Wikipedia

User:Tomcat7/Sandbox19

< User:Tomcat7
Kino
Кино
Background information
OriginLeningrad, Soviet Union
GenresRock, New Wave, Post punk
Years active1981–1990
LabelsMOROZ Records
Past membersViktor Tsoi (deceased)
Yuri Kasparyan
Igor Tikhomirov
Georgiy Guryanov

Kino was a Soviet rock band. Formed in Moscow as "Гарин и гиперболоиды", the band was initially a trio consisting of Tsoi (singing, guitar), Aleksey Rybin (guitar) and Oleg Valinsky (drums). After the latter's muster in the army, the duo released their debut album, 45, which was both critically and commercially unsuccessful. Regarded one of the most influential and famous Soviet bands of all time, Kino released seven studio albums, three live albums, several bootlegs and over one-hundred songs. After the death of headliner, main song-writer and music arranger Viktor Tsoy in a car crash, the group officially split up, marking the end of their nine years active career.

Stylistically, the band abandoned many traditional elements of Russian rock and instead often included diverse electronic effects, such as drum machines and rhythm composers, which gave Kino a disco- and pop-like sound. A common characteristic is the repetition of the same words or verses. The lyrics reflects the adolescent troubles and worries about love, leading to their nickname of "New Romantics". Later main themes were heroism and inner protests, which expressed the masculin civil responsibilities.

The popularity of Kino steadily increased over the years; while the band first performed on house concerts and received negative reception by the press, the band progressed at the end of the decade, their records became million-sellers and they were more popular on concerts than anytime before. The so-called "Kinomania" became a component of the youth generation especially after the death of Tsoy; an example is the famous "Tsoy Wall" in Moscow, on which fans have wrote quotes from the songs. Contemporary columnists and musicologists often regarded Kino as a part of the mass culture.

History edit

History of foundation edit

Kino was formed by two members of the Beat bands "Палата № 6" and "Пилигрим", the first with Victor Tsoi on bass, the second with guitarist Aleksey Rybin and drummer Oleg Valinsky. Tsoi also often participated in the instable band Swinja & Awtomaticzeskie Udowletworiteli, and Rybin played for a certain time for "Абзац". In the summer of 1981, the three men travelled to Crimea, where there decided to form the band "Гарин и гиперболоиды" (named after the fantasy novel The Hyperboloid of Engineer Garin by Aleksey Tolstoy). Returning to Leningrad, they began to record songs by Tsoi, and Valinksy had to leave the band as he was mustered for the army. In the early 1982, the band performed at the Leningrad Rock Club and met with the influential rock underground artist Boris Grebenshchikov, who enjoyed their performance so much that he suggested to send the band into a studio. Around this time, the band changed to "Кино".[1]

The reason for the renaming was its shortness, scarcity and "syntheticism". The criterions for the renaming were: two syllables, disseminated and easy pronunciation. Their former name "Гарин и гиперболоиды" was too long, and "Kino" was likened by Tsoi for its synthetism. This synthetism is also found in the duo's song "Алюминиевые огурцы", written in 1981, which is based on their agricultural works in school. It includes such "artificial" words as "кнопки" (buttons), "скрепки" (clips), "клёпки" (rivets), "дырки" (holes), "булки" (breads) and "вилки" (forks).[2] Tsoi and Rybin discussed the name in an apartment by Gennady Zaitsev, Boris Grebenshikov and other members of Aquarium. About the time of the first recording for their debut album, their logo should fit on the cover. The musicians could not find a definite band name. On the way back, at the "Tekhnologichesky Institut" station, an illuminated flagship for the film "Космонавт" attracted their attention, especially the word "кино", which appeared to fit on cover albums. The musicians kept to this name as they became tired.[3]

Kino's debut album was recorded in the House of the Pioneers and Pupils of the Krasnogvadreyevsky District, then in the АнТроп studio. Kino was seen performing in one apartmenet near producer Andrey Tropillo's home. He took the opportunity and asked the band to record an album right after finalizing Aquarium's Треугольник. Bearing Grebenshikov's recommendation in mind, Tropillo invited the band to work on the Kino tracks. As the band consisted of only two musicians, Grebenshikov asked members of the band Aquarium to back Kino: Vsevolod Gakkel (violoncello), Dyusha Romanov (flute) and Mikhail Fainstein-Vasilyeva (bass guitar). The Soviet drum machine "Электроника" replaced the lacking drummer. The resulting "magnet album", a common type of album in the Soviet Union, was titled 45 and included 13 songs. it was named after the total time of minutes of recording. Kino, at that time an underground band, had no commercial and critical success with the album. Tsoi initally did not want to release the album, as he felt it was rather dry.[4]

