Olga Borisovna Molchonova music editor. "Our circle is getting wider and wider!"

There are two long-lived programs, born in time immemorial in the bowels of the Main Editorial Board of Folk Art, “Wider Circle!” and "Play, accordion!" - which have received active development in our days. One of them, practically unchanged, and even with the same name - “Play, accordion!”, The other is somewhat modified, since the concept of “Wider circle!” is now at the heart of a whole series of Channel One programs. I think it would be unfair to those who invented and made them, to remain only with the information given on the website of the program “Play, accordion!”: “The program cycle “Play, accordion!” exists on the first TV channel since February 1986. The program travels and shows different, unique corners of Russia, an amazing variety of talents, costumes, and unique features of regional folklore. Her characters - accordionists, dancers, chastushechniks - are bright, colorful personalities, with a "pepper" and almost always an extraordinary fate. The author, presenter, leader and director for 15 years was the People's Artist of Russia, Laureate of State Prizes Gennady Dmitrievich Zavolokin. Now his children continue his work - Anastasia and Zakhar. Program "Play, accordion!" - finalist of the TEFI-2002 award.

I want to tell about the history of these programs, but it is impossible to do this without a brief story about the editorial office itself.

Let's start with this story.

Part one.

The main edition of folk art of the Central Television

“There is a sweet country, there is a corner on the earth,

Wherever, wherever you are, in the midst of a violent camp, ...

We are always carried away by our thoughts ... "

E. Boratynsky

Folk art is a video header of the programs of the Main Editorial Board of Folk Art of the Central Television of the USSR, which at the very beginning of the harsh era of mass media tried to preserve an oasis of authentic culture in order to help millions of lovers find spiritual support on their chosen path.

I remember the day of May 27, 1967, when Georgy Alexandrovich Ivanov, Deputy Chairman of the State Committee for Television and Radio Broadcasting, introduced me to the editorial staff. Prior to that, I worked as the director of the Moscow City House of Amateur Arts MGSPS, which was located on Bolshaya Bronnaya, without whose participation not a single major cultural event of the capital took place. Gone are the harsh war years. In the houses of culture and clubs, circles of amateur performances were increasingly developed. Among them are drama, opera and ballet theatres, orchestras of brass, pop and symphonic music, amateur film studios, arts and crafts studios.

G.A. Ivanov, then the first secretary of the Sverdlovsk district committee of the CPSU, invited me to his place and asked if I would like to participate in the creation of a television editorial office of folk art. He, presumably, took into account my work experience and the corresponding circle of acquaintances. Indeed, then I had the opportunity to work with just those teams and their leaders, which I subsequently invited to speak at the Central Television. Here, perhaps, it is appropriate to recall some (unfortunately, not all!) teams and names:

A.V. Prokoshina is the artistic director of the Russian folk song choir of the House of Culture of the country's well-known Belaya Dacha state farm near Moscow, in which its workers participated.

S.L. Stein - director of the theater. Lenin Komsomol and artistic director of the People's Theater of the Palace of Culture of the ZIL plant, whose artists were the workers of the famous plant.

BG Tevlin is a professor at the Moscow State Conservatory, and in the past, a student of the conducting and choral faculty, who organized the Moscow Choir of Youth and Students.

N.N. Kalinin ~ Artistic Director and Chief Conductor of the State Academic Orchestra of Russian Folk Instruments. N. Osipova. I knew him from 1959 ., when he approved the then student of a music school as the head of the group of musicians organized by him at the choreographic ensemble "School Years" of the House of Culture of Motorists.

It is difficult to list the names of all the major figures of culture and art who took part in the seminars organized by the House for the leaders of amateur art groups.

Among them, in addition to those already mentioned, were: T.A. Ustinova,

b. C . Levashov, K.B. Bird, V.G. Sokolov, A.I. Luther, A.S. Ilyukhin, N.K. Meshko, O.V. Lepeshinskaya, I.P. Yaunzem, A.V. Shchurov, B.O. Dunaevsky and many others.

Of the many early events of my work in the House, the most striking for me were: participation in the Second City Competition of Orchestras of Russian Folk Instruments named after. V.V. Andreev, on which the orchestra of the School Years ensemble received its first award, the title of Laureate and Grand Prix (1964), and the grand opening of the First Moscow City Song Festival at the monument to P.I. Tchaikovsky. Then the consolidated thousandth choir, assembled from professional and amateur choirs, was conducted by A.V. Sveshnikov.

