the stage of the II Leningrad Rock Festival and made a sensation, becoming one of the main discoveries of this review of the creative forces of rock - movements. The title of laureates of the "KINO" festival was confirmed twice more in 1985 and 1987. In the autumn of 1984, A. Titov was replaced by Igor Tikhomirov, a part-time member of the "JUNGLE" and one of the best bass guitarists in the country. Since then, the composition of the group "KINO" - except for the episodic appearances of various guitarists, percussionists and keyboardists, who rarely played with the group for more than one concert, remains unchanged.

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

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

- What do you think is the most important thing in music? What is the secret of her popularity? -
-I think it's relevance. But in general, the songs should be good
- We know your poems - both simple, vital, on topics that concern us all, and more complex, with subtext. What is closer to you?
- I can't imagine myself without it. and without another. The world is many-sided, many-sided and verses.
- I do not know for sure. Probably, the text and music are one, because the thought is one in them. In general, I do not write poetry, only songs.
- What modern pop groups are you interested in more
- The same. as you: "Aquarium", "Zoo". "Alice" By the way. "Alisa" has now resumed work with Kinchev, probably we will see them at a rock festival
- What about Western music?
- For us, the work of independent record companies is most interesting. Most often, music "for sale" reaches us, music for dancing. Ears get used to the standards. And independent firms release records of groups that do not focus on standards in a small circulation. It's closer to us.
- Victor, do you find analogues to your work here or in the West?
- I'm not looking for them. Although we listen to a lot of music, it is part of our job. Perhaps there is some influence, but each of our songs passes through its own prism.
- What do you prefer - live or studio work? And what do you try to use more, acoustic or electric music?
- Concerts and records are inseparable. Now 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 the problems of "Kino"?
- Only organizational. There are no dead ends in music. There are many thoughts and desires to work.
- What do you expect from the audience?
- I want only those among the listeners. who loves my music. It's nice to play for those who understand you.
- In conclusion, the traditional question about creative plans.
- In April we will finish the recording of the 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.