[000:00:00;00] uh, former members of the defense administration, first and only lieutenant, colonel general yes, alexander petrovich kolmakov, because the commander of the airborne forces is a truly worthy person, very honored and despite all the efforts that are being made to push through this draft law in our country, to unfortunately, it doesn’t work out and i think it’s a huge mistake. the ministry of defense takes a simply amazing position. they would have and have always had motivated people who, having passed through the clubs, will come to aviation and military aviation is also motivated. it ’s not that a person finished studying, realized that he was underpaid here and went to private owners. and here we have simply motivated people who will come to work in the sky , amazing stories of how the ministry of defense can let go of an organization like dosaaf all the training of aviation specialists and aviation technical specialists. i can't answer this question.

see, i honestly don't know the answer. i asked you about the government's approach. so i think here absolutely not state-owned. this organization has been here for over 90 years. and there we will say that 90, as we said, 90 more than 90%, of the aviation community was prepared by this organization at one time. she absolutely showed her professionalism. and our ability to truly train not just pilots and world champions in huge quantities. i think that in aviation sports we have the most of them in the world, that is the origin of our country. i mean the soviet union. but this position on today the bill, so to speak, has been submitted once again. i hope it will still pass. well, not yet. we continue to talk on the podcast. everyone wants to fly, though not in the sky, but on the ground today we are talking with the general

director of the moscow aircraft repair plant, we are talking not only about what is happening on the ground, but also about what will happen in the air, in any case, we are both on this incredible. we hope everyone wants to fly. and this is the most important thing, i’m leonid yakubovich and you, uh, we know, i’m just interested. ooh the young guys are incredible, i can judge by the flight simulators i go to there . it’s just almost impossible to find time to get there, no need to call, and i can make an appointment for tomorrow, but hardly for the day after tomorrow. it’s just that crowds of people want to at least sit in the booth and watch. what it's like to rise into the sky. well, at least virtually it’s surprising that they don’t use it. first, there is enormous social significance to disconnection. there is a huge interest among young guys in everything that we don’t talk about today. this is more than sports. this is falling in love for almost a lifetime

, you know, and here it is. uh, besides, let's talk about emotional things. here. there are also uh such aspects as technical literacy, that is, a person who comes there from childhood. we will do this and that due to the emotional pressure on the aviation organization. yes, firstly, he must understand how it flies. he's studying it. he begins to understand this, his educational processes are structured completely differently. they are starting to teach him. this aspect of the aerodynamics of technological technology some moments already in the club. this is a completely different person. he then calmly enters there, either into a bounty or there, and all our designers are in some other bond, they started there with a conditional plan. yes, there are great ones there. yes, antonov and korolev, and me. uh, of course, there on mount klementyev in crimea yes this is our technology school, when a boy comes from the izmolsk aviation

organization, he someone can fly, someone cannot fly, someone becomes a designer , someone is an engineer, someone pilots, but by and large, all these organizations are a kind of basic school that selects children who can subsequently create and create. i want to tell you more than that. this is one of the topics that we did not touch upon today, once upon a time, in the year ninety-eight. we are on the alarm system, which masterfully organized an aeroflop in kaliningrad . guardsman is a professional pilot , colonel from the reserve, and we have developed a training system. that's all you're talking about, this is the technological equipment - this is the radar dynamics of the driving aircraft. navigation training. in in general, that's it. i contacted the then commander-in-chief.

air force since 2-3 years of flying activity in a flying club is not only that we get a motivated person, but the main technically prepared question is that it is possible to shorten the educational process of a vocational school, at least for a year conveniently economically beneficial today we have mochansky is the same. so we remembered in belarus. he has this kind of training at the flying club. it absolutely corresponds to the first and second year of any flight aviation school. it turns out a person comes to school prepared and motivated, we can absolutely shorten this distance. so this is beneficial in this story here regarding the length of the race. i’m not ready to discuss this point; most likely, this is the case, because it may indeed reduce the time, or it may not, because it’s still basic education. it is considered in this let's say so carefully let's say, in a sense, yes, but what will we achieve 100%

