1988 JanuaryThe circulation of magazines is growing rapidly: at Novy Mir - by 132%, at Friendship of Peoples, which announced the continuation of A. Rybakov's Children of the Arbat - by 433%. February 17 Alexander Nikolaevich Bashlachev committed suicide. January 25 In the courtyard of the Theater dramas and comedies

Nobel forgetfulness Chatted all sorts of things about him. That he sold his soul to the devil. That he is the curse of the human race. That he made a fortune with blood, and then decided to pay off people and decided to give a bonus. And as if he deliberately “forgot” to include mathematicians in this prize, because

THAILAND November 1988 Heavy rains caused severe flooding in Thailand in November 1988. More than 1,000 people drowned and 100,000 were left homeless.

Forgetfulness You cannot find the keys, you forgot about the meeting, you are distracted from work. If you feel like you've become a slut when you're pregnant, don't worry. During pregnancy, some women become forgetful, distracted, and it is difficult for them to concentrate. These

1988 Philosophy and History of Genetics: Searches and Discussions. - M.: Nauka, 1988. - 414 p. Philosophical problems of biology and medicine // Big Medical Encyclopedia: in 30 volumes. - Volume 29. - M.: Soviet Encyclopedia, 1988. - 544 p. - S. 21–46. Co-authors: Zhirnov, V.N.; Lisitsyn, Yu.P.; Pastushny, S.A.;

Poster. Tikhomirov-Africa-Kurekhin-Cherry. 1987

Zharikov composed songs on the go, approximately according to the following scenario: “Look for a tonic so that it is convenient to sing. Let in this key you will have a backlash of two octaves, ”he said. I found the tonic - at that time, F sharp served as the most optimal key for me, and Sergey continued: “Give a guitar shvark on the second beat ... so ... good. So four times ... no, wait, ”he thought about his notebook, holding a pencil over it. “No, wait. Come on twice, - I played, - no, let's go once. Once the tonic is in a minor key, followed by a parallel major. Yeah?

I play: F ​​sharp minor - A major, F sharp minor - A major ... - “That's right. Now that's four times. And then we shift everything up, ”Sergey made notes in a notebook, and I played: G sharp minor - B major, G sharp minor - B major ...

“Now go to the subdominant,” Sergey said, and I blinked my eyes incomprehensibly: “Is it like this?” I ask. - "Seventh step up or fifth down," - began to count the notes: one two three four ... - "Found it!" I rejoiced. “Yeah, now let's go half a step down - add some nerve - then another half step down. Let there be a feeling of discomfort. And down again, only in a major one, ”I already felt cheerful, I played and was already smiling, not knowing what the text would be about. I already liked the harmony: "And now from this place three tones down, into a parallel minor ... from there again the subdominant and that's it, you can ring it."

So we masterfully returned back to the tonic. It was a real, sparkling pleasure for me: I saw how mathematics works. On the principles of building harmonic connections alone, and this turned out to be quite enough to compose music in absentia. Sergey finished writing the text during the recording. By the time I had to overdub, the text was completely ready, and I was learning the melody:

You took my life, leaving fear in return
But now I'm wearing purple pants
I change in puffs for joy pickle
Ticket for rooster and ksiva for mosol

Here's a grass boy spitting on the moon
Do you know a huge country
Where the blue forest stands like a queue in a general store
Where the smell of sausage makes people sweat...

Alexey Vishnya and Boris Grebenshchikov

It was what we needed. Zharikov appreciated the quality of work at high belt speeds - 15 inches per second. There was practically no noise when applying. My previous work - the album "Heart" - I recorded exactly according to this principle - in several overdubs, but Sergey did not want to indulge in any wilds. One overlay turned out to be quite enough for all the numbers of the album, and some went without any overdubs at all. Once while we were working, Andrey Tropillo visited us. After listening to the finished recordings, he put his finger to his lips and said: “That's cool, well done Cherry, but I didn't hear that, okay? I haven't heard it at all and I don't even know what it's about. Deal?"

Even Andrei was frightened of the line on which we were then balancing. Put it now - it will be difficult for many to understand at all, but what is the strom here. Perestroika television was still in its infancy, when people started talking about the Gulag aloud, from the screen. And we already sang about perestroika to the motive of the letka-enka:

I dug a little in the trash
And found something to eat among the shit
Great Perestroika Mastermind
Pointed me to the wash

Bread rolls lay nearby
And so similar to balls
The essence of publicity to people was
It means that you want to scream.

