Aizenshpis personal life. Yuri Aizenshpis: "17 years in prison is too heavy a punishment for the mistakes of youth

This person is called the first music producer of the USSR and Russia. It was he who, on the wave of Perestroika, introduced the audience to the first cult rock group "Kino", and then, again, he was the first to deprive the state of a monopoly on the publication of records and music albums.

Note that his talent as a businessman and organizer manifested itself much earlier, only then such activities of his fell under criminal articles. So in total, the future famous producer Yuri Aizenshpis spent almost 17 years behind bars.

"Golden" farce

Violation of the rules on foreign exchange transactions was on a different occasion. Having entered the institute, Yuri Aizenshpis, driven by his commercial inclinations, decided to turn to his other youthful passion - to sports. Among his friends there were guys who now played football in the Dynamo team, traveled abroad for friendly matches and received checks that could be sold in the USSR in the only Beryozka currency store.
In those days, a dollar on the black market, that is, from hands, cost from 2 to 7.5 rubles. Yuri Aizenshpis, first through his “old friends”, and then through his own well-established channels, bought checks, sold them at Beryozka, and then sold the acquired scarce goods at three dearly.

With the proceeds, through the administrators and waiters of hotels, he bought foreign currency from foreigners, and then checks again. For example, an imported fur coat could be purchased at Beryozka for $50, and sold to a metropolitan movie star for 500 rubles, a dozen Panasonic radios for $35, and sold in Odessa to the same huckster for 4,000 rubles. But this was not enough.

In the late 1960s, Vneshtorgbank began selling gold in Moscow for hard currency. On this wave, Yuri Aizenshpis took up gold fartsovka. Many nomenklatura workers, especially from the Transcaucasian republics, had big and very big money, but it was not easy for them to shine with currency and generally flicker with so much cash in the capital. And Aizenshpis bought gold bars for dollars at the branch of Vneshtorgbank and sold them to Caucasian party workers (officially, 1 kilogram of gold cost $ 1,500).

If he bought dollars on the side at 5 rubles, then a kilogram of gold came out of him at 7,500 rubles. Another thousand had to be paid to a foreign student who had the right to legally conduct transactions with currency, because an ordinary citizen of the USSR should not have had it. But Aizenshpis sold 1 kilogram of gold to a republican party leader for 20,000 rubles.

Navar was mind-blowing, and it really drove many black marketers crazy. Once, a burned-out gold businessman from Armenia, in order to make it easier to take into account, handed over several of his “colleagues” to the employees of the authorities. Then, in the stagnant year of 1970, many criminals who were held under "economic" articles "for the first time" received 5-8 years in prison, but Yuri Aizenshpis was sentenced to 10 years of strict regime, and besides, with the confiscation of all property, even the parent's apartment .

From scratch

After 7 years, the former concert director was released on parole. There was no trace left of the old connections, and the "commercial activity" had to be started anew. Together with a certain friend, Yuri Aizenshpis decided to buy 4,000 dollars "from hand" on the Lenin Hills. But the seller brought fakes and the criminal investigation officers had been watching him for a long time. So after 3 months of freedom, the future famous producer was again in the dock. As a result, to 8 years of imprisonment under the “currency article”, he was added another 3 years, which were previously “cut off” for the first term and sent to serve in Mordovia, in the infamous Dubrovlag colony, which had the unofficial name “Meat Grinder”, because each day there for "unknown reasons" killed 3 - 5 people.

Seven years later, he was released on parole. There was no trace of the old connections, so we had to re-organize the "commercial activity". Together with one friend, Yuri Aizenshpis bought $ 4,000 from the Lenin Hills. That's just the seller has long been under the supervision of the criminal investigation department and brought fakes. So after three months of freedom, the future famous producer was again in the dock. As a result, to 8 years of imprisonment under the “currency article”, he was added another 3 years, which were previously knocked off (when he was serving his first term), and sent to Mordovia to the infamous Dubrovlag colony, which had the unofficial name “Meat Grinder”, because every day 3-5 people died there for "unknown reasons".