we uh, we will achieve the fact that we will have a reduction in all of them, it will practically disappear, because we are in educational institution of a professional level, we will receive those people who will reach the finish line 100%. that is, he will become a 100% professional in the specialty for which he entered. this is very important, because these guys are eliminated at the preparation stage. uh, these are colossal costs, especially in government institutions, where private citizens pay money from the budget. this is understandable, but he went on his own for his own money, he will study to complete his studies, but if he is not physiologically ready to fly, that is, well, well, not coordinated, he cannot control the plane. he will leave, and in - in a year, institutions , if a person, uh, while training military pilots there, uh, the state spent colossal money, that is, everyone understands how much it costs to fly a training jet plane there. there is crazy money for the poet and in order to understand that this

person is not capable. before that, he still flies there for 20-30 hours. after the instructors tell him, everything, brother, will be forgiven and under the wing. and this is an important point , this is the educational hole that we have exists. eh, the one that always existed, in the soviet union it was. we always received military school for people who had undergone initial training, of course, well. well, here is the commission in which you and i took part. do you think this is promising? it will give some effect. well , it seems to me that sergei neverov is simply a very serious person and, apparently, sets the task correctly. and if he has set a task, as far as i know him, he probably assumes that this task will be solved. you know what i liked and coming from that meeting that took place. firstly. i understood, and i saw the interest of one

deputy chairman. this is neverov and the second davankov in that they clearly understand for themselves that this is a really ripe issue in relation to legislative proposals, which were noticed in how much detail they are discussed, yes, that is, we must definitely find some kind of solution, that is, these questions that are not brushed aside. secondly, there is a very good support team there, which really initiates supports these questions. uh, legislative preparation of these acts. this is sergey detyonyshev there. yes, there is kulikov, a team that is preparing these legislative proposals in every possible way, working through them and preparing the entire list of issues for this. these are the assistants who are directly involved in preparing the work of this commission and the entire range of issues that are put forward there, it is really ripe. now they will schedule a new meeting of the working group. i strongly hope that this will give

results and some kind of confidence in neverov davankov's reactions. my belief is that we will get the desired outcome for the aviation community. wonderful, thank you very much. we touched upon a very important issue, and i, well, am just all in the hope that this will actually be resolved, because without this we cannot continue to live. it was a podcast. everyone wants to fly, and we spoke today with the general director of the moscow aircraft repair plant. the lord almost told me mr. nastyum, no, he fell with a friend, nikolaevich, that we have known each other for many years the topics that we raised today, i think , concern a lot of people. and i really wanted the podcast, which is called everyone wants to fly, to become the slogan for the development of small aviation in our country. it was leonid monitoring pilot today true. we spent time with you on the ground and i think it was not in vain. see you soon, see you in

touch. dear friends, the creative industry podcast is on air - this is an anniversary episode, but we have an anniversary episode and mikhail efimovich shvytkov has it. mikhail hello, thank you very much, we won’t say anything. everyone knows how many years it costs. i think not a little, but mikhail efimovich special representative of the president for international cultural cooperation and artistic director of the moscow musical theater. what do you think, when you appear on the screen, what does the population think first? the population first thinks about how to turn off the tv as soon as possible. eh, i say, completely seriously, i must say right away that

i generally treat any public with trepidation. uh, because uh, if there is no contact with the public on television or in the theater, then it's their fault. eh, it's not the public's fault. she's in it i mean, i'm always right. like in the soviet uh store, i always broadcast the inscription above the saleswoman, the buyer is always right, appearance, always right. well, someone thinks that i am the host of the agora program there. and in general, like a person, uh, who has read three books, some people like it when, uh, i was leading a drive of comedians or, let’s say, life is beautiful and sang songs. i liked it too , to be honest. uh, because i came to, uh, yale university, and uh, that means, uh. i was there, uh, at the human department, i gave several lectures, and the history of russian cultures,