In Leningrad, everyone is used to veiling thoughts, hiding them behind a series of linguistic puzzles. Zharikov hid an even more shocking meaning behind the shocking text - his work seemed to me sharper and deeper than our entire St. Petersburg. Actually, my experiments in the home studio almost ended on it. After him, I recorded "Blood Type", "Nesterov's Loop" and that's it. Lost interest in Russian rock, I confess. Zharikov called the album “Incredible Forgetfulness” (a remastering of the album with a bunch of bonuses was released in 2006 under the title “ national project", - approx. ed.). This, to a certain extent, echoed the name of the “Memory” society, which was raging in those years.

“It’s a dumb name, tell me?” Sergey said. - “Dumb,” I agreed, making out the original envelope, “but how to write? Unapproachable or Unapproachable? - “Actually, “e,” Sergey answered, “but if you write “and”, the essence will not change. It will still be dark…”

Of course, we didn't write to ourselves face-to-face all the time. They simply did not give us this: Zharikov is in the city !! Whoever found out about this - immediately came in large numbers to us. Sasha Volkov came from Moscow to see such an action, Andrei Baranovsky is our common friend with Sergei. Alcohol was not welcome in our house, so tea was our main drink. Sergei put on a record with ethnic recordings of the songs of the peoples of the North and asked me to record one number on tape. Pleasant music played on the accordion served as a blank for another song. There was no need to overlay anything there, so I put the microphone in front of me, all our friends sat around, I sang the first two lines, and the next two were all together, in chorus:

Someone started a cult of personality
He wants us to live worse for everyone
To shoot all the faithful Leninists
Again, what would be bad for everyone again

Our work brought great pleasure to everyone. Once Firsov arrived with some aunts, Sasha Bashlachev arrived. We drank a little, SashBash picked up a guitar, but did not sing serious songs under Zharikov. He played a gypsy and sang the text of Kinchev's "Juice Squeezer" to her, which led everyone to a rapture: "Lyokha, let's write soon, put the microphone on, this is fucked up! Zharikov shouted. But SashBash flatly refused to record this comic material: “What are you, how can you, well, how will I look Kinchev in the eyes after this? he balked.

I was upset. In the performance of Bashlachev, the parodies were terribly funny, and in my understanding, this was above all the rest of his work. I confess, but I did not understand the meaning of SashBash, I did not like his work at all. Kostya knew about this and shamed me that I did not understand the genius. My argument was that SashBash is musically secondary and of no value to me. Epigonil Vysotsky, whom I also practically did not listen to. I liked the record released in France, but… there was some music there, but it was there. But SashBash did not want to record in electricity, his guitar was constantly out of tune, his last concert in LDM at the 7th rockfest was a complete failure. Sasha got drunk to death before the concert, played very badly, and we washed off the product of his stomach stools from wires and combos the whole next day, because I was responsible for the apparatus, being a staff member of the Youth Palace ...

Once the Slipper completely struck me. I really liked one of my wife's girlfriends, and, once, they met at my house at an impromptu party. Listening to the tape recorder, singing songs, word by word, and my guests occupied my sofa in bulk. During a casual conversation, in the intricacies of rocker bodies, beautiful leg our girlfriend ended up in the groin of the singing SashBash. Excited, he immediately sang another song, then another, and when the girl went about her business, he rushed after her. After waiting for her to come out, he called her into the kitchen and began to undress. Dinka, that was the name of the girl, unexpectedly resisted him: she began to scream and struggle, for which she immediately received from SashBash in the forehead, and apparently not once. Dinka came into the room all in tears, shabby, with a red face. Sasha stayed to smoke in the kitchen. The unpleasant incident remained in my memory, but of course it was difficult not to love the Slipper ...

With Zharikov, too, everything did not go in the most vivid way: my wife also had discussions with Sergey, but at some point they could not find a common language: Sergey began to trample on her values, ridiculing what caused my wife to tremble: talking about books and favorite writers, they quarreled to the nines: “I hate him, you hear, I hate him,” Lena told me with tears in her eyes, “I wish the album would end, I can’t take it anymore.” My wife had clear and indestructible ideals, which Zharikov set not a penny. But the next day everything was settled: Zharikov composed a thug text for an old pop song, Lena sang it with a guitar:

I'm dreaming again
The same dream
How we brother Kolya
They ate in unison.

We went to the store
Vodyary buy
With a kilometer there is a queue
For her own cost

Edryona my louse
tell me not to….