Break-up edit

In the autum of 1982, the band recorded songs for their next album at the Maly Drama Theatre, St. Petersburg, with the assistance of drummer Valery Kirillov (future founder of Zoopark) and audio engineer Andrey Kuskov. Tsoi did not like the sound of the drumming instruments and ultimately decided to quit recording. The test takes were later included in the 1992 compilation album Неизвестные песни Виктора Цоя (Forgotten Songs of Viktor Tsoi), released on CD. In the winter of 1983, the band performed on some concerts in Leningrad and Moscow, being backed by Aquarium's Pyotr Troshchenkov. Rybin took bassist Maxim Kolosov and future guitarist Yuri Gasparyan in rehearsals. According to Grebenshikov, Gasparyan was a rather moderate guitarist, but he progressed fast in the following years and finally became the Kino's most important member after only Tsoi.[5] Writer and journalist Yevgeny Dodolev gave a similar opinion: "Первый же выбранный Цоем кандидат — гитарист Юрий Каспарян вызвал в среде коллег-музыкантов недоумение — 'он совсем играть не умеет'. Однако время расставило всё и всех по местам… искушённые мэтры, без энтузиазма встретившие Каспаряна, виновато разводят руками — ну кто бы мог подумать, что у Цоя такая интуиция".[6] С Колосовым и Каспаряном прошёл второй концерт на сцене Ленинградского рок-клуба. Публика встретила выступающих с лёгким недоумением, так как программа «Кино» нуждалась в существенной доработке.[7]

The duties of Tsoi and Rybin were divided as follows: the first managed lyrics and music, the second administrated and arranged the recording, and organized concerts. In March 1983 there was a serious conflict between them because of disagreements. Tsoi criticized Rybin not writing his own songs and always using Tsoi's, while Rybin felt that Tsoi interacted superior-like regarding decisions.[8] After the incident, they neither corresponded nor met each other, and Rybin decided to quit the band and move to Moscow for Sergey Ryzhenko's punk band "Футбол". Tsoi stopped playing for a while and skipped several invitations, including to the first Leningrad Rock Club concert).[9]

The only audio documentary at that time was a bootleg called 46, which included newly written songs, recorded with a Portastudio belonging to young audio engineer Aleksey Vishnya, who was taught by Tropillo and Grebenshikov how to handle it. The songs followed the same style as their previous ones, but were rather gloomy and cold. 46 was a test recording, in which Kasparyan's skills should be trialed. When Vishnya released the recording without permission by Kino, it was listed as the band's second studio album. Nevertheless, Kino never liked the recording.[10]

Закрепление на сцене edit

In the early 1984, Tsoi and Kasparyan began recording on the actual second album. Grebenshikov, who again served as a producer, hired several of his relatives: Aleksandr Titov (bass guitar), Sergey Kuryokhin (keyboard), Pyotr Troshenkov (percussion), Vsevolod Gakkel (violoncello), Igor Butman (saxophone) and Andrey Rachenko (drums). Grebenshikov played on a "Кассиотон" keyboard, while the session took place in the studio by Andrey Tropillo. The album was released under the name Nachalnik Kamchatki, which points to the heat-only boiler station "Kamchatka", where Tsoi was registered as a stoker. The cover art depicts the band Kino with Georgy "Gustav" Guryanov, although he only appeared on one song. The album was minimalistic, as was demonstrated in the laconism of the arrangers and the technical style, when, for example, Kasparyan's guitar sound was not overdriven, but had a fuzz effect produced by the Soviet tape recorder "Нота". Although five of the songs were hits ("Троллейбус", "Последний герой", "Генерал", "Камчатка", "Транквилизатор"), critics noted its "somehow tedious atmosphere". "The album was electronical and not really experimental in sound and shape. I can't say that it was exactly what we wanted to hear in sound and style, but, when speaking as an experiment, the album was interesting" noted journalist Aleksandr Kushnir.[11]

After finishing the recording of the album, Tsoi founded the band "Kino", which consisted of Kasparyan (guitar), Titov (bass guitar) Guryanov (percussion) and Tsoi (vocals), and started rehearsing the new concert programme since May 1984. The band played at the second Leningrad Rock Club, winning a prize for the best song ("Безъядерная зона"). After that, they received a certain notority and regularly performed in other Soviet cities.[10] In autumn they performed with Aquarium and Bravo in the posyolok (settlement) Nikolina Gora under supervision of national security forces, a successful event that received critical acclaim.[12]