and at this university at that time, and he taught there to distinguish from me constantly. well, there was such an outstanding lithuanian poet thomas venus , who was so wonderful, and he said to me, my hostess, who invited me, here is ilya university, and she says, listen , let’s go have dinner. well, he will come with his wife, too, but i prepared myself and read it right away, which means i started looking for his poems, but in order to make some kind of impression. uh, he came to me and told me. oh how we love our program. life is beautiful and we have begun remembering soviet songs, that’s why the whole thing didn’t reach poetry in your person . the ministry of culture became the ministry of happiness, it seems to me, because you are always a very cheerful person. you have been broadcasting this culture all the time, which truly enriches a person with positive emotions. grisha gorin's grandfather grigory israel once said glasses, when i like life, it

goes by faster. this is one of those important and very unexpected ones. and i think that one of the problems is serious. here we are when there was covid, and it ended, we were allowed to play at 25% amps. and everything was clear. we played at twenty-five percent. there they suffered endless losses, then they allowed 50 and the formula. life is beautiful, it worked amazingly, because people left the house. all the quarantines were over and it seemed to everyone that, well, now it’s starting, and then that means, after it started, a special war, an operation, we sat for a long time thinking, should we play at all? in a play called life is beautiful, and we decided to win the audience very much. response it’s starting to get warm, mikhail, what do you think, this could be such a huge path, my personal

question. but to what extent are we generally masters of our destiny, when we go from and build this path, maybe in co-creation. good question. i never thought. what i can? there you decide your own destiny. i understood perfectly well that we live in such proposed circumstances, that there are large lines of history that dictate this or that behavior, because in any proposed circumstances. you can behave. uh, well decently. or maybe if you behave indecently, this does not mean that i am an absolute conformist. i accept life conditions as they are. i'm not making this up. eh, i'm not trying. eh, there fight and shout that we are now going to break everything. now we will rebuild everything. i’m talking about this in general, it’s not about

me, as the brave one in the party of moderate progress said within the framework of the laws. well, this position is from childhood. well, yes, when i lived with my grandmother, my mother had her own family , and naturally. eh, this is the need to not offend anyone. find some kind of right balance. sometimes even. well, sometimes even to lie, just so as not to, uh, well, not to offend one or the other, there and so on. well, there was no need for grandmothers before. she knew everything that i lived with her. i am a grandma and grandpa until i’m 20 years old. i would like to move forward a little to where you became a minister and on the day when the president invited you to become a minister. i know that you came into the president's office with intention. how to generally refuse there

, the president convinced you, but i’m interested another question. so, when the president came out, what were you thinking at that moment? i thought, how terrible. i just understood the situation that existed in 2000. it was extremely difficult, well, so that they don’t understand the state of the ministry of culture, i was the chairman of the all-russian state television and radio broadcasting company. we already then, yes, we did everything else then, uh, well, then it was called automation. now called digitalization there was such a moscow computer center, uh, which uh, did the best it could for us then be uh, from a communication standpoint. eh, i had the internet in my office

, this whole story was just beginning hmm, and mikhail yuryevich leshchen was seriously involved in this. was. eh, reign, mad man, i’ll fly higher than that. he does this and so, it means there are eight screens in the office somewhere. there is a back and forth connection of communication. we knew it all back then, when suddenly from a phone like this you got a phone like this, yes, but you got a phone like this, and then just like makhin. but it was something incredible. i'm coming to the ministry culture. or rather, my assistant, the television guy comes to the ministry of culture, they enter the office, which means he speaks , and there stands eric’s car with such a big, big carriage, if you remember from these days, a fashionable thing, yes, yes, and uh, and that’s all, and he says, guys, well, at least you , well, put some kind of computer there, well. well, when i arrived there was a computer, i’ll try to use this computer

to go to the secretary. at least it turned out no, they installed a computer, but there were no communications inside the ministry of networks networks it was, yes, but this is a small detail, but it is very characteristic. we tried to live on television. it's closer to the twenty-first century. but here everything was still poor, firstly, there was no money. this is the worst thing. i left the ministry in 1997, when some terrible monstrous mutual offsets were going on, transgaz somewhere through some kind of something like that. maybe build something and then at the end there would have to be a salary for uh, that means probably 700 people who work, when you were a deputy minister. here, yes, here it is all. it is worth saying so with horror. i understand that this is something completely out of the question, and

