i'm giving a countdown, that's it, boys, girls, everyone believes in you, three, everyone believes in you, 2, 1, time has passed, please, 17 seconds, seven elements, tell me from afar, from above, so, the first three are coming , he’s the first, he’s unstable, time’s up, time , yes, you’re kidding me, there are 17 seconds, okay, you’re great, come back to the team, thank you, everything was fine, no, that’s not the case, there should have been more correct answers, listen , well, as a concept, as an idea, what you have just accomplished is great, if you had more time, it would be 30 seconds, you would definitely have time, if there were 30 seconds, you would definitely have time to do it, in any case, today you are the winners of the show tower, this applause sounds in your honor, thank you for playing,

the doorbell rings, i open it, the postman hands me an envelope with a receipt , i sign for receipt, i see five wax seals in the corners in the center, in the envelope. you can feel something oblong

and very hard, well, of course, only he, my friend, my co-author of songs, the person registered in my apartment on kokhovskaya street, house number 25, zhenechka, could joke like that grishman. he could have become our dzyuk ellington, george gershwin, yuri saulsky, michel legrand, paul maria, but he had already stopped, he was already becoming, if he had not left this world at the age of 33, introducing him to belarusian music.

who is he, where did he even come from in minsk? well, they once told me that somewhere in 1964 he came, supposedly from the city of gorky , to enroll in...

and began to give him work in his orchestra, work as an arranger, in the control room, and we began recording. you know, the personality

and talent of a leader always determine him team. in this case, uraisky had first-class arrangers. it was yura tsaryuk. without text, and raisky initiated our meeting with him, well, i must say that by the mid-sixties i was already a recognized author of song lyrics, i

never call myself a poet, no, i was just the author of song lyrics, but my songs are set to music evgenia. glebov, dmitry smolsky, boris raisky, yuri semenyak, lev moller, were heard on television, on the radio, in concerts upon request, they were published, and what’s more, they published on large records on small records, minions, vinyls, by the melodiya company, so somehow raisky invited me to this meeting with evgeniy grishman. i came there after a rehearsal for the paradise orchestra. raisky somehow introduced us to each other and left , i saw such a short man come up to me, wearing glasses, apparently, he couldn’t see very well, with such a slightly swaying gait, zhenya was short, plump, i realized from his suit that he is

a bachelor, he played me some melody, the melody was between us, they say so-so, well they recorded the song, well, they forgot, but then at the next meeting grishman... showed me a new melody, played it for me, but i immediately felt that it was some kind of french, three-quarters made chanson with some very long, with such very beautiful melodic moves, and our song was born, for some reason i dreamed of a morning, joyful, still sleeping minsk, and we wrote this song with him, which was called the sun waltz. my city still sleeps sweetly at night, but at this hour i have no time for sleep, the golden rays are dawning, i must scatter throughout the sleeping minsk, a sun in every drop of dew, a sun in the day’s wave, don’t even ask me, i

’ll look at you with my finger, day, good friend, meet your dawn. i ’ll give you a sunny bunny of avros, good day, friend, get up to greet the blossoming, because if we achieve everything ourselves in the sky, the cheerful sun above us, then we couldn’t be happier, grishman was homeless in minsk, i don’t know where he was... he lived , but the personnel department and accounting department of the belarusian radio, all the time when grishman was making arrangements for the radio orchestra, they said, but where he is registered, where he is registered, i don’t know, in my opinion he was not registered anywhere, and the paradise man once very carefully spoke to me,

vladimir alexandrovich, could you just register evgeniy grishman, well, the footage allowed, i say, of course. and zhenya registered with me on kokhovskaya street in minsk, house number 25 in apartment 45, our cooperation continued, then i once wrote a text inspired by a painting by the lithuanian artist mikolojus cherlenis, a fairy tale of kings, where the king is in the palm of his hand, a fairy-tale king in a crown, the forest there is so mysterious.

sang this song: there are strawberries blooming in the forests, sadness runs away from this land. in the skies a motley rainbow takes off, there is a white night, and then we went song after song, looking at the fire, a snowstorm, and it didn’t matter to us whether i should write on the fish, such a selection of random rhyming lines to ready-made music, or he ...

next came his new jazz piece, called a storm of 12 points. here, of course, the entire band group of the belarusian radio orchestra showed itself masterfully. with all of my zhenya conducted the works himself. naturally, i had a desire.

the collaboration between raisky and grishman continued, both of them, as great, and perhaps the only specialists and connoisseurs in light music in general in minsk, were on the jury of the first rock music festival, the first all-union, in 68, here is a rare shot of borisaraisky.