Prior to my appointment as editor-in-chief of the Main Editorial Board of Folk Art, I went through a television school as deputy editor-in-chief of the Main Editorial Board of Literary and Drama Programs. It was headed by N.P. Kartsov is an intelligent, sensitive, polite, highly educated person, who enjoys great prestige both on television and in literary and artistic circles. So I got my first knowledge and experience of preparing TV programs in Litdrame. I remember how, on a clear sunny day in the beginning of autumn, I came to the Teletheatre, where the Litdrama editorial office was located. In the wide open windows of N.P. Kartsov could smell the flowers and greenery of a small cozy garden, on whose sandy paths, on benches around a large flower bed, the editorial staff sat talking.

I was especially touched by the attentive attitude towards my first steps of the editor N.N. Uspenskaya, who works with I.L. Andronikov, whoseunsurpassed skill

I admired the storyteller, watching on television, I got an even stronger impression of his artistry, sense of humor, creating a relaxed atmosphere of conversation, when I met him personally.

I was present with great interest at meetings with well-known television presenters S.V. Obraztsov and S.S. Smirnov. In their reflections while working on scripts, I found a lot of useful things for me.

My main concern was mastering the processes of preparing programs for the air. M.P. helped me master this complex process. Makarenkov, dealing with financial issues, and B.O. Politkovsky, leading the production, as well as employees of the television coordination department E.G. Popova, T.V. Chirikova and Yu.B. Rozov, who later joined the created production department of the folk art editorial.

All of them worked not only clearly, rhythmically, but also with great responsibility - they were patriots of television, which they loved.

The first period of creative activity of the editorial staff of folk art began in two classes of a school rented by television in Khavsko-Shabolovsky Lane, near the studio buildings of Shabolovka. On the first floor we were located, on the second floor, the corridor of which was hung with paintings, - the artists. Here, at the school, young cadres of assistant directors and editorial assistants were trained. It was these shots - Zina Volkova, Lena Zimina and Tamara Goryacheva that our editorial staff soon replenished.

Editors were located in one class, directors with assistants and assistants were in the other. In both, the authors of programs, heads of art groups were accepted. The noise from the excited voices of everyone present was incredible.

The so-called editor-in-chief's office was located in a corner of the editors' room, fenced off by two wardrobes. The decor was quite Spartan: a table, chairs, a telephone - nothing more.

Television broadcasting was carried out from two large studios, two small ones and the Television Theater on the square. Zhuravlev.

The editorial team of folk art was formed from the employees of the musical and literary-dramatic editorial offices. These were people who were passionate about amateur art.

I invited D.G. Koznov, an acquaintance from the Theater School named after I.I. MS Shchepkina, where we studied together. After graduating, he continued his education at the directing department of the State Institute of Theater Arts. A.V. Lunacharsky, while working simultaneously in the color television studio on Shabolovka. I was glad of his consent, because. the artistic design of the programs, their directing demanded great attention.

The now famous V.N. Balabanov.

And N.A. became my deputy. Zotov, an experienced, intelligent, sensitive, intelligent person. We met when television workers came to us, at the House of Amateur Art, and we advised them on the choice of interesting, talented performers.

Departments were formed: musical, they were headed by the former singer V.M. Afanasiev and thematic programs, which included non-musical genres, were headed by journalist R.D. Epiphany.

Soon, rooms were allocated for the editorial office in the main editorial building and two more departments were formed: artists - the head of the already mentioned V.N. Balabanov and K.P. Kuleshov, who replaced him, and production manager Yu.B. Rozov.

The walls of the hall of studios A and B in Shabolovka probably remember the muffled voices of editors, directors, their assistants and assistants, authors and announcers sitting at coffee tables, together with cameramen and sound engineers, playing the entire course of the program before the air.

In those early years, there was no video recording yet, and they went on the air "live". Particular attention was paid to the exact observance of the text enclosed in the broadcast folder of the approved script. This was closely monitored by the censors, and any deviation was severely punished.

Part two

The predecessor programs "Wider circle!"

and "Play, accordion!"

It seems to me that the basics of “Play, accordion!” laid down three programs that we were then preparing - "Voices of Folk Instruments", "Gems" and "Spring". Program "Spring" introduced the audience to original singers from the deep places of Russia. "Voices of folk instruments" - a popular cycle of programs about the history of the existence of musical instruments of the peoples of different republics of the country: from the first balalaika “in three strings”, and “three-string harmonica” to the chromatic harmonica-bayan and accordion, on which it became possible to perform the most complex repertoire, domra, gusli, wind and other instruments; and, of course, about music competitions, original and talented performers. The program was prepared and conducted by the artistic director of the National Academic Orchestra of Russian Folk Instruments N.N. Kalinin and soloist of the orchestra laureate of international competitions A.A. Tsygankov, professor I.S. Ilyukhin, A.I. Luther, E.I. Maksimov and others.