when i came in 2000, i understood that this is a colossal problem. you see, there was a very difficult moment there in the nineties. there was no money for the cultural institution, they told you. you are free to retake it . just survive, there was only one idea. we must pay tribute to the generous evgeny yuryevich and konstantin alexander shcherbakov, who was his first deputy, the idea was to preserve everything that could be preserved in the field of culture. and when they tell me now it was a book to wait, that we were the most reading country and i always say, the most reading between the lines country, but uh, if we look at the inventories, well , the library funds there were 90 some second year, then three quarters were classical marxism or there was a small land there or something else cutting you there, uh, i don’t know, tens of millions. yes, that’s why the design itself was very strange and, of course, the main task was money money

money, and when the program of the cultural revolution in general my love affair with television is like this. uh the real one that started in 2000 years. well, like a leader. yes, he was connected with one. i must definitely be recognized by the secretary of the minister of finance, not the minister of finance, i see him, here is the secretary and there are women who work in departments in the ministry of finance and the ministry of economy, because you came from the man on tv. well, he sings songs on sundays or saturdays. well they are coming. well, how is he doing? well, it’s too much, yes, refuse. well, well, in general , this one, uh, but in fact, uh, the problem was incredibly numerous and colossal problem. eh, i'll never forget. eh, we started in

february, not cloudy. the march sun is like that. uh, the ministry of culture of the russian federation was located in a building that was or was not former, they were building it for a computer center, so it was kind of like that. yes, they were huge, and the cloudy glass was difficult and expensive to wash, and two people came to my office, mikhail aleksandrovich ulyanov and kirill yuryevich lavrov , whom i naturally knew as a theater critic, keep quiet, they are 15 years older than me. that's how they are same artists, they came in like that yes misha, well, you know you can’t fire them, so they started, that means they were making fun of their wonderful theater, and ulyanov was, in principle, randol one of the buildings limits he could play from zhanya and marshal zhukov and so this one means everything. i started to find out with them what was going on. and when i realized how much they earn two great artists, as directors of theaters, as artists, and

then the idea was born, and then yuri khotovich temirkanov and valery aleksandrovich georgiev were involved in this, and then igor helped ivanovich, he worked in the administration and the idea was simple: it was necessary to make a grant for artists very simple in 1943 . during the war, stalin assigned such extra salaries to five collectives of the state orchestra of the bolshoi theater there, well, five collectives, only for one it is necessary to preserve the cultural elite, yes, but with us everything was very simple in the bolshoi theater, the artists were all abroad at sorry at night. i can say this, all the ballerinas had 30 days, uh, menstruation months, and at

that time they were performing somewhere abroad the men were the same, that it was approximately everyone who danced abroad in order to assemble a normal line-up. it was almost impossible. and, because everything was very simple, they received 200 dollars a month in moscow. and for a performance there in hamburg they received $5,000, period. and they had to find some kind of mechanism and they couldn’t be blamed for that. well, we see, well , we remember that in the nineties. there our hockey players began to leave, there and so on and so on. i needed these mechanisms and tools. to save people in the country, we managed create an instrument with the help of which all major groups in the country received a president. i understand perfectly well that if they solve this problem, then no, there is nothing to do at all. this is, of course, saving schools, because we were butting heads with the ministry of

education all the time. they explained that at the theater institute very often one teacher teaches one student; it was considered that this was generally abnormal. how crazy is one teacher? yeah, well, at least five students. and when such questions arose, then someday vasily semyonovich lanovoy taught artistic expression, they brought the inspector to him and the inspector wanted a new one. in this tea, or what? we continue the conversation on the creative industry podcast, but today our guest is mikhail shumych, drink a huge farm. you started to build and transform then. yes, i don't transform. i just understand that all this needs to be saved somehow. and of course, the most important of the arts, as we know, is a movie quote that sounds unpleasant, but it really sounds like that in the life of the arts are cinema and circus in the conditions of absolutely