File:Состав Кино.jpg
The final members of Kino, from left to right: Viktor Tsoi, Georgy Guryanov, Yuri Kasparyan, Igor Tikhomirov

In the early 1985, Kino decided to record another album, but Tsoi disliked the interference of Tropillo, who intended to influence the members. Therefore they abandond that project and started recording at Vishny's home, with three guitars and a rhythm machine. Journalist Andrey Burlaka felt the resulting audio cassette Eto ne lyubov... was the Kino's best effort.[10]

Bass guitarist Titov decided to leave the band in November 1985, noting the increasing humiliation playing with Aquarium and Kino. He replaced jazz guitarist Igor Tikhomirov, former member of Джунгли. In this way, the signature staff was not changed until its break-up.[10]

In January 1986, Tropillo released the unreleased tracks, recorded a few months ago in his studio. Noch was Kino's first official album, later published under Melodiya. Two million circulations were recorded. However, the band expressed their distaste especially towards the fact that they received not even loose cash.[10] It received negative reviews by the press.[13] In autumn that year, Kino played at the fourth Leningrad Rock Club, receiving there with "Дальше действовать будем мы" an award for best song. In summer the musicians went to Kiev during a shooting of Sergey Lisenko's Конец каникул. In July they gave a concert with Aquarium and Alisa in the Moscow Palace of Culture МИИТ, and after that they recorded a split album under the name Red Wave.[14] That album, of which ten thousand copies were smuggled and distributed up to California, became the first release by a Soviet rock band in the West.[15]

From 1986 to 1988 Tsoi acted in films including in Sergei Solovyov's Assa and in Rashid Nugmanov's Needle. He now became more active in the film industry, and often travelled to Kazakhstan. For that reasons, the other members frequently took a break, too. Since Kasparyan had much time, he repeated with Maxim Pashkov, and later participated at a recording of a debut album by Петля Нестерова. Tsoi, dwelling in steppes, began writing songs for Gruppa krovi and recorded them in 1987. Many critics praised it as Kino's most complete work.[10] The sessions took place at Georgy Guryanov's house in Kupchino, Leningrad, and, compared with their first albums, it had the quality of contemporary European and American music.[16] They used the drum machine Yamaha RX-11, which allowed an easy editing of rhythm, timbres and volume.[17] Alexander Zhitinsky called Gruppa krovi one of the best rock albums, noting that it raises Russian rock into a new level.[18] The album also received accolades by non-Russians, such as by Robert Christgau from Village Voice.[16] Assa was screened in 1988, featuring Kino playing "Хочу перемен!" in the last scenes. The final episode was a cultural shock, erupting the "Kinomania" in the whole of Russia, and assessing Tsoi as a romantic hero, especially of the youth.[10]

Rise to stardom edit

 
Tsoi tuning his guitar for a April 1986 concert in Leningrad

Kino received offers in Russia and outside. They performed at the Danish benefit concert "Next Stop", the income of which went to the victims of an earthquake in Armenia. Other gigs took place in a large rock festival in Bourge, France, and in the Soviet-Italian "Back in the USSR" in Melpignano. Around that time Yuri Belishkin offered managing Kino. One year later they played at a small concert in New York after the premiere of Needle.[10] Next they moved to Paris, releasing there The Last Hero, a collection of old songs re-recorded in a better quality. French diplomat and Russophile Joël Bastener financed the recording and release.[19] On 16 November 1989, the band was banned at a concert in honour of Alexander Bashlachev, when suddenly the sound was muted before the audience started breaking chairs and rampaging.[14]

Their album The Star Called Sun was released in the same year. The test rescordings were performed in December 1988, but the actual recording took place one month later in Valery Leontiev's Moscow studio.[14] The band performed at the TV show View and at various music videos, including "Видели ночь", "В наших глазах", "Группа крови", "Дальше действовать будем мы" and "Звезда по имени Солнце". Although Tsoi complained about the unacceptable circumstances during filming, the videos were viewed in several popular Russian TV channels.[20] The band proposed creating a separate group that would play "easy" songs:

Victor had a number of favourite songs that oddly did not appeared on albums. Then he proposed establishing a group of young people, who should play those songs. We were captured in our heroic pathos, and playing about love were strange for us. But the songs were not bad: "Разреши мне", "Братская любовь", "Малыш", "Когда твоя девушка больна". That was a completely different style. There could be a grandiose self-supported group, and time was there. We searched for some good-looking guys for a boy band. If that would work, we could perform on concerts, with them as the opening act. There were many thoughts about that direction.