One of the songs we just copied from the record: I sang the lyrics to some old instrumental composition of the early Beatles. Zharikov sang the Gaza Strip blues himself, and I played a somnambulistic solo on the guitar. I never really knew how to play, but in the case of "DK" it went almost unnoticed. Many took my clumsy game for refined banter, I was an instrument in the hands of Sergei Zharikov, probably the best instrument in relation to this concept, because the recording of the new album "DK" made an incredible success. Sergey Firsov immediately dubbed this work “the highest quality album of DK” and began to popularize it in every possible way. He then worked as a conductor in the car and just put the album on the whole car, instead of the radio. Firsov also, in a sense, took part in the recording of the album: we recorded a phone call that he made at our request for one of the songs. Recorded for a long time than terribly frightened him. Calling, he listened to long beeps for a long time and was horrified to think that we had all been tied up.

The album "Incredible Forgetfulness" instantly scattered among the "writers", I gained fame in quite certain circles of Moscow, thanks to this particular work. When I recorded my "Dancing on Broken Glass" in 1989, its promotion went like clockwork. Everyone already knew who "Cherry" was and were happy to put on the radio and show on TV songs that no longer sang about shit, nor about garbage, nor about Jews and perestroika. It could already be given to the people. They were shown in music programs, interrupting the clips of Shevchuk and Butusov with me, and, despite the pop style, my songs carried rocker moods. Cherry has acquired the status of amateur performances, smoothly flowing into the mainstream - all over the world synthpop was already departing, and here it was just beginning. As always, we were seven years behind the West.

In the meantime, our paths with Sergei diverged: he took up Zhirinovsky, the magazines "To the ax" and "Attack". His articles began to appear more and more often - here and there. For example, in the famous "CounterCulture". There were opponents, both mine and Zharikov's. Some said about him that he was an anti-Semite, others believed that he was a Jew. To one he seemed to be an anti-Soviet, others considered him a career KGB officer. I didn’t give a damn about all this: I appreciated him for his independence, education and analytical mind. Then, I also took up my own career, started performing, traveling around Russia. In many cities of the country, the audience asked me to sing something from DK. Of course, our friendship played a huge role in my development. Kuryokhin called me to perform at Pop Mechanics concerts, and threatened those who were against it with his fist.

For Special Radio

January 2007

On a par with the albums "Lyric" and "Dembel album".

Encyclopedic YouTube

• 1 / 5

  Essentially, this album is a solo work by Sergey Zharikov, in which Alexey Vishnya helped him. In the beginning, it was planned to record several things that required multiple mixing, for which a more or less decent studio was required. However, Cherry insisted that "he had a original album Whole DC.

  “In Leningrad, I was the main fan of DK. When I first heard them and saw Zharikov, I was simply stunned. It was some kind of shot. Maybe it was the most vivid impressions in my life - so I fell in love with him then, boyish, crazy love. I could listen to Zharikov's reasoning for hours - they developed me. This was the only person with whom I corresponded. I had the complete collected works of "DK". Nothing like this has ever happened in Leningrad.”

  Cherry remembers.

  The recording of the album traditionally uses music from "different times and different peoples": from Yakut folklore to The Beatles. The texts contain many quotations from general secretaries to Boris Grebenshchikov as elements of modern mythology. On this album, Zharikov himself performed many things in addition to the traditional reading of his own poems. Aleksey Vishnya sang in places. The song "The Same Dream" was performed by Alexei's wife, Elena Vishnya.

  Album concept

  The album "Impenetrable Forgetfulness" is a mirror of the perestroika era.

  The initial composition “Wind of Changes” ironically plays up the spirit of the upcoming changes, the song “Comes from October” is a kind of perestroika anthem, the songs “Hairy Beatle” and “New Day” are a mockery of the huge number of rock bands that existed at that time in the Soviet Union.

  The atmosphere of the album changes periodically. On the one hand, Zharikov intensifies darkness and hopeless longing, especially when he reads the poem "Mu-mu", but at the same time dilutes this atmosphere with the song "Mrs. Rosenblum" - containing black humor. The composition "Moskvichka" evokes nostalgic feelings in the listener, and the blues "Gaza Strip" - a feeling of anxiety and a feeling that enemies have penetrated the country that do not seem to be enemies to anyone.

  Thus, the album describes perestroika from different points of view and presents to the listener a multifaceted and deep reflection of it.