illiterate russia, which means that then we took both cinema and the church into the administrative wing. these were big scandals. uh, the filmmakers categorically believed that it was wrong that the state cinema should exist separately, just as the state cinema of the ussr and the separate ministry of culture always existed. eh, the circus has broken free. yeah , which means that the russian state circus was subordinate to the government, and it had its own history. i cried when we talked to the catimated because the big attractions such as, for example, the equestrian church there. yes, there was one book that had a wonderful start from the soviet era to the 19th century. in russia, i followed the signs of the development of the equestrian circus. so this is the equestrian church. this was something where all the big numbers

with big animals started. what they did we had outstanding trainers and they stayed. in general, this is what we had to do, and cinema. well, cinema, that was the problem. when we arrived, i collected it all. there were 150 halls in russia. equipped modern turnover and we have been releasing it for a long time from the leadership of the government, then i say, give money for the development of the network. they say no, they didn’t. i say then okay, don't touch american cinema. give money for soviet production. well, russian cinema. well then, don’t touch foreign films, because all these people make money from foreign films. they are expanding. give us money so that we can increase the amount of russian cinema at the same time, they said to the midges that what about the nazarovs? cartoon don't touch

it is necessary, but do you think now the quantity of russian cinema is sufficient and the quality is sufficient? well, you understand what the matter is, and we have reached a certain level. it was about a quarter then in terms of box office receipts and a quarter in terms of uh repertoire, but i can say this figure to make it clear today that india produces 2,500 feature films. i believe that our cinematography still needs to produce something of order. well, what about 50-200 units of feature films, especially in the current conditions, when we find ourselves in a difficult situation with the repertoire. uh, but it's not just about that, you know, that's about late in the second half of the forties at the end of the forties. eh, stalin had this idea: why release a lot of films? let's make only masterpieces. and

film production declined instantly there for ten years. the thaw began and there were about 50 there. well, i always say let's have cinema. this means that the kolotuzov film has begun. faithful friends. this boat was floating and rocking. well, it doesn’t matter, and that means they started releasing a large number of films again. and if i talk about what i read, it is important for me, as if between cultures. well, of course, it was necessary to create an environment uh-huh, which people could freely. develop to create what you do? here you are, dear roman. that is, you help people implement projects. and this is very important. i think that today there is just an understanding that we need to create an environment from here. there's tavrida from here, art master, there's a lot from here, and it's no coincidence that we'll say it. uh,

here, uh, again, uh, moscow will now have a big movie theater, where it will release that there are hundreds of films there, you know, this is also an idea very correct censorship is needed in general, that’s the question. uh, it’s not the easiest for me , i’ll explain why, uh, so on the one hand , you immediately remember albert camus who wrote that free literature can be good and bad, they are free literature. maybe just bad. but it’s true, i’m not telling the truth, because freedom of creativity generally does not depend on the presence of censorship. eh, all of the great russian literature was written in censored russia. freedom in general is a test. we thought that freedom was happiness, and freedom is a tragedy. in general, speaking seriously, because when you live in such a kind of authoritarian totalitarian. uh, when you live in

a state that determines everything including , uh, which side should you sleep with your wife, uh, which church should you go to? there and so on. many people relate to this, well , not with some joy, because as it was written in one polish oven at one time. i brashkevich’s cage limits freedom, but guarantees safety. this always exchanging freedom for comfort is an understandable algorithm. of course, i think that censorship is definitely bad. this is not right for a person. this is offensive. this means that we don’t trust people who will either see something, the wrong thing, or find out something, you know, i have my favorite jokes. i will allow myself to perform it one more time. eh, i'm for very young

viewers. if they are watching, this is when you were in soviet times, when all sorts of enemy radio stations, that means they were trying to upset the life of the soviet people, then they jammed jammers, there and there a man is walking along gorky street, can you imagine, what are you doing? do you understand where i am drowning out the voice of america? what can they tell us about us? well, trust me. i take this very seriously. they tell us about us. well, they can’t say anything, but if we talk about censorship, then firstly, there are laws according to which very many things are not allowed, these laws work. they already exist; some additional censorship is needed when we talk about vulgarity. this is