But, of course, the founder of the Museum of Russian Harmonica, Doctor of Art History, Honored Art Worker spoke with particular pleasure about the harmonica and harmonists A. M . Mirek, I would call him the founder of this cycle (editors E.A. Kogan, V.M. Svilih, E.P. Zabavskikh).

A. M . Mirek, who knows the history of the harmonica very well, in his author's program spoke about the unique craftsmen, the creators of this instrument and the masters of playing it. This section organically included concerts of outstanding balalaika players P.I. Necheporenko, M.F. Rozhkova, B.S. Feoktistova, E.G. Avksentiev, accordionist A.V. Tikhonov, guslars V. Gorodovskaya and M. Chekanova, guitarist Alexander Ivanov-Kramskoy, as well as concerts of orchestras and ensembles of the union and autonomous regions and republics.

In these broadcasts, Mirek talked about his collection of harmonicas. A few years later, the Zavolokin brothers, well-known harmonists in Siberia, came to the editorial office and spoke about their activities, proposing a concept for a wider popularization of this instrument in the country. We accepted their offer. Since then, the program “Play, accordion!” began its victorious march. The Zavolokins' concept of popularization and mass character apparently coincided with the general trend in the development of TV, in contrast to Mirek's concept, which was aimed at professional performers.

This is how the program was born. "Play, accordion!", created by the brothers Gennady and Alexander Zavolokin in 1985 . In addition to the regular screen, this meant thousands of concerts throughout the country, hundreds of song festivals in cities and towns that continue to this day. It is being prepared by the Novosibirsk center "Play, accordion", now headed by Zavolokin's daughter, Anastasia Gennadievna.

Before the departure of G.D. Zavolokin on another television channel worked with him: editors L.V. Kravets, E.P. Zimin, directors: N.S. Tikhonov, M.P. Vasiliev, G. Rastorguev, M.K. Russian, V.N. Melnikov. Gennady Dmitrievich was not an easy author, he did not like criticism aimed at making his program more harmonious, he often disagreed with the editors - therefore, the editors and directors of his program had to be changed.

As part of the mass character and popularization, another program began to develop - which later received the name “Wider Circle!”. The program "Wider circle!" was formed at the beginning of 1983. The editor was O.B. Molchanov, directors - G.D. Bichurin and M.M. Christmas. The program, of course, was preceded by a search for a form of transmission - firstly, for a mass, mainly youth audience, and secondly, it was a search for talented, but still unknown performers and presenters. As they say, "woke up famous" ...

Composer and singer Y.Antonov participated in the first program. He performed his song "Under the roof of my house", which turned out to be a hit of that time. Television House, owned by O.B. Molchanov, gathered an ever wider range of performers and viewers. The program team was trusted, the performers went to them with pleasure. At first, they were mostly, so to speak, authentic performers, but gradually (and, it should be noted, quite quickly), young professional pop singers began to be invited more and more. The broadcasts helped everyone become more popular.

Philip Kirkorov, Alexander Glyzin, Olga Zarubina, Alexander Serov, Yuri Loza, Leonid Agutin, Dmitry Malikov, Valeria, Vyacheslav Malezhik, Ekaterina Semenova, Yaroslav Evdokimov, Alexander Malinin, Nikolai Korolev, Taisiya Litvinenko, Ekaterina Surzhikova and others began their careers in the program. .

Famous composers Vladimir Shainsky, Vladimir Dobronravov, Raymond Pauls and others took part. Their songs were among the most widespread and beloved. However, each generation has its own time and its own songs. It is a pity that there is less and less good music and good, truly poetic verses.

The predecessors of the Wider Circle! were "The Screen Gathers Friends", "Musical Tournament of Cities", "The TV Theater welcomes guests", "Carousel". With the growth of the technical capabilities of television, the editors began to prepare more complex programs. In studio "A" we, using live coverage of local television studios, began to conduct Music Tournament of Cities.

A jury was invited to participate, which was headed by V.G. Sokolov, the jury members were I.P. Yaunzem, O.V. Lepeshinskaya, V.I. A. Shchurov, B. Dunaevsky.

Two young TTC engineers sat at the communication consoles installed for them and counted the votes of viewers after the end of the broadcast of one of the cities, the data was transmitted to the chairman of the jury for publication on the air.

Another similar program "TV theater receives guests"(on the eve of the celebration of the 50th anniversary of the formation of the USSR, it was renamed into "Our address is the Soviet Union"). The guests were not only ensembles and groups of artamateur performances, them there were state dance ensembles of all union and autonomous republics, territories and regions.