— Yuri Kasparyan, [21]

In December 1989, Yuri Ayzenshpis replaced Belishkin as producer, and in spring the band played in Tokio, proposing there a further development of popularity. Kino was probably the first Soviet band to boost internationally. On 24 June 1990 the musicians performed at a crowded concert in Luzhniki Stadium. The organisers implemented a large salute, and lighted the Olympic torch[10] which previously did that on only four occasions (1980 Summer Olympics, 1985 World Festival of Youth and Students, 1986 Goodwill Games and 1989 Moscow National Festival Games).[22]

Tsoi's death and aftermath edit

In June 1990, after finishing the previous hard season, the musicians planned to record their next album in France, but before that made holidays. That never happened, because Tsoi died in a car crash on 15 August, on the highway Sloka—Talsi, ten kilometres and more from Riga (now capital of Latvia).[23] His death shocked the public, and even suicidals were recorded among fans. Many people visited his burial on the Bogoslovsky cemetery in St. Petersburg.[24] At that time, only one song was finished, "Красно-жёлтые дни". Other false version of his unreleased songs include instrumental parts of Tsoi's acoustic guitar playing. In autum that year, Kasparyan and Guryanov rearranged that songs at the VPTO "Videofilm" studio, using a four-channel system and naming the album The Black Album.

In December they performed at the Leningrad Rock Club. Months later they were interviewed on a press conference at the Moscow Palast of Youth, announcing their last album. It was broadcast on Channel One.[25] They asked questions to the following people: Yuri Kasparyan, Georgy Guryanov, Igor Tikhomow, Rashid Nugmanov, Marianna Tsoi, Artemy Troitsky, Sergey Bugaev and Yuri Eizenshpis.[26] After that Kino split up.

Георгий Гурьянов буквально сразу же завершил музыкальную карьеру и посвятил себя живописи. Игорь Тихомиров некоторое время руководил клубом «Полигон», играл вместе с Александром Ляпиным, после чего летом 1995 года перешёл в «ДДТ». Юрий Каспарян после долгого периода молчания записал инструментальный альбом Драконовы ключи (1996), несколько раз аккомпанировал Сергею Курёхину, а в октябре 2001 года совместно с Вячеславом Бутусовым (экс-«Наутилус Помпилиус») и Олегом Сакмаровым (экс-«Аквариум») основал группу «Ю-Питер», в концертный репертуар которой вошли многие хиты «Кино».[27] В том же году Бутусов с Тихомировым и Каспаряном записали проект под названием Звёздный падл. Альбом получился мрачным и мистическим, все тексты написал именитый поэт Евгений Головин, тем не менее, большинство обозревателей подвергли этот диск критике за неоправданную эксплуатацию слова «Кино», написанного на обложке жирными буквами.[28][29] Некоторое время ходили слухи о возрождении группы «Кино» с новым вокалистом Бекханом Барахоевым, он спел с Каспаряном и Тихомировым на двух юбилейных концертах, принял участие в нескольких студийных записях, но в итоге этот проект не состоялся — певец продолжил выступать со своим собственным коллективом «Бекхан».[30]

Style edit

Tsoi was the primary songwriter of Kino. The band's style is close to post-punk and New Wave, although Tsoi never categorized their music into Beat music.[31] Their sound was modern and influenced by the contemporary Western music, as they looked for popularity in the Soviet Union. Their songs expressed a melodical richness – romantic-heroic pathos of their lyrics mixed with realistic natural depictions, beared up irony and characteristic sardonicism.[10] According to Anatoly Gunitsky, their style is comparable with T. Rex's, in their rhythmical monotony, laconist instrumental parts and intrusive melody.[32] Lyrically, Kino expresses problems of human who confrontates with surrounding circumstances – a columnist from the journal The Time-Bounded compared Tsoi's music with a howl of a city partisan who hates the corrupted world, in which he has to live.[33] However, all of their songs are apolitical. Tsoi reminded that he is an artist rather than a social and political journalist.[31]

Kino was profoundly influenced by R.E.M.,[34] The Smiths (in the This Is Not Love period),[35] The Sisters of Mercy,[10] and The Cure.[34][36] Bands such as Aquarium, Zoopark, Television and especially Alisa helped defining their style. Tsoi's vocal style resembles that of Ian Curtis. Their stage performances echoes Bruce Lee's, whose films they and their friends often watched.[24][37]