actually a very complicated thing. uh, well, firstly, because now i’ll explain very briefly once upon a time when tukhmanov brought victory day, as you know, they didn’t let him out for a year, they believed that he wrote in the amount of fact , you know, yes, it was an absolutely ironclad story. there is a very fundamental difference between culture and art; it is fundamental. culture is a system of prohibitions. this is what ultimately determines for society for each person, what is possible and what is not, this censorship is only censorship developed by human experience, right? art has a different function and art destroys there? it's like science. and education

some scientists like to joke that education is the enemy of science? that all the discoveries are made by amateurs there who don’t know that twice two is four in art. this is this and this is a very difficult moment. so, when you said there that it is difficult for the minister of culture, but in the ego of culture it is difficult. how not to strangle? this is the artist’s desire to create. and at the same time, not to drive him into it was worth all the prohibitions that exist in this and in general there is a subtlety of management. uh, there’s nothing else, so the censorship is this or that otherwise, in general in human society , the question is whether it is necessary to add some mechanisms. i am always very afraid of experts for one simple reason. eh, i have endless respect for experts, not my own selfish ones. this is all untrue. the expert focuses on

existing knowledge. we say that there is land there. revolving around the sun yes, but people said no , the sun is some number around 8. now, when they said that, they weren’t lying. it wasn't like that . there it was not an order from the cia; it was the available knowledge of that time. and this is serious very thing. we continue our conversation with you today on the creative industry podcast roman karmanov, podcast host and ceo of the presidential fund for cultural initiative elena, hyper producer and music video director. he is our guest today, mikhalych. let's go back to that interesting moment. in my opinion, when the swedish minister of culture decided that at the same time he would also host a program on television, and we remember. why, in order to find out the question, is this number burned out? this is the plan, it

justified itself in the end or not? you know, uh, i this is when, in general , i wanted to stage it, and then when i left, because by hand, if the federal agency for cinematography culture budget of the ministry designates the population and the number burned out, it’s another matter that this time the budget also began to fill up. eh, everything worked. uh, taxes were collected. and in principle, the country’s budget was more significant. yes, but yours, uh, our little widget. yes, uh, i tried to uh, increase it as much as possible, because i'll tell you. so. it is also very important to have good relations with colleagues in the government for them. i, too, was a man from the box and therefore some things were forgiven to me, because when i discussed your questions, for example, i don’t know about the development of the automobile industry there. uh, aviation industry , agriculture, and at the end. i say, and

also, well, you must understand that in general there is a catastrophe in the country. we don’t have any english horn performers , you know, yes, the anxiety in general, the desire to kill me was great, but still. well , this is a serious thing, in fact, yes, and uh, to be honest, that’s why and then in the government was a sin and kudrin well, all of president putin’s colleagues and they all supported many projects that, without some kind of human ones, it would once have been impossible to carry out reconstruction of the big one . well, the worst nightmare of my life. it was then that we gave the start this is mine and the minister of culture suffered, this is the minister who should bring only good news, there were many good projects and the shelter of the comedian and life is beautiful and cultural revolution and so on, but it is still clear

that a task is being carried out, a certain and so on, but and it was popular for designation. after something, you felt this way, generally speaking, and through the star too. and it was important for you, i always treat it with laughter. well , a tv star. i still live a little, uh, well, i live a slightly different life. i don’t live a television life at all and i am grateful, so to speak, to my television colleagues and konstantin lvovich vera that oleg borisovich is kind to everyone, that they put up with me, as if like a person. in general, you know, the person was described as a butler from the outside, i’m a little, well from the outside in this matter. but i watched with great pleasure, hello comedians and in so much of the tabloid press, when suddenly direct contact arises, you communicate and these stories and people who are next to you, whom the whole country loves and you with them, and it was such a breath, and human for me. this was