evgeny grishman. he was completely unsuited to everyday life, not

always neatly dressed, at the table, so he often visited my house, i only noticed this later, it turns out that he, by virtue of his limited vision, he saw only what was next to his plate, then he didn’t see what was there, and i remember the first time... he accidentally had a plate of greens, well, as a person born in the caucasus, i can’t imagine a table no cilantro, no oregano, no cressal. and there was a plate, and i looked , zhenya was sitting and eating only these greens , drinking a little and having a snack, i just grabbed a bite, i realized that he simply couldn’t see further, of course, we pushed it away, pushed him a plate with something more like that capital food or something, some kind of cutting meat or something, so that zhenya would at least eat something, and he ate it with pleasure, because

of course no one cooked anything for him, and not somehow he himself did it... two creative works, wrote, wrote, worked, arranged, and of course, earned a lot, and my comrades, i don’t want to name them, they already felt that he had a short life left for this world, they just parasitized on this, every evening restaurants, some kind of endless...

he had empty conductor's console. evgeniy georgievich, called. evgeniy georgievich, and where is the score? yes, that's just the parties. and zhenya, holding the entire, so to speak,

orchestral part in his head, stood and conducted the orchestra. he worked when it was warm, for some reason they always really liked the bank above the river in the thrushes, he would come there, take the score paper, strip down to his red swimming trunks, which will be discussed later, immediately wrote the scores, tore up all my ideas about the composer who sits there - bam-bam.

i felt very sorry for his wife, and apparently, boris ippolitovich raisky, his serene highness a man who also cared very much about his wife and saw this situation of his, with his help zhenya finally got a one-room apartment on kokhovskaya street, literally four houses from mine on the same odd side, and he told me words that warm my soul to this day ... he told me: “volodya, no one influenced me as beneficially as you.” zhenya married a good, sweet girl, lily. his life immediately became orderly. there are fewer

baghemian friends, restaurant companions, and... zhenya’s creative takeoff, as they say, grew, grew, grew, you and i, have been in all centuries, you and i, the joy of playing, you and i, this is the beginning, began, and now in the sixty-sixth year the orchestra is touring siberia in some way.

presenter vladimir shelikhin announces and adds that the flute solo is performed by the author evgeniy grishman. applause from the audience, boris raisky comes out with the conductor's baton and waves it. and at this time grishman is rushing around behind the scenes in search of his flute, he cannot find it. the first chord sounds, grishman rushes out of the stage, grabs the musician’s flute yura kondratenko's orchestra, and, of course, brilliantly performs this piece, applause, everything, zhenya goes backstage and starts looking for his flute, he looked all over the backstage, there is no flute anywhere. where he could leave it, the concert is over, the musicians come out: “zhenya, what, where is the flute? the flute is expensive.” zhenya remembers and says: “oh, i

put it on some polished shiny table.” what a polished table, suddenly zhenya looks around, looks around with those short-sighted ones in thick, thick glasses and says: “oh, here i am on this one.” put the table." everyone looked at what it was

. such an interesting idea, they said: let 's and so the leaders of the seminar came up with a very good idea: every day of the week we will have a music day

, a cinema day, a poetry day, a performers day, and so it's all a fine art day art, so everything was divided into days, and of course we understood that this was a kind of report, an exam in front of our colleagues from other types of art, from a different genre, grishman and i quickly, quickly, probably overnight morning we wrote a song: the best rain. zhenya quickly learned another song with some musicians to the accompaniment of his blabbering on the piano, this song was quickly learned by tamara raevskaya, she was very clever, tamara, who sang all the songs of all belarusian composers, here ’s an interesting detail, we’re with wives on the radio... the receiver listened to the breakfast show, listened to the voice of america, but we were not interested in political news, we were interested in music, there was such a great jazz

educator willie scanometer, who showed us new jazz, so to speak, standards, new jazz, we heard deev brubeck and paul desmond, the melody was performed in five quarters. here it is, look, zhenya took the text, immediately sat down at the piano, it was all with me, at 5/4 a small song was born to him, what’s wrong

with that? walk with the ball, paskak, jump, how do you treat me, darling, i hit the ball, let’s not cry. you think it’s easy for me to live in the world, i ’m always breathing like this, where are you, our little one, dze, i can smell this kind of gutarka, where are you, little one, our grandfather, where are you, little one, our grandfather, where are you are little, our child

, my eldest came to the music day... that at the conservatory they would not have taught him what he already had, this is some kind of natural instinct, a sense of the orchestra, he thought in the orchestra, in april 1968 , in the second pavilion of the film studio belarus film i...

many, many years have passed, so i somehow invited my wife, wife, now a widow, and their grown-up daughter, sveta, to join us on makaonka, on the fifteenth floor, in the cinema hall , showed them this video where zhenya conducts, saw

her father, because she was six months old everything when dad passed away. zhenya somehow very quickly, stubbornly, very consistently occupied the steps in belarusian cinema, according to his habit, treating some... his friends with other friends, introducing them to each other, suddenly something will come of this, as it happened, for example, from that that i brought rubinchik and glebov together, they made their best films with glebov’s music, rubinchik’s films, so i once brought my friend and co-author, cameraman and director nikita khubov together with zhenya grishman, they fell in love...