Киномания edit

 
«Стена Цоя»

Песни «Кино» среди любителей рока остаются популярными по сей день. Считается, что смерть Цоя даже способствовала популяризации группы, создав своего рода культ трагически погибшего героя.[5] Есть также мнение, что в последние годы группа себя исчерпала, и, если бы музыкант вовремя не погиб, внимание к коллективу существенно сократилось бы. Тем не менее, авария произошла на пике популярности «Кино», что привело к катализации феномена «киномании».[38] В Кривоарбатском переулке (Москва) появилась «стена Цоя», которую поклонники группы исписали надписями «Кино», «Цой жив», цитатами из песен и признаниями в любви к музыканту.[39] Представители властей и некие неформальные организации неоднократно пытались закрасить стену, но до сих пор многие фанаты со всей России и стран ближнего зарубежья продолжают паломничество к этому мемориалу, приносят цветы, вешают плакаты и добавляют новые надписи.[40]

Котельная «Камчатка» (улица Блохина, 15), в которой Цой на протяжении нескольких лет работал кочегаром, также стала объектом паломничества. В 2001 году здание было выкуплено коммерческой компанией, и легендарный подвал планировалось уничтожить, однако Валентина Матвиенко посетила это место и распорядилась о сохранении котельной, а также о создании здесь музея Виктора Цоя и его финансировании из городского бюджета.[41] В Киеве, на озере Тельбин, где снимался короткометражный фильм «Конец каникул», до настоящего времени растут старые ивы, которые видны в кадрах фильма, и это место является культовым для украинских фанатов.[42] Также не осталось без внимания и место гибели Виктора Цоя. Традиционно, проезжая 35 километр трассы Слока-Талси, водители сигналят. Там установлен памятник, фанаты ежегодно посещают «километр» для того, чтобы возложить цветы, а также исполнить песни любимого музыканта.

Legacy edit

One of the greatest Soviet bands of the second half of the 1980s, Kino was and is influential for a number of young musical groups.[43] Many musicians have acknowledged their work, for example in the two-CD tribute album KINOtapes, comprising cover versions by leading post-Soviet bands recorded in various concerts in Moscow and St. Petersburg. It was released in Autumn 2000.[44]

The band Kino is a phenomenal one. Even after Tsoi's death it is still similarly popular, though I find that strange. If compared with Western bands, then ever-lasting groups such as The Doors and The Beatles may be mentioned. All of them had some widespread legacy which becomes apparent and never blazes. Let's say, if speaking of the Beatles, we should mention their fantastic melodies, but today their lyrics sound rather naive. But their melody, their music are classical. The outlining aspects of the Doors are the outstanding lyrics of Jim Morrison, his amazing voice and his fairylike, charismatic character. And if speaking of Tsoi, he embraced both of their styles.

— Artemy Troitsky, [45]

Konstantin Kinchev, a friend of Tsoi's, wrote an album dedicated to him, The Pulse of the Labyrinth's Guardian, released in 2008. The Guardian refers to Tsoi.[46] Ilya "Chyort" Knabengof, leader of Pilot, declared that their album Ч/б was written in the style of Tsoi: "I an embarrassed that in our country there are thousands of bands who copy Nirvana. That kind of music and style is absolutely secondary, you know? Victor Tsoi was born and died as a musician, and nobody continues his business. His music has Russian roots".[47] In October 2010, the festival "20 Years Without 'Kino'" took place in Moscow and St. Petersburg, in which leading Russian rock bands participated – Alisa, U-Piter, Korol i Shut, Piknik, Kukryniksy, Pilot, among others.[48] 21 октября к 20-летию гибели выпущен трибьют-альбом памяти Виктору Цою, КИНОпробы. Рэп-трибьют. 16 декабря в Crocus City Hall состоялся концерт «Музыка „Кино“ для оркестра», в рамках которого симфонический оркестр «Глобалис» при участии Каспаряна отыграл 30 композиций группы в оркестровых версиях. authorом аранжировок выступил музыкант Игорь Вдовин.[49]