There was such a case. An ensemble of bandura players was invited from Lvov. Permanent viewers of the Teletheater, workers of the Moscow Electric Lamp Plant, as always, filled the auditorium. But the plane with landing was delayed. Both we and the audience were very excited. To calm the audience, they persuaded the host of the program, Volodya Ukhin, an excellent storyteller about the adventures of announcers during the broadcast, to entertain them with television jokes. His impromptu concert went on for a whole hour, those sitting in the hall clutching their tummies from Volodya's revelations. In the meantime, we managed to persuade the head of the arriving ensemble, despite the fatigue of the artists, to go not to the hotel, but to us. The factory workers gave the tired bandura players a storm of applause, noting their courage and devotion to duty.

Program "Carousel" popular, dynamic, transfer, representing the folk art of our country in the form of a traditional festive festivities, was born in the studio "A", in which its creators-editors A. Angarskaya and L. Yashina, director A. Gaumont, his assistant V. Zarubin in the community with the artist Y. Lyubimova, an original design was invented, imitating a genuine old carousel. Then the program was transferred to the stage of the Teletheater, where there was a rotating circle. Groups and soloists from different cities and villages of the country came here. The cycle of programs ended with a solemn concert of the winners of the television review "Carousel" on the day of the communist subbotnik April 15 1972 . at the Kremlin Palace of Congresses.

More than a thousand people from Moscow and Leningrad, Kolomna, Pskov, Kuibyshev, Voronezh, Gorky and Prokopievsk, Lithuania and Estonia, Uzbekistan, Kazakhstan and Turkmenistan, Belarus and Ukraine, Georgia and Moldova, Yakutia and Tuva took part in the concert.

The concert was conducted by the announcer S. Morgunova, editors A. Nikolaevsky, A. Angarskaya, L. Yashina, director D. Koznov, choreographer G. Gorokhovnikov, artists V. Balabanov, V. Pogodin, assistant directors Z. Vishnevskaya, I. Potemkin, assistants directed by Z. Kolodkina, E. Podgornenskaya, L. Semenova, K. Khristovsky.

I remember the joy that seized the participants of the concert after its successful completion, when late in the evening they walked with jokes and jokes, circus attributes and musical instruments through the deserted Kremlin, and only silent sentries standing at attention looked in bewilderment at the noisy gang.

This is how popular programs developed in the bowels of the editorial office, the successful forms of which, it seems to me, are currently actively used by modern television. But does it want to know about this story?

After all, with the defeat of television and, accordingly, the Editorial Board of Folk Art, the center that allowed thousands of amateurs not only to participate, but to learn and join the authentic tradition, create appropriate archives, etc. disappeared. I will quote from an article I liked by my colleague V.N. Kozlovsky: “On the pages of the Pravda newspaper dated October 2, 1977, the secretary of the All-Union Central Council of Trade Unions L.A. Zemlyannikova, chairman of the organizing committee of the festival, noted: “The festival has become a significant event in social and cultural life countries. Three thousand choirs, musical, choreographic ensembles, folk theaters, studios, propaganda teams, 80 thousand workers, collective farmers, students, students of vocational schools, and military personnel became its laureates alone.

Let's think about the scale, I'm sure the numbers don't lie. After all, all these lovers one way or another became translators of TRADITION. And now we are complaining, biting our elbows, looking for at least somewhere. Maybe you should turn to your own history?

Editor-in-Chief of the Main Editorial Board

folk art of the Central Television of the 60-70s

N.S. Izgaryshev

One of the most successful projects in the history of not only Russian but also world television is the program “Good night, kids!”. In the near future, it will be included in the Guinness Book of Records as the longest-running children's program in the world!

The program has been in existence since September 1964. She never stopped going on the air and has always been popular. It's being watched by the third generation.

The history of the birth of the program "Good night, kids!" Originates in 1963, when the editor-in-chief of the editorial office of programs for children and youth, Valentina Ivanovna Fedorova, while in the GDR, saw an animated series that told about the adventures of a sandman. This is how the idea to create an evening program for children in our country appeared. On September 1, 1964, its first issue was released. Alexander Kurlyandsky, Eduard Uspensky, Andrey Usachev, Roman Sef and others. The program was conceived as "A Bedtime Story". And immediately the program had its own voice, its own unique song “Tired Toys Are Sleeping”, which lulls the kids. The music for the lullaby was written by the composer Arkady Ostrovsky, the lyrics by the poetess Zoya Petrova, and the lullaby was performed by Oleg Anofriev, a little later by Valentina Tolkunov . The splash screen in the form of a plasticine cartoon was made by Alexander Tatarsky.

The first releases of the program were in the form of pictures with voice-over text. Then there were puppet shows and small plays in which artists played. Moscow Art Theater and theater of satire. The puppet shows were attended by Pinocchio and the hare Tepa, puppets Shustrik and Myamlik . In addition, the participants of the program were children aged 4-6 and theater actors who told fairy tales.
The creators of the program argued for a long time about the name. There were several options: “Evening Tale”, “Good Night”, “Bedtime Story”, “Visiting a Magical Man tick-tock ". But on the eve of the first broadcast, they decided the name of the program was found: “Good night, kids!”.