very, very important, because the person did not need contact. here he is an artist. here it is as it is, and you gave it to people and seriously no, i really liked this project of yours and and you have your charisma. people you were remembered, you, you really are the producer of your uh artistic self. i would say, yes , you did it very consciously, as it now turns out, and you did it for a purpose that had a beneficial effect. as a result, for your entire apparatus, when we were making the moscow musical theater, i understood perfectly well that we would never make a broadway seam. what if? no, i deliberately didn’t want to. we can't make promotion gone because we are working on pushkinskaya square. we can do a show on pushkin square. uh, i mean, now it's not the quality, but the relationship with

you understand with the public, because in everything that we do there in the theater and what seems to me important, we need to do some simple things. this is the most important quality today, or what? or people shouldn't be deceived. he has become your passion. i love immediately that old country, which i first heard in print there, probably in the fifth year, i loved. you know this is one of my most. a successful interview on the culture channel was elena the magic giant, the same great singer who sang lilies of the valley. uh, for, which then on the next day the truth about this came out and the newspaper was trashed. eh, i love pop music , i fell in love with a pleasing one. and how does it happen that

many people love and have loved and will love the stage, but the musical theater. this can be said to be the exception, not the rule in our country. although any television project, if it includes a musical part related to our past, it immediately becomes popular , everyone knows this perfectly well, but at the same time, well, you know, it was closed, so that the life is beautiful project at some point i felt, which i really want. eh, do something like this in this direction and here it’s my misfortune. i read it. eh, i’ll color the story about the brothers, briefly, i’ll say there were four brothers so far, that three of them wrote songs, two of them were great soviet composers dmitry and days and daniil and samuel who wrote the immortal song from taiga to the british seas of the red army is the strongest, he became a great american composite and uh, throughout

the thirties and late twenties he worked in hollywood and there was a lot of that. now, if you take some film there, the great waltz famous hollywood film, and strauss yes , the music arranger was such dmitry tyomkin composer who is one of the greatest american composers. uh, such well, popular music is irving berlin , who actually came from the cantera family. yes, he came, and they are all natives. it’s from somewhere around here, and american music from our region, and here’s american music from the late twenties and thirties. it was very similar even to the forties, and it was similar to what our composers did in the twenties churches. i just wanted to tell you more about it nothing, and then you know when you want to bake a loaf. you must first, uh, sow the bread, uh, squeeze it into flour, make it, there, and so on. this is

an inevitable process. it didn’t work out yet, and i was forced to come up with this theater, which we created with david shmelyansky together with sasha popov, who, unfortunately, no longer exists. we understood that we were doing one project. and then we will need to move somewhere, because we incurred a lot of debts, we did not fully understand what we were getting into. and this is purely montistic, of course, but when you stage a musical, this is a costly business. and uh, debts appear and they must be repaid. i said that i would die. uh, then, when we pay off all the debts, so we make a brave captain, he has many countries and more than once he forgave the ocean, 15 times he drowned while

sitting on it. but i never even blinked an eye, and in trouble and in battle he sang his captain’s song everywhere. captain, smile, only the brave obey, dear friends, if only the artistic director of the moscow musical theater were in front of us today, then we could probably do it until the morning, in general sit down, but mikhail efimovich is also a special representative of the president between now the book. we talked to you and it was very interesting , let me tell you.

that's all that's happening to me these days, and i generally treat it as if i'm watching some kind of movie that's not with me at all, you know, well, we noticed that, well, you know, i wanted to do a project, and it turned out to be a theater musical , you know, they wanted to find some money in general for culture, and then somehow straight away, in general, they wanted to make a program, but it suddenly suddenly became popular. yes, something like that, in general, chemical fur. thank you for this mood that you give us and have given us , i am sure you will give it to us for many more years to come, and throughout life. i watched the broadcast with you this morning and they gave you a tie and said that mikhail viktorovich, we know that you collect ties. and you are still in general, no no. no, in no case, and i decided to give him a tie from us and the piano, which is in the bushes. you see, oh, here’s a tie, and let’s put it somewhere in your corner