31 декабря 1999 года Наше радио огласило список «100 лучших песен русского рока в XX веке», составленный на основе выбора радиослушателей. «Кино» с десятью песнями («Группа крови», «Звезда по имени Солнце», «В наших глазах», «Последний герой», «Хочу перемен!», «Пачка сигарет», «Спокойная ночь», «Восьмиклассница», «Война» и «Закрой за мной дверь») имеет в нём наибольшее представительство, причём «Группа крови» в общем списке почётно занимает позицию № 1. Комсомольская правда, в соответствии с опросом читателей, назвала «Кино» второй по влиятельности группой за всю историю отечественного рока.[50] Кроме того, «Группа крови» попала в список «40 песен, изменивших мир», составленный редакцией русскоязычной версии журнала Rolling Stone в 2007 году.[51]

В апреле 2011 года известный русский бизнесмен Олег Тиньков приобрёл права на песню «Дальше действовать будем мы» для новой рекламной кампании своего банка «Тинькофф Кредитные Системы», песня стала корпоративным гимном банка, а сама фраза — слоганом. Кроме того, композиция звучит во время телепрограммы «Бизнес-секреты с Олегом Тиньковым». По некоторым источникам, стоимость сделки составила один миллион долларов, хотя сам предприниматель частично опроверг эту информацию в своем блоге.[52]

В январе 2011 года, узнав, что родиной группы "КИНО" по праву считается село Морское (Судак, Крым), родилась идея проведения рок-фестиваля, в дальнейшем получившего название «КИНО сначала». Почитатели творчества Виктора Цоя, на голом энтузиазме и за собственные средства организовали яркий и насыщенный фестиваль в сентябре 2011 года, посвятив его 30-летнему юбилею группы "КИНО". К этому событию также приурочили установку памятного знака в селе Морское - 4-х метровую гитару. Хедлайнерами фестиваля стали: В. Бутусов и "Ю-Питер", "Братья Карамазовы", "Декабрь", "Бригадный подряд", "Теория"; на одной сцене с хэдлайнерами выступило более 20-ти рок-групп из разных стран.

Состав edit

Кроме перечисленных на схеме, в 1985—1988 годах вместе с «Кино» играли (или делали вид, что играют) многие их приятели и знакомые: Алексей Вишня, Юрий Лебедев, Дмитрий Анашкин («Электростандарт», «Оркестр А»), Игорь Борисов («Цивилизации Z», «Нате!») — гитары; Андрей Крисанов — бас; Дмитрий Павлов, Андрей Сигле, Сергей Курёхин — клавишные; Роман Баринов, Сергей Бугаев — барабаны, перкуссия; Джоанна Стингрей — бэк-вокал. В свою очередь, многие из музыкантов группы были участниками проекта «Поп-механика».[10]

Discography edit

Main article: Kino discography

Ссылки edit

 
Wikimedia Commons has media related to Kino.