In the early 70s, the current heroes of the program appeared on the screen - Piggy , Stepashka, Phil and Karkusha which were immediately loved by the children.

When in the early 80s it was decided to replace the dolls with people, there was no limit to the indignation of millions of viewers, and two months later the dolls took their usual places. In its long screen life, Good Night has experienced all sorts of times. Most often, the clouds were gathering over Piggy and for the most unexpected reasons. For example, once the board of the State Television and Radio Broadcasting Company was asked why all the dolls in the program blink, and Piggy - No. Until 2002 Piggy spoke in the voice of the program's oldest worker, Natalya Derzhavina. We can say that she devoted her life to her beloved pig. “He sometimes gets completely out of control,” she herself said in an interview. - As soon as something blurts out, I even have to apologize. For him, not for myself. Sometimes it seems to me that we just have a common blood circulation ... ”Everyone knows her catchy voice with a hoarseness, and the actress’s house was literally littered with toy pigs - gifts from friends and viewers. After Natalya Derzhavina died, Piggy began to speak in the voice of Oksana Chabanyuk.

The first actor who voiced Phil was Grigory Tolchinsky . He liked to joke: “I will retire, I will publish the book“ Twenty years under the skirt of Aunt Valya. Today's voice of Fili is actor Sergei Grigoriev.

Filya was the first in the now famous five characters. This joyful event for kids and their parents happened on May 20, 1968. The prototype of the current universal favorite was found by the editor of the program "Good night, kids!" Vladimir Shinkarev, who came up with this name for the dog.
Piggy's birthday is February 10, 1971. The bunny Tepa was sitting at the table in front of the viewers, the presenter "Aunt Valya" (Valentina Leontyeva) appeared: - Hello, guys! Hello Tepa! Oh, someone hit me on the leg. Tepa, do you know who this is? - I know, Aunt Valya. This is a piglet. He lives with me now. - Tepochka, why does he live under the table? - Because, Aunt Valya, he is very naughty and does not want to leave the table. - What's your name, piglet? - Asked, looking under the table, Valentina Leontyeva. And in response I heard: "Piggy".

Leading at different times were Vladimir Ukhin (Uncle Volodya), Valentina Leontyeva (Aunt Valya), Tatyana Vedeneeva, Angelina Vovk, Tatyana Sudets, Yuri Grigoriev, Yulia Pustovoitova, Dmitry Khaustov. Currently, the hosts are actress Anna Mikhalkova, Oksana Fedorova, actor Viktor Bychkov.

In 1999, the program did not go out, because they did not find a place for it on the air grid, a television series was broadcast instead.

Each doll is treated very carefully - they are brought to the studio only for the period of filming, and the animals spend the rest of the time in a special storage. They are looked after there: cleaned, combed, dressed. Here, in cardboard boxes, the entire doll wardrobe is also complicated. Fili and Stepashka, for example, have their own tailcoats with butterflies. Piggy has a real leather jacket with rivets, Karkusha has countless bows.
The dolls themselves are updated approximately every three years, and the worn-out sets are sent to the same storage. For 37 years, you can’t count how many Khryush, Stepash, Karkush and Fil have accumulated there. By the way, once the management of the program decided to order new dolls in England. We sent layouts and photographs to the British. But as a result, imported animals turned out to be completely different from their native ones.

“We treat our dolls like children,” says production designer Tatyana Artemyeva. “We dress, put on shoes, take care of them and even make them up sometimes. Piggy, for example, used to be made of material that shone, and it had to be powdered. And 7-8 years ago he was modernized, now his head is made of artificial suede. But we still powder him, now for color. "
After each shooting, the puppets are supposed to rest: "They are heated, as we believe, not from the hand of the puppeteer, but from the energy that he transfers to the toy so that it comes to life. Therefore, after filming, the puppets are placed on a special ladder, where they can cool down, rest and sleep. So "tired toys are sleeping" - this is about us.

The announcers enjoyed no less love than the puppets: Aunt Valya (Valentina Leontyeva) and Uncle Volodya (Vladimir Ukhov), who hosted the program until 1995. In 2005, Ukhov had a stroke, since then he has been at home and moves only around the apartment. After Uncle Volodya, Aunt Sveta (Svetlana Zhiltsova), Uncle Yura (Yuri Grigoriev), and later Aunt Lina (Angelina Vovk) came to the show. All of them are now retired. Today the program is run

Former "Miss Universe" Oksana Fedorova and Anna Mikhalkova, daughter of the famous director Nikita Mikhalkov. By the way, over time, the style of communication on the program has changed a lot - they stopped addressing the hosts with “you” and calling them “aunts”: now just Oksana and Anya visit their favorite characters. But the doll actor Viktor Bychkov is still called Uncle Vitya, because he is older than both Fedorova and Mikhalkova. He has the image of a sort of kind neighbor who always comes to the rescue in difficult times, solving any problem with a cheerful joke.