  Legacy and influence

  The song "Gaza Strip" not only gave the name to the group of the same name, but also inspired these musicians to work, the origins of which come from "DK". The reanimated "Letka-enka" has again become fashionable. And also this album laid the foundation for a whole direction in Russian rock, in line with which Laertsky, KhZ, Civil Defense, Communism and many other equally well-known underground groups and musicians worked.

  Reviews

  The first listener of the new album "DK" was Andrey Tropilo, who told Vishna:

  Rock critic Sergei Guryev in his program article "Bedtime For Democracy" said the following about the album:

  Zharikov's "Uncriminal Forgetfulness" is, in my opinion, one of the most sinister albums anyone has ever written. It contains the little-noticed thing “Play me, bro, blues”, something similar to the moan of a wounded hyena. Listen to it again - this is probably the only thing in the history of DK where Zharikov is open as he is. This is very, without fools, creepy. In the shoes of such a creature, hardly anyone would agree to be.

  Album Creators

  • Author of the concept, music texts and performer - Sergey Zharikov
  • Performer of some compositions - Alexey Vishnya
  • Artist - Olga Pomerantseva
  • Producer - Sergey Zharikov
  • Vocals in the song "The Same Dream" - Elena Vishnya

  List of songs

  All lyrics are written by Sergey Zharikov, all music is written by Sergey Zharikov and Alexey Vishnya (except for the song "One and the Same Dream", which uses the music of Vladislav Shpilman from the Polish song Tych lat nie odda nikt, performed by Irena Santor).

  №	Name	Executor	Duration
  1.	"The wind of change"	A. Cherry	3:11
  2.	"Born in October"	A. Cherry	2:30
  3.	"Kochet"	S. Zharikov	0:26
  4.	"The Same Dream"	Elena Cherry	1:24
  5.	"Om-Nom-nom"	E. Morozov	1:57
  6.	"Letka-enka"	A. Cherry	2:34
  7.	"Mu Mu"

  "For the first time we heard how the sampler sounds, performing as part of Pop Mechanics," recalls Tikhomirov. "And we wanted to reproduce many of the sampler sounds: the sound of pipes, super-powerful and super-deep timbres on the album."

  In several places, Tsoi used the noise material of the "New Composers", who were the pioneers of the Soviet techno and acid style. In particular, a collection of their strange sounds is heard in the finale of "Passerby", where for a whole minute fragments of various melodies and noises roam from channel to channel.

  ... "Blood Type" turned out to be one of the most danceable albums of that time, which critics initially did not pay attention to due to the obviously non-dance content of the songs. However, later everything fell into place and the term "masculine pop" was invented specifically to identify such a blurry style. This definition was especially well suited to the composition "Mom, we've all gone crazy", which developed a number of ideas on a new level that were first heard in the song "Tranquilizer".

  “The turning point and the main innovation of Blood Type was that romanticism was practically absent in it, and heroism came to replace it,” says Kasparyan. “Tsoi deliberately chose this route, along which the group moved for the next three years.”

  The album, despite its fighting spirit, has only three major songs. Moreover, if "Close the door behind me", put on absolutely dance rhythm, made in minor, then "Legend", the saddest song in terms of mood, is written in major.

  "Blood type" turned out to be solid and monolithic - despite the stylistic versatility. The song "War" was played on the basis of the rhythm a la bossa nova, "Try to sing along with me" - a march, "Boshetunmay" - a white reggae inspired by the concert of the British band UB40, which performed in Leningrad in 1986 . Plus the punkish "Passer-by" (in the spirit of the composition "Mother-Anarchy" from the album "Night") and the semi-acoustic "Legend in the Finale".

  Despite the specific sound of rhythm boxing and the not quite mature use of the sampler, the overall sound of "Blood Type" turned out to be very modern even by the standards of the nineties.

  Subsequently, the CD "Blood Type" released in America will receive high marks from the Western press - in contrast to the export albums of "Sounds of Mu" and Grebenshchikov, which were released at about the same time. Unfortunately, on the cover of the disc, the design of which with postmodern immediacy repeated the poster for the pre-war film "Doctor Mabuse", neither the author of the poster, the artist Ilya Chashnik, nor the "sound-sump" of the album, Alexei Vishnya, were mentioned ...