Under the hood of the KGB

In 1985, Yuri Aizenshpis was again released on parole and returned to Moscow. Now he was being extremely careful. Through a young Muscovite, the wife of an employee of the Arab diplomatic mission, Aizenshpis not only established a safe channel for buying foreign currency, but also imported clothing and electronics, since the Arab was engaged in export-import. But the KGB officers always looked after any foreigner in the USSR, and soon Yuri Aizenshpis was under the hood.

In the summer of 1986, when he was driving around the capital in new Zhiguli, he was stopped by policemen. During the inspection of the car, it turned out that there were several imported audio tape recorders and one super scarce video tape recorder with video cassettes in the trunk. So, at the suggestion of the KGB officers, Yuri Aizenshpis ended up in a pre-trial detention center. However, the case did not reach the court, since the Arab managed to leave the USSR in time, and without the main defendant, the “high-profile” speculative case soon fell apart. And then Perestroika broke out. After serving almost 1.5 years in a pre-trial detention center, Yuri Aizenshpis was released and never returned to jail.

Biography
In 1968 he graduated from the Moscow Institute of Economics and Statistics with a degree in engineer-economist. He began his professional career in 1965, working as an administrator with the rock band "SOKOL". Developed an original scheme of the team's activities. After an oral agreement with the director of the club to hold a concert, the administrator bought up tickets for the evening demonstration of the film and distributed them at a higher price. For the first time, he involved in the work of people who ensured order during the performance of the group. January 7, 1970 was arrested. As a result of the search, 15,585 rubles and 7,675 dollars were confiscated. Convicted under article 88 (gold and currency transactions). Released from prison in 1977, subsequently received a paper with an official apology.
For a short time he worked in the TO "Gallery" under the city committee of the Komsomol, organizing concerts of young performers. At the beginning of 1989 he was a producer of the KINO group. One of the first to break the state monopoly on the publication of records. Taking a loan of 5,000,000 rubles (1990), he released the last work of the KINO group - Black Album. From 1991 to 1992 he collaborated with the TECHNOLOGIA group. Helps musicians to release their debut album "Everything you want", organizes the release of various printed products (posters, postcards, etc.). In 1992 he won the national Russian music award "Ovation" in the nomination "Best Producer". In the period from 1992 to 1993 he worked as a producer with the groups "MORAL CODE" and "YANG GUNS". Since the summer of 1994, he has been collaborating with singer Vlad Stashevsky (4 albums were recorded in 1997, the debut - "Love Doesn't Live Here Anymore" - was released on the label "Aisenshpis Records"). Participated in the organization of the international festival "Sunny Adzharia" (1994), as well as in the establishment of the music award "Star". In 1995, following the results of work for 1993-94, he was again awarded the Ovation Prize. In 1997 he continues to work with Vlad Stashevsky, while collaborating with the aspiring singer Inga.

Yuri Aizenshpis, a second-year student of the Moscow Institute of Economics and Statistics with a degree in engineer-economist, devotes all his free time to his passion - music. The music is by no means official, churned out in millions of copies by domestic giants of the recording industry, but real, ideologically harmful and dangerous. Rock, jazz, for some absurdity, even the Berry sisters were declared such.
“My first recordings are jazz compositions by the world's leading musicians. John Coltrane, Woody Herman, Ella Fitzgerald, Louis Armstrong... I could name about a hundred such names. My first idols were John Coltrain, Ella Fitzgerald, Louis Armstrong.
Later, I was drawn to the origins of rock music - rhythm & blues. He knew different directions - avant-garde jazz, jazz-rock, popular jazz. Then I was drawn to the origins of rock music, to the founders of such a direction as rhythm blues. The circle of music lovers was small, everyone knew each other. If my friends got a record, I rewrote it. The records came to us from abroad through the strong barriers of customs laws and regulations, and then sold in the "black" markets, which were dispersed every now and then. Neither exchange nor sale was allowed. The discs could be confiscated, they could be prosecuted for speculation. Well, you are amazed. Nevertheless, the records were brought and stuck with connoisseurs "
Rock came to us with legendary records on the "ribs" (underground handicraftsmen cut sound tracks on x-rays) and with "native" contraband vinyls. Elvis Prestley, and later - The Beatles brought to the country the overseas spirit of free music, full of life and drive. Musicians have always hung out side by side with music lovers, often combining the two.”