Today, three rooms are involved in the filming of the program. There is a living room and a playroom. And in the future, the heroes will have their own studio-house. Neighbors-animals will settle in it and a new hero will appear - Bibigon.

source- http://novaya.com.ua/?/articles/2010/08/10/123723-1

How Piggy was called "unclean meat", and cartoons were "sewn politics"

The fact that each of us remembers "his own" "Evening Tale" is not surprising. Over the years of the existence of the television format, there have been a lot of transmission options for the smallest. Firstly, each fraternal republic had its own heroes, and secondly, even in our country in different years clones appeared, organized according to the principle and likeness of the pioneer program: “Evening Tale”, “Goodbye, children”, “Katrusin cinema hall ”,“ Visiting a fairy tale ... But the palm, of course, belongs to the old-timer project - the Good Night, Kids program.

Stepashka "hooked up" Tyopa

All the “live” and “glove” presenters of evening fairy tales, first of all, owe nationwide fame to the editor-in-chief of programs for children and youth of the USSR State Television and Radio Broadcasting Company Valentina Fedorova. It was she who, in 1964, during a business trip to the GDR, saw

A cartoon about the Sandman who put the kids to sleep. Fedorova returned to the USSR and started her own project called "A Bedtime Story", the purpose of which was to mentally prepare the kids for bed. The idea of ​​the program was in the air, because most of the parents had no time to read a traditional fairy tale to their children to fulfill and overfulfill the plan. True, the first releases looked somewhat primitive: the story read by voice-over was illustrated with static pictures. Later, puppet shows with Tyopa the hare, Shustrik and Myamlik puppets began to be played before the viewers, and then skits with the participation of real artists from the Moscow Art Theater and the Satire Theater.

My parents (like, probably, everyone else) every year tried to take their child to the sea - to improve their health, breathe in the healing air and relax "under the guise" themselves. Since the possibilities of the Soviet proletariat were somewhat limited, housing in the Crimea was chosen according to the principle "cheap and cheerful": from the amenities in the seaside "caravanserai" there was a board toilet on the street, from comfort - a refrigerator for 8 families. TV, of course, was out of the question. So, on the first day on the sea coast, there was no need to put me to sleep - I was very tired. But on the second day, no cotton candy and soda could calm the child. I want "Good night, kids", and that's it! The next day, the delegation went to the hostess of the bungalow and begged for me the treasured 15 minutes in front of the TV. So Khryusha, Filya, Stepasha and Karkusha saved our vacation, - says Alina Morozyuk from Kiev.

Thanks to all the "uncles" and "aunts"

The Good Night, Kids program is still alive and well on the Rossiya channel, although the presenters of the program are no longer called as they once were: Aunt Valya (Valentina Leontieva), Uncle Volodya (Vladimir Ukhin ), aunt Sveta (Svetlana Zhiltsova), aunt Lina (Angelina Vovk), aunt Tanya (Tatiana Vedeneeva and Tatiana Sudets )… Animals address adults familiarly - by name and on "you".

Once I was riding in a taxi, the driver looks at me in the rear-view mirror and says: “Aunt Nadia, I was brought up on your fairy tales. Thank you". I am flattered, I thank him, although I have already got used to the phrase “Aunt Nadia, thank you for our children”, and he continues: “Now my children are brought up on them.” I was embarrassed, I understand that this is no longer true - I haven’t been running Skazka for many years. And he, seeing my reaction, laughed. It turns out that his dad was one of the first to learn how to record programs on tape. In the home archive, programs with grandfather have been preserved Panasom, Katrusey and her "Kinozalom" and ours, - says ex-host Ukrainian version of "Evening Tale" actress Nadezhda Baturina (Aunt Nadya).

According to the good Soviet tradition, pressure on the program "from above" grew in direct proportion to people's love. "Good night..." often

They attributed political (!) sabotage. So, during Khrushchev’s trip to the USA, the harmless cartoon “Traveling Frog” was taken off the air, and under Gorbachev’s government it was not recommended to broadcast a cartoon about Mishka, which never completed the work he had begun. At the beginning of perestroika, a simpleton turned out to be persecuted Piggy . The Muslims sent a letter to Ostankino with a strong demand: “Remove pork from the frame. Our religion does not allow eating unclean meat…” The editors defended the honored pig of the USSR, retorting: “The Koran says that pigs should not be eaten, but Allah does not forbid looking at them.”