  A few words about texts. A mixture of karate and Neva dampness, oriental calm and St. Petersburg severity gave impressive results in the end. If on previous albums Tsoi most often acted as a philosopher-contemplator or an urban teenager shrouded in dreams, then on "Blood Type" in the leader of "Kino" a kind of Byronian spirit suddenly woke up. However, being by nature a very ironic person, he could not resist irony in this work. True, this is reflected more in the music than in the lyrics - just listen to the pathetic piano at the end of the song "Close the door behind me" or the sounds of sampled pipes in "Boshetunmai". However, the phrase that has become a household word: "Everyone says that we are together / But few know in which one" - speaks for itself.

  All other features of the album are typical for the mentality of the Kino group.

  This is an orientation to the sound of the most fashionable Western pop and rock bands at that time - from the "neo-romantics" to the Cure and Talking Heads. It was this kind of music that served as a source of rhythmic and arranging conciseness.

  This is Kasparyan's accurate guitar playing.

  These are long tails of songs - with a smooth sound withdrawal at the end. (The exception in this regard was the composition "War", in which Tsoi turned the knobs on the remote control himself, thereby joining the art of sound engineering. When Cherry wanted to redo it, Victor waved his hand - they say, let him stay.)

  This is the presence on the album of the so-called "snot" - a frankly weak song. Tsoi considered Passer-by to be such a composition in "Blood Type", but he treated her no less reverently than the others.

  As planned, immediately after the session, Choi flew to Alma-Ata. The master-tape "Blood Types" was sent to America, where a CD was published by Joanna's efforts. No matter how the musicians of "Kino" later justified themselves, the bright idea of ​​releasing "Blood Type" in their homeland (at least as a magnetic album) did not visit them then.

  The situation was saved to a certain extent by Cherry, who the next day after the recording was completed, he sold several copies of the album to the metropolitan "wholesale writers" at 38th speed. A week later, cassettes with "Blood Type" were sold in cooperative kiosks throughout the country.

  Thanks to the promotion of songs from "Blood Type" in shallow, but heroic films, this work became the "album of the year" in a bunch of various charts for two years. Soon "Kino" turned out to be the first Soviet indie team that was really raised to the shield of Big show business. Similar precedents have already happened in the West - with Depeche Mode and U2 before them, with R.E.M. and the Cranberries after. The teens needed a new idol and new hero. And they got it.

  DC Unforgivable Forgetfulness (1988)

  side A

  The wind of change

  Comes from October

  Kochet

  The same dream

  Letka-enka

  Mu Mu

  Meat, bread and fruits

  Mrs. Rosenblum

  In memory of Ya.M. Sverdlov (Uncriminal forgetfulness)

  side B

  Fish and vegetables

  Muscovite

  New day

  Hairy Beatle

  Gas strip (Play me, bro, blues)

  Everything ahead

  Alexey Vishnya and Sergey Zharikov, 88

  The DK group played their last concert on the day of the explosion of the Chernobyl reactor in the spring of 1986. Guitarist Dmitry Yanshin, together with the new vocalist Igor Belov, formed "Funny Pictures", and Sergey Zharikov continued studio experiments under the sign of "DK".

  Recording several albums a year, Zharikov managed to make them completely different from each other. Gone are the "folklore-demobilization" cycle, punk mimicry, rock-n-rolls "burn people's hearts with the verb" and gloomy hard-rocks like "akhtung, akhtung, deutsch soldaten und officer". A kind of farewell to the aesthetics of the early "DK" occurred in the album "Against the background of Lebedev-Kumach" (86), in which Soviet pop songs of the pre-war era were arranged to twist, shake and blues. The musicians of "Funny Pictures" and the avant-garde trumpeter Andrey Solovyov, later known for his collaboration with " Polite refusal and Night Avenue.

  After the collapse of the golden composition of "DK" Zharikov is increasingly working with guest musicians - in particular, with Yuri Orlov ("Nicholas Copernicus") and Ivan Sokolovsky ("Night Prospect"). On the necrophilic album "Cup of Tea" (86), most of the vocal parts were performed by the Leningrad punk-blues singer Terry, the musicians of "Va-Bank" took part in the recording "Before the foundation, and then" (87), and in the album " This is life" (85) - a singer from the choir of the Yelokhovskaya church, who sang "pacifist hymns" like "load the clip into the machine gun" with a gentle baritone.

  At the same time, Zharikov began to independently record literary and musical opuses in the genre of radio theater (claiming that this was a purely Soviet invention that appeared in the thirties simultaneously with Radio Comintern).

  "The radio theater genre allows you to introduce the most diverse material into the musical fabric of a work - from authentic folklore to excerpts from the speeches of political figures," Zharikov believes. - song forms.