References edit

  1. ^ Aleksey Rybin (2001). "4th". Кино с самого начала и до самого конца [Kino from the Beginning to the Very End] (in Russian). Moscow: Feniks. p. 278. ISBN 5-222-01924-1.
  2. ^ Viktor Tsoi (2005). Иллюстрированная история жизни и творчества Виктора Цоя и группы "Кино" [Illustrated History of the Life and Legacy Viktor Tsoi and the band "Kino"]. Moscow: АНТАО. pp. 332, 334, 337, 342. ISBN 5-94037-066-7.
  3. ^ Viktor Tsoi (2005). Иллюстрированная история жизни и творчества Виктора Цоя и группы "Кино" [Illustrated History of the Life and Legacy Viktor Tsoi and the band "Kino"] (in Russian). М.: АНТАО. p. 346. ISBN 5-94037-066-7.
  4. ^ Aleksandr Kushnir [in Russian] (2003). "Kino 45 (1982)". 100 магнитоальбомов советского рока [100 Magnet Albums of Soviet Rock] (in Russian). Moscow: Kraft+. p. 400. ISBN 5-7784-0251-1.
  5. ^ a b Борис Гребенщиков. "Мы были как пилоты в соседних истребителях". www.kinoman.net. Archived from the original on 2011-08-22. Retrieved 2009-10-23.
  6. ^ Yevgeny Dodolev (25 March 1988). "Начальник Камчатки". Московский комсомолец.
  7. ^ Рыбин, Глава 7.
  8. ^ Aleksey Rybin. (№ 6, 1983). ""И Рыба, и мясо" — Из интервью с Лёшей Рыбиным". Рокси. {{cite web}}: Check date values in: |year= (help)
  9. ^ Рыбин, Глава 8.
  10. ^ a b c d e f g h i j k l Andrey Burlaka [in Russian] (2007). Рок Енциклопедя Популарная музыка в Ленинграде-Петербурге 1965-2005 [Rock Encyclopedia of Popular Music in Lenigrad-Peterburg 1965—2005]. Vol. II. Kino. Amphora. p. 416. ISBN 978-5-367-00362-8.
  11. ^ Aleksandr Kushnir. (2003). "Кино. Начальник Камчатки (1984)". 100 магнитоальбомов советского рока. Moscow: Крафт+. p. 400. ISBN 5-7784-0251-1.
  12. ^ Alexandr Lipnitsky [in Russian] (7 June 1991). "Он как никто мог поднять человека с колен…" [He could help others like no other]. www.rockhell.spb.ru. Archived from the original on 2011-08-22. Retrieved 2010-03-16.
  13. ^ V Tereshenko (№ 11, 1986). "Из рецензии на альбом "Ночь"" [Album reviews for "Noch"]. Roksi. {{cite web}}: Check date values in: |year= (help)
  14. ^ a b c Konstantin Preobrazhensky. "History of the band "Kino"" (in Russian). www.kinoman.net. Archived from the original on 2011-08-22. Retrieved 2010-03-15.
  15. ^ Vsevold Gakkel [in Russian] (2007). Аквариум как способ ухода за теннисным кортом. История Аквариума (in Russian). Амфора. p. 322. ISBN 978-5-367-00331-4.
  16. ^ a b Foss, Richard. "Gruppa Krovi". AllMusic. Archived from the original on 2011-08-22. Retrieved 2010-03-29.
  17. ^ Программа «Летопись», передача, посвящённая альбому «Группа крови». Архив программы доступен по адресу http://nashe.ru/letopis/714/
  18. ^ Alexander Zhitinsky. (1988). "Из рецензии на альбом "Группа крови"". Roksi.
  19. ^ Marina Lesko (11 March 2010). "Истёкший срок рока". Novy Vzglyad (in Russian). {{cite web}}: Unknown parameter |�������= ignored (help)
  20. ^ Marianna Tsoi; Alexander Zhitinsky. (1991). Виктор Цой. Стихи. Документы. Воспоминания [Viktor Tsoi. Poems, Documents. Remembrances]. Stars of Rock and Roll (in Russian). The New Helicon. p. 291. ISBN 5-85-395-018-5. {{cite book}}: Unknown parameter |author-separator= ignored (help)
  21. ^ Anton Chernin (2006). Наша музыка trans_title=Our Music. Стогoff project. Amphora. pp. 304–305. ISBN 5-367-00238-2.
  22. ^ "Мы помним чудное мгновение…" [We remember the comical jiffy] (in Russian). Moskovskij Komsomolets. 29 June 1990. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  23. ^ "Гибель Цоя: как произошла авария на трассе Слока-Талси. ИНФОграфика" [Tsoi's Crash: How It Happened on the Highway Sloka—Talsi. INFOgraphics] (in Russian). RIA Novosti. 15 August 2007. Archived from the original on 22 August 2011. Retrieved 3 February 2013.
  24. ^ a b "История группы КИНО" [History of the band Kino]. vrt.al.ru. Retrieved 3 February 2013.
  25. ^ Aleksandr Kushnir [in Russian] (2007). "Chapter II. Boris Grebenshikov". Headliners. Amphora. p. 21. ISBN 978-5-367-00585-1.
  26. ^ Rashid Nugmanov. "Летопись: Виктор Цой" [The Chronicle: Victo Tsoi] (in Russian). Official Site of Rashid Nugmanov. Archived from the original on 11 December 2008. Retrieved 2009-11-19.
  27. ^ Вадим Пономарёв. (24 октября 2005). "Слава Бутусов исполнил долг". Взгляд. {{cite web}}: Check date values in: |year= (help)