Grandfather Panas not yet rehabilitated

Didugana in an embroidered shirt and with a chic gray mustache, modern Ukrainians know not so much from fairy tales (although eyewitnesses say that he read them masterfully), but from the famous bike. Rumor has it that "for the mood" Peter Efimovich Vesklyarov often pawned before the air, to which the management had to turn a blind eye. And now, at the end of the next live (!) broadcast, grandfather Panas supposedly said quite clearly: Otaka x ... nya, little one, - love the lads and the girl ". However, after the scandal broke out and the perpetrator of the incident was removed from business, there were witnesses who refuted this case. Unfortunately archived. NTU there is no record of the historical issue left - it is still not known where is the truth and where is the lie.

It was in the program “Wider Circle” that Agutin and Apina, Koroleva and Kirkorov, Malikov and Malinin debuted in different years ...

Olga Molchanova, permanent artistic director and music editor of the program, tells how it was.

- Olga Borisovna, every editor of radio and TV has their own so-called artists, favorites. Who was among yours?

- I honestly say that I fell in love (of course, in a creative sense) first of all with those whom I discovered. This is Dima Malikov, and, of course, Philip Kirkorov, for whom I have retained my love to this day.

To tell the truth, I did not really believe that something would come of it. Yes, external data is brilliant, plus internal culture, musicality. But the vocals are pretty average. And I didn’t even imagine that a person, working on himself, would grow up in this sense, just make a giant leap and become a very good pop singer.

Among my favorites are Sasha Serov and our nightingale Yaroslav Evdokimov, with whom we have been friends for a very long time. Glory to Dobrynin, whom I put on the air with incredible efforts, up to reaching the then chairman of the State Television and Radio Broadcasting Company Lapin. After all, Dobrynin was banned, considered almost a homeless person and never agreed to be shown on TV ...

- Why? And how did you manage to overcome the obstacles?

Anna Herman was recording a song for a TV program. As the highest professional, she did it very quickly, all the work was done before the end of the paid studio time. Then Anya decided to record Dobrynin's song "White Fragrant Bird Cherry".

The next day I was going to fly to another city. Suddenly the bell rings, and my boss says: “What did you write with Dobrynin there? Lapin is calling us!” That is, "well-wishers" have already reported that a song is being written by a composer who was under an unspoken ban.

When we came to Lapin, he attacked us with anger: “Do you know who this Dobrynin is? They say he runs around the editorial offices with a briefcase full of money, and distributes this money to everyone so that his ugly work is shown on TV!

And only when I explained that Dobrynin was an intelligent person, an art critic, graduated from Moscow State University, wrote the song “Komsomol is my destiny!”, Lapin softened. For him it was a discovery, and for Dobrynin it was a green light on television.

- Olga Borisovna, they say that you can determine the creative future of an artist without even seeing him, but simply by listening to a disc or cassette. This is true?

- Composer Igor Matvienko once brought me a cassette with the words: "Here is a new young group." I listened and was blown away! They were Ivanushki. Then I saw them at some concert and said to Igor: “Believe me, there will be a bomb!”

I just fell in love with these guys, and most of all with Igor Sorin, who seemed amazing to me in terms of talent, depth and, in general, in his charm. They held several Wider Circle programs, and I am glad that I predicted such a take-off for them, which took place ...

And somehow a young Barnaul composer Oleg Ivanov came to me with the verses “The sorceress of the forest Alesya lives in the Belarusian woodland”, he really wanted these lines to be performed by the popular ensemble “Pesnyary”. But it was at that time that I had young guys from Gomel called “Syabry” at my studio, and I told Oleg: “Pesnyary already has a song about this name, they are unlikely to need two Alesyas. Let's try to give it to these guys! As a result, "Alesya" became the signature song of the "Syabry" ensemble, and even their leader Anatoly Yarmolenko named his daughter Alesya!

Irina Barysheva.