The new schemes were innovatively original: after an oral agreement with the director of the club, the group bought up all the tickets for the evening movie show and sold them at an inflated price, but already for their own concert, held instead of the cinema, which was "cancelled for technical reasons." The mark-up was in favor of the musicians, and the club received a sold-out collection even for the most non-cash film - so great was the popularity of "FALCON". But music is created not only by creative thought. To create it, quite material things are needed - musical instruments, sound equipment. And this issue was resolved not only by financing. At that time in the USSR, only official philharmonic groups could afford a more or less decent apparatus or a branded electric guitar. And here again the entrepreneurial spirit of the young producer comes to the rescue.

“Our first amplifier,” says Yuri Aizenshpis, “we ordered from one of the Moscow research institutes, and for a fairly modest amount they made a good device for us. Of course, unofficially.
It was a big step forward, but still, the creations of our engineers, who were not familiar with the specifics of guitar sound, did not reach the branded devices that amazed the guys at the concerts of visiting foreign bands. It is from foreign guest performers, or rather, from their technical staff, that the guys begin to buy musical equipment and instruments.
“It was a mutually beneficial cooperation,” says Yuri Shmilyevich, “foreigners willingly sold us the device, as they could buy a new one in their country, and for us it was just a happy find.” Thus, the sound equipment of the Italian star Rita Pavone, the Yugoslav singer George Marjanovic and many others migrated to the arsenal of "SOKOLA". Of course, they had to pay with currency, any transactions with which were illegal in the USSR and severely punished by justice.
By 1969, "SOKOL" becomes a fairly well-known team, and gets on the "professional track" in ROSCONCERT. At the end of the year, the young director of the group, Yuri Aizenshpis, quits. “I had to defend my graduation project,” says Yuri Shmilevich, “besides, I worked at the Central Statistical Office, and touring did not appeal to me.”
In my opinion, a producer is 50% intuition, 30% luck, 20% performance. My working day starts at 8 am and ends at midnight. And what can be learned here?
Meanwhile, the activities of the young impresario have long been observed by the internal affairs bodies of the USSR. “We have evolved. The technical equipment required constant modernization. I am a creative person. Once having heard a good sound - lively, pure, real - I can no longer listen to another playback. I bought the most advanced equipment for those times. And here for the first time I encountered real criminal law. And he began to cross it. Started doing business. Today it is a solid occupation, but then ...
My business was connected with currency and gold - the most terrible, execution article. But the feeling of being right prevented me from correctly assessing the situation. There was no fear, not even a sense of danger. I thought I was acting naturally and normally. And much around, on the contrary, seemed unnatural and incomprehensible. Why is the initiative of one person stifled by state structures - be it trade, production, culture? Why, what to sing - dictates the state? I thought about it, but could not find an explanation, the worldview that was absorbed in the family, at school, at the institute interfered. Somewhere deep down I knew I was right. And that my business (they didn't say "business") is my own business. In short, he started with music, and ended up in prison.
On January 7, 1970, he was arrested, and all the equipment of the SOKOL group was confiscated. On charges of foreign exchange transactions, Yuri Aizenshpis is sentenced to 17 years in prison ... Over the course of these 17 years, the world has changed and changed greatly. By the second half of the 1980s, the communist dogmas were noticeably shaken. Freedom came step by step. It was felt even behind prison bars.
“In 1986, during a medical examination in Butyrka,” says Yuri Shmilyevich, “after several on-duty questions about health, the doctor suddenly asked me: “Are you the same Aizenshpis, who was engaged in the Sokol group in the late sixties?” I remember that I felt somehow uneasy, I was very excited. And the doctor gave me the Youth magazine, where there was a lot of material about me. It said I was to the Falcon what Brian Epstein was to the Beatles." By the will of fate, having served almost 17 years, Yuri Aizenshpis in the prison infirmary read about himself in a magazine as a man who stood at the origins of Soviet rock ...