  28. ^ Святослав Бирюлин. "Вячеслав Бутусов и музыканты группы "Кино": Звёздный падл". Звуки.Ру. Archived from the original on 2011-08-22. Retrieved 2010-03-09. {{cite web}}: Unknown parameter |datepublished= ignored (help)
  29. ^ Юлия Санкович. (18 октября 2001). "Звёздные па". Новая газета. {{cite web}}: Check date values in: |year= (help)
  30. ^ Алексей Сорокин. (27 июня 2002). "Звезда по имени Виктор Цой — Интервью с Юрием Каспаряном". Журнал «Тинейджер» #54. {{cite web}}: Check date values in: |year= (help)
  31. ^ a b Aleksey Astrov (1988). "Виктор Цой: "У нас у всех есть какое-то чутье…"" [Viktor Tsoi: "We All Have A Certain Flair"]. Rio (in Russian).
  32. ^ Anatoly Gunitsky (1985). "Из статьи "Расклад-84"" [From the Article "Rasklad-84"]. Roksy.
  33. ^ Aleksey Polykovsky (November 1997). "Виктор Цой — кочегар Кино" [Viktor Tsoi – Kino's Stoker]. The Time-Bounded.
  34. ^ a b Sabrina Jaszi. "Kino". Rovi Corporation. AllMusic. Archived from the original on 2011-08-22. Retrieved 2010-03-29. {{cite web}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  35. ^ Vladislav Bachurov (1 June 1999). "The Smiths. Клуб одиноких сердец" [The Smiths. Club of Same Hearts]. Fuzz (in Russian).
  36. ^ Dmitry Bebenin (24 May 2006). "17 мгновений The Cure" [17 Instants The Cure]. Zvuki.ru. Retrieved 3 February 2013.
  37. ^ Olga Okner (1999). "Герой, который ушёл и остался" [The Hero who left and stood]. Petersburg Messenger.
  38. ^ Андрей Тропилло. "Трагедия не может быть попсовой". www.rockarchive.ru. Archived from the original on 2011-08-22. Retrieved 2009-10-30.
  39. ^ Алексей Плуцер-Сарно. (13 октября 1998). "Боги ХХ века: некрофилия как ритуал". Русский журнал. {{cite web}}: Check date values in: |year= (help)
  40. ^ Николай Морозов, Богдан Степовой. (28 октября 2009). "Цоя втиснут в рамку". Известия. {{cite web}}: Check date values in: |year= (help)
  41. ^ Валентина Илюшина. "Котельная "Камчатка" получит статус памятника". Живой журнал. Archived from the original on 2011-08-22. Retrieved 2010-03-28. {{cite web}}: Unknown parameter |datepublished= ignored (help)
  42. ^ Андрей Архангельский. (21 июня 2001). "Увидев группу "Кино", директор киностудии сказал мне: "Постричь, переодеть, умыть и только тогда снимать!"". Факты и комментарии. {{cite web}}: Check date values in: |year= (help)
  43. ^ Svetlana Gudezh (30 March 2009). "КИНОпробы: Прямая речь" (in Russian). Zvuki.ru. Archived from the original on 22 August 2011. Retrieved 4 February 2013.
  44. ^ Ded Zvukar (28 сентября 2000). "Точные даты: КИНОконцерт и КИНОальбом" (in Russian). Zvuki.ru. Archived from the original on 2011-08-22. Retrieved 2009-11-01. {{cite web}}: Check date values in: |date= (help)
  45. ^ "Каждая песня "Кино" — это законченный гимн" [Every Song by Kino Is An Ending Hymn] (in Russian). Zvuki.ru. 28 June 2006. Archived from the original on 2011-08-22. Retrieved 2010-03-30.
  46. ^ Vadim Ponomaryov (1 June 2008). "Цой указал "Алисе" путь" [Tsoi showed the way to "Alisa"] (in Russian). Vzglyad.
  47. ^ Radif Kashapov (4 June 2006). "Илья Чёрт и природа Абсолюта" [Ilya Chyort About the Absolute Nature] (in Russian). Zvuki.ru. Archived from the original on 2011-08-22. Retrieved 2010-03-09.
  48. ^ "20 лет без "Кино"" [20 Years Without "Kino"]. Muzykalnaya Pravda. Novy Vzglyad. 13 September 2010.
  49. ^ "Виктор Цой и оркестр". Издательский дом «Новый Взгляд». 8 декабря 2010. {{cite web}}: Check date values in: |year= (help); Unknown parameter |�����= ignored (help); Unknown parameter |�������= ignored (help)
  50. ^ Леонид Захаров. (6 июля 2004). "Группы, которые изменили наш мир". Москва: Комсомольская правда. {{cite web}}: Check date values in: |year= (help)
  51. ^ Редакция Rolling Stone. (Октябрь 2007). "40 песен, изменивших мир". Москва: Издательский дом СПН. {{cite web}}: Check date values in: |year= (help); Missing or empty |url= (help); Unknown parameter |�������= ignored (help)
  52. ^ Павел Головкин. (11 апреля 2011). "Дальше действовать будет Тиньков". Москва. {{cite web}}: Check date values in: |year= (help); Unknown parameter |�����= ignored (help); Unknown parameter |�������= ignored (help)
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:Tomcat7/Sandbox19&oldid=1168399896"