Our interview, as befits pre-morning conversations in nightclubs, came out eccentric, but ruffy. Who was ruffling at whom - maybe you will understand if you read it. Leaning on cognac, the singer either laughed, then thought seriously, then began to get a little angry.
Vyacheslav Efimovich Malezhik was born on February 17, 1947 in Moscow. He graduated from a music school in the accordion class and a regional pedagogical school in the guitar class. He received his higher education at the Moscow Institute of Railway Transport, where he defended his diploma on the topic “Cybernetic synthesis of music”.
Malezhik's songs "Natashka" and "You don't change anything" were very popular among student youth back in the late 60s. They were sung at camping halts, at parties and student song contests. The fate of the young musician was decided by Alexander Maslyakov, who personally crossed out the song “Natashka” from the repertoire of KVNshchikov, containing incriminating lines: “And girls without guys have sad eyes, like icons.” There was no sex in the country then ...
Vyacheslav Malezhik, who performed in the Mozaika ensemble, in collaboration with Yaroslav Kesler, managed to create a successful combination of elements of pop music, rock and song traditions of the Soviet stage. It was they who owned the first Russian-language version of the rock opera "Jesus Christ Superstar". Kesler translated from English, and Malezhik performed the part of Judas.
Since 1973, Malezhik has been working on the professional stage with the ensembles Cheerful Guys (with the participation of Alla Pugacheva), Blue Guitars, Flame. The first solo magnetic album - "Sacvoyage" - he recorded in December 1984. And in 1987, the Melodiya company released the singer's first vinyl disc - Cafe Sacvoyage. The touring activity began: full houses, the love of the audience ...
The beginning of this interview is right off the bat, because my time was already passing, and the girl from the youth edition could not tear herself away from the “grandfather”. Therefore, I just had to break into them and turn on the recorder in a half-phrase. Then she, to his displeasure, left. And here's what came out of it...

- ... you know, to live with wolves - howl like a wolf. But I'd better step aside, I don't want to howl like a wolf in this wild TV market. And the obvious on-screen vulgarity that is now in the solution of songs is especially annoying. Only sometimes they are successful, but these successes are too rare. And I was insanely offended when they showed Misha Muromov, who sang a song far from the worst, firstly. Secondly, a song that warmed the hearts of many of our parents, including, perhaps, those who made this program.
- What's the song?
- "I love you, life." And in the background, I remember, some half-drunk "pioneers" with bristles were making out with each other, while not removing the drum and bugle. Apparently, it seemed to someone that this was the highest shocking in humor! I was insanely sorry for Misha Muromov and insanely sorry for many viewers. This humor was so vulgar that it was even offensive. Although, relatively speaking, if some abnormal person scolds me, then this should not touch me, because it is somewhere beyond the bounds of reason.
- But in general, follow all these "superstars"?
- Sometimes. In any case, I do not turn around in the middle of the road in order to have time to see it.
- Did you personally worry about any of the participants?
- No, actually. You see, those performers who participate there, they, by and large, have already proved everything. To me, anyway, one hundred percent. What can the NTV program about Lyosha Glyzin reveal to me? I am well aware of its capabilities. I can only be happy for him, for his songs. But what they offer sometimes is just awful. Again, everything that concerns taste is very difficult to judge categorically. They may not agree with what I say. And one more thing that does not allow me to be even sharper: someone can say that Malezhik is not invited there, that's why he grumbles. Although they called me from NTV.
I don’t know, maybe from some other program, but just hearing the word “NTV”, I told them that they were worried for nothing.
- What is the reason for your rejection of this channel?
- On NTV, they somehow made a program about the TV show “Wider Circle” - like a story about some such imperishable thing. Olga Molchanova is the editor of Wider Circle, Katya Semyonova and I are the hosts with whom this program is still associated. All of us were interviewed. I spent a day on this, for them. He was going somewhere, saying something. And in the end I got cut! At the same time, no one even apologized to me, they didn’t even think about it.
- You did not get into the program at all?
- They left only a small fragment where I sing some song. And from what he said, not a word was left. They were interested in only one single story, it was really bitter and funny at the same time. Philip Kirkorov then led the program. He was only fourteen or fifteen years old. And he talked about these, how ... Ovechkins ... an ensemble of brothers from Irkutsk ...
- "Seven Simeons" they were called. Which, under the guidance of their mother, later captured a passenger plane.
- Yes, thanks for your help. After the brothers played the number, Philip had a prepared phrase according to the script: “Darling ... I don’t remember exactly her name ... Polina Matveevna (their mother), you must be watching TV now, and we are telling you that you can be proud of your children. You raised real kids. May God give you a good flight in your life!” They left in the program only this Kirkorov's blessing of future bandits.
And Olga Molchanova was asked something about Alexander Serov. And the camera was turned on. She was then perplexed: “I did not pay attention that there was a red light burning there. And I say: “Serov? Yes, he is a horse with eggs! And then, for the record, she talked about how musical he is. But in the end, only the “horse with eggs” was left. Molchanova calls me: “Slava, I want to ask your forgiveness.” - "For what, Olya?" “Well, they didn’t show you.” - “They didn’t show it - and thank God!” “Can you imagine what they set me up for? How could I say about Serov only that he is a horse with balls? And I said it three times! Why did they disgrace me all over the country?
- It is interesting to know how Katya Semyonova is doing?
- And what is she? She lives her life.