with each other, four of our films with khubov, wrote grishman’s music, starting from the first grodno purse, the films that khubov shot according to his scripts without me, grishman also wrote the music, here’s, well, how can we say, an interesting incident, in our cinema house, then in the red church, there’s just an annual screening going on products and television of our television network.

when grishman's name appeared on the screen , there was already applause.

the last day of the sixty-ninth year, december 31, zhenya and lily are going somewhere to celebrate the new year, and before that zhenya

bought a small monkey, i say, zhenya, why do you need it,

a man with a sense of humor? , write me this text, i urgently need a komsomol suite or some kind of cantata. it was only when my wife passed away that i counted our works with him and it turned out that this was a komsomol contact.

already at home, i took my three-year-old son, olesik, and we walked four, five houses behind the cinema, then the lighthouse, now kiev, they came to... my wife, what i saw simply, simply discouraged me. zhenya was already having difficulty speaking, he was lying on the bed, so puffy, all over, somehow very big, somehow alien, without glasses, it took me a lot of effort to restrain... well, so as not to start lying actually, well, zhenya

, you’ll be there soon, yes, yes, yes, somehow the conversation went like this, saved my confusion, my three-year-old son olesik, he did not leave this cradle with a six-month-old light, suddenly he says to me: dad, ask your uncle for this girl, i liked her so much... that the witty grishman could not help but react, to which he, having difficulty speaking, said: “olesik, wait 20 years, then take this girl and do whatever you want with her.” . this was the last joke i heard from zhenya grishman.

they told me that zhenya was again in the hospital and would probably never return from there. of course, i rushed to see him at the second hospital. zhenya, from the abundance of painkillers, was a little in such a lumatic state. utesov sings, utesov never sang this song,

this was the last time i saw him, the next day zhenya died, we said goodbye to him on the old television, on the communist one, when they carried out his coffin, we were the first, as if carrying this coffin. the square in front of the television was filled with people, they laid it in the eastern cemetery, then it was still called moscow, and many, many years after that, in december at 2:00 in the afternoon on december 20 they went to zhenya, where there stood a stone flutist with a flute that was always broken, to whom -it had to be broken off, they stuck a stick in it, and restored it. but that's all anyway, they broke off, well, now let’s return

to where i began the intrigue of today’s story, what was in this envelope with five seals, with a delivery notice sent to me by grishman from siberia, i opened it, there was such a small... . dry fish, only zhenya could joke like that, it was a hint to me, because when he was leaving, he played me a melody, i wrote down the fish, it’s such a, well, random set of words that would coincide with the rhythm of the melody, it’s called a fish, here it is for me sent this fish with a hint that i should his... return from tour, this fish,

fish, would have already been turned into the lyrics of a song. i, of course, wrote the text, it was the heyday of our community, sixty-six, i am very glad that today i brought my friend, co-author, out of the shadows, out of oblivion. unrealized creator, zhenya grishman, someday we will have to meet there and... of course, i have his photograph here all the time, of course i recognize him immediately, because he will be 33 years old the day he passed away, but and he recognizes me immediately, because i i’ll sing our song with him, a sunny waltz, the brightest, most joyful song about our

minsk, where once on kokhovskaya street... in a five-story panel building we were registered in house number 25 together, good day, greet your dawn, today is busy i will give you a lot of kind things, good day minsk, go meet the dawn. after all, if we achieve everything ourselves, the sky, the cheerful sun above us, then we are not happy, good day, minsk, our world!

we have no moral right to live only for ourselves, we must look beyond the horizon, we don’t have and never will have another home. african countries, as well as the arab world, latin america and asia. why are they ready and willing to work with belarus? because the leaders of these countries have deep respect not only for belarus as a country, but also personal respect for alexander lukashenko. belarus forced nato to listen. itself as an instrument that is very clear to this north atlantic aggressor. accusations about the deployment of russian tactical nuclear weapons in our country are absurd, we are simply learning diplomatic, so-called etiquette from those who made the language of power a global

trend. we have a new political line for the first company: only supporters of the state line should get into parliament, only those for whom... the words belarus, unity, sovereignty, family and peace are of decisive importance, step aside and do not interfere, force no one nothing does not force us to do it, for one simple reason, we are already the absolute majority, propaganda is in the project, watch on the belarus 24 tv channel

. belovezhskaya pushcha national park was created for preservation in their natural state and comprehensive study of reference unique natural complexes and objects of the belovezhsky virgin forest. biological and landscape diversity of the territory, restoration of disturbed natural complexes and objects of special ecological, historical, cultural and aesthetic value. the territory of the park is divided by the state border into two parts - the belarusian polish, and the length is from north to south.