The world has changed while I was away. A new generation has emerged. Old acquaintances may not have forgotten me, but I did not know where to find them. When I was released, I fell into a state of terrible depression. Much time has been lost. Friends have achieved something. And I had to start from scratch. No money, no apartment, no family. When I was jailed, I had a girlfriend. What happened to her? Don't know.
I was afraid that I would never see my parents again. Fortunately, I saw. They even caught my new rise. My father had his own opinion on this matter. My parents are participants in the war, they have awards, they are communists. It seemed abnormal to them that their son was fond of incomprehensible music, rock. My father considered me guilty. The mother, perhaps, doubted, but did not admit it. She is an internally freer person, very courageous, very real, like millions of the same ordinary communists who went through the war and all the difficulties. She herself is from Belarus. Despite her state of health, my mother went to Minsk to attend a rally of partisans. And she died among her own - where she was born. She survived her husband by just a year.
Probably, I should have some kind of anger towards this system, towards everything Soviet. To serve 17 years in prison - yes, any person would be embittered. But I have no anger. In the most difficult period for myself, I managed to concentrate, gather my will. Maybe because it was already tempered. After all, it exists - the struggle for existence. For survival.
When Solzhenitsyn describes the nightmares of Soviet reality, as he calls them, I say: he would have lived in the conditions in which I lived. He was serving a sentence among those convicted under articles mainly political. I sat among the inveterate criminals. And this is really a nightmare. Every day blood is shed, every day lawlessness, lawlessness. But they didn't touch me. I am a sociable person, I adapt to any conditions. I could make friends with the general who was sitting with me. Could talk with a terry anti-Soviet. Could listen to an adherent of the Marxist-Leninist ideology. Could talk with the last criminal and find a way into his soul. Many talk about anti-Semitism, about Zionism. These political phenomena somehow passed me by. I didn’t feel anything like that either at school or at the institute. And I didn't feel it in prison. But every day I saw so much blood, anger, cruelty nearby ...
There, 70 percent of the prisoners are starving. I didn't starve. How? Money does everything, of course, unofficially. This is what my phenomenon, my peculiarity, consists in. No matter what environment I got into, I had to visit different colonies, different zones, different regions - everywhere I had the highest standard of living for an ordinary convict. This cannot be explained only by organizational skills, it is a phenomenon of character.
Having been released in 1987, Aizenshpis began working in a youth musical organization - TO "Gallery" under the city committee of Komsomol, organizing concerts of young performers. Such organizations as mushrooms after the rain began to be born in the field of all sorts of Komsomol and Soviet organizations. “It was kind of a rooftop. At that time, the concept of "manager" did not appear yet. One of my first actions was the organization of a concert of Leningrad rock bands. They performed then mainly in the houses of culture, and I pulled them out on the big stage.
“And so I met Viktor Tsoi. In principle, this is not a coincidence. I found him myself and convinced him to work with me, I convinced him that I am not an accidental person in music. He told me what he went through. It somehow affected him, although I was completely unfamiliar to him, and Victor is not the kind of person who easily makes contact.
At a meeting held in 1988 on a bench in the Hermitage Garden, the musician and the producer decided to work together.
“Our acquaintance turned into friendship. Then the friendship grew into a creative union. I do not want to ascribe extra laurels to myself. Of course, Tsoi and the Kino group were known even before our meeting. But they are known among fans of the Leningrad basement rock. I decided to mold him into a rock star. And it succeeded.
“Internally, Choi is a very interesting person, unlike anyone else. He was strongly influenced by his second wife. She is an aesthete, from cinema circles and was a very good friend to him. I think she also did a lot to create the image that is known to the masses. He became from a hungry, evil Tsoi, imposing and mysterious. This is how I recognized him - a well-formed performer who had already starred in "Assa". And managed to help him turn into a superstar, or maybe even into something more.