will be from us. why? why simple i am very grateful to you. yes, thank you very much, but i understand that you can’t wear it to the ministry of foreign affairs. eh, due to the, so to speak , frivolity of eh happiness, and you will lead it in this tie. no no no. you know, i really value the fact that uh, when 15 years ago i, uh, sergei lavrov accepted his team and it’s really very good, because my ministry is a lot of human things and in general, a lot of professional things gave the truth to friends. thank you it was a podcast creative industry on channel one. this is an anniversary issue on the occasion of mikhailachakov’s anniversary. thanks a lot. thank you, goodbye. call me before my eighty-fifth birthday. yes ok. thank you

very much. so

no one

misses you. this is a podcast 20 years later. i am the host konstantin mikhailov today. you and i will plunge into the stage of the 2000s. well, today you and i will just plunge into music, dance and the beauty, charisma and warmth of these two amazing women who are visiting me today. chief choreographer of russia alla dukhova. no, hello. thank you and super charismatic singer s. in my opinion , i will explain with the best voice in the world. why is larisa aleksandrovna dolina, people's artist of russia, coming soon? good evening. how long have you known each other

? we're 35 years old. yes, strength. i think that right away, somehow, as soon as todes e appeared, we immediately met. and this , of course, was just an event larisa aleksandrovna i first saw you in the film we are from jazz, where you played a dark-skinned cuban singer, whom the hero of the sklar admired. well, i must say everyone admired it, because there we saw for the first time, and the owner of that amazing vocal that we heard in many films, but you very often drank this behind the scenes yesterday. they had about 80 paintings, here. yes, but i didn’t want to continue my film career. why? of course, i wanted to, but i was not offered interesting scripts and roles, so i limited myself to singing, but then later many years later. i started playing in musicals. and now i continue

to do this, i play taganka now i'm playing in a musical thriller for the fourth season with you're the wrong maniac for the king of lex fleet street. eh, the main thing for the female role is makeup. for you, of course, it all started with a musical. mata hari love espionage, which was specially written for me by maxim dunaevsky. then i played the matron mama morton in the musical. by the way, i am the first and so far the only actress who played the role. maybe you can now voice what you dream of for yourself in 20 years. i would like to be in the same shape in 20 years as we are now and not only i have external vocal forms. hello , the voice sounds like it was 35-40 years ago now , so in my opinion the best voice in the world, because who else and who else who exactly is in this, i probably still don’t know. i have the best guest today, the best voice of the world, the best ballet.

okay, let’s agree on dreams for ourselves in 20 years. it’s amazing that we’re here, it’s just that it’s falling absolutely, too, i would like something that we ’re doing now. well, naturally, i want everything to work out for the children, so that they are happy, of course, the cafe, in general, so that uh, we were like this, yes, in this shape, maybe lose weight, maybe in two years we can do what we love, of course , so that the family is nearby, so that the children are all, that’s all , that’s it, and sometimes that’s all -they allowed themselves to rest. and you dream of love, you are two beautiful beautiful free women , a fiery brunette, a stunningly beautiful

blonde. you are free now and as far as i understand, there is not enough open relationship or time and mine is open, but there is not enough time. i speak for you, you are never needed you loaded men. people just like you, so they can mind their own business. sometimes it’s like that, let’s meet and enjoy communication. yes, i agree, of course, whole vladimir andrey , of course, the podcast is 20 years old. later. i had two stunning beautiful women with everything ahead of me, leading konstantin mikhailov, but i hope i have something there too, somewhere

a boy. thanks for watching. run like a stream, only money doesn’t matter in nature. you won’t say, you can’t wait, that’s

what you want, my dear, he said. the blizzard won't sing you a song. how many are they asked, stop the winter cold in your heart , rush the rapist to your lips,

stand somewhere, i will carry my lips on one continent. we're going to city day. at the beginning of the issue, vasilyeva briefly talks about the main topics in the air ace tree , our ka-52 and mi-28 helicopters suddenly secretly hit the enemy, flying at extremely low altitude in the zaporozhye direction and when the crew has no