After the tragic death of Tsoi in 1990, Aizenshpis released the last "Black Album" "Kino". Moreover, for the first time in the post-Soviet history of Russian sound recording, it does this regardless of the absolute monopoly on the record market - the Melodiya company, attracting funds from investors. The total circulation of vinyl editions of the Kino albums amounted to 1,200,000 copies.
The next stage in the career of Yuri Aizenshpis was the Technology group (1991). And if “Kino” at the start of working with him already had a certain initial speed, then the success of “Technology” was sculpted by the producer “from scratch”, being already an experienced sculptor. The new team included fragments of the collapsed Bioconstructor group, and the musical material consisted of three or four songs.
“My second project,” Yuri Shmilevich comments, “showed that you can take guys of an ordinary, average level and make stars out of them.” At first, I inspired them with confidence in their abilities: here, guys, you work with me - you are already stars. This confidence gave them the opportunity to liberate themselves. And when a creative person relaxes, he has a surge of strength, he begins to create something genuine. So they became the group of the year after 4 months and kept the highest rating all the time while we worked together.
The song "Strange Dances" has not left the TOP 10 of the "MK Soundtrack" for 14 months. The first album "Everything you want" (1991) becomes a bestseller. Then their popularity falls. “There are many objective reasons for this, including, I believe, our breakup. So even a superstar without a talented producer today cannot do anything. We can say that show business is an already established industry - the same industry as the production of cars or iron smelting there. Here, too, there is its own technology and its own laws.
In 1992, Yuri Aizenshpis became the winner of the national Russian music award "Ovation" in the nomination "Producer of the Year", which took place in Moscow in the concert hall "Russia". In this nomination were also represented: the tandem Leonid Velichkovsky (better known as the husband of Lada Dane). Igor Seliverstov (produced by Strelki and Virus groups). Valery Belotserkovsky, creative "dad" Alsu. When summing up the results, the results of a survey conducted by several Moscow publications, radio charts, data from sociological services and voting by members of the Higher Attestation Commission were used. Nevertheless, in the circles of the musical community, this award is considered one of the most corrupt.
"Young Guns" (1992 - 1993)
A short history of "domestic Guns'n'Roses", as they were called in the press,
equally instructive and typical of musicians and producers alike. Having released a couple of bright hits, the group simply exploded from the internal confrontation of the participants. “Each of the Young Guns musicians,” comments Yuri Aizenshpis, “wanted to be a leader, they constantly cursed, fought, broke instruments. My fault was that I didn't stop them in time."
LINDA
It was Yuri Aizenshpis who in 1993 noticed a talented jazz college graduate and helped the singer take her first steps on the big stage. Their joint work lasted less than a year, after which the creative paths of the artist and producer diverged.
Vlad Stashevsky (1994-1999)
A sex symbol of the mid-nineties, a favorite of girls of all ages, Vlad Stashevsky, in collaboration with Yuri Aizenshpis, released 5 albums, each of which became a national bestseller. Yuri and Vlad met at the Master nightclub, where the Young Guns group, produced by Aizenshpis, performed. Yuri Shmilevich heard Vlad humming songs by Willy Tokarev and Mikhail Shufutinsky on an out-of-tune piano backstage, and asked where he studied music. As a result, they exchanged phone numbers, and after a while Aizenshpis called Vlad and made an appointment. Arriving at the place, Stashevsky met Vladimir Matetsky. They, together with Yuri Shmilyevich, arranged an audition for Stashevsky, and a week later the first song for his repertoire was ready. It was called "Roads on which we go." Stashevsky's first public performance took place on August 30, 1993 at a festival in Adjara.
The debut album "Love Doesn't Live Here Anymore" was the first release of the newly created company "Aizenshpis Records". In 1995, the producer was again awarded the Ovation Award. In 1996, Stashevsky's third album, Vlad-21, sold 15,000 copies in the first week alone, which was an astronomical figure for a very young Russian CD market. In the same year, the performer rises to the top of another, not quite ordinary chart: the expert magazine recognizes him as the “most pirated” artist of the year. In 1997, at the invitation of the US Senate, Vlad Stashevsky gives a solo concert in Brooclin park in front of more than 20,000 people.
Inga Drozdova (1996-1997)
The infamous model, who starred in two videos of Vlad Stashevsky, in collaboration with Yuri Aizenshpis, is recording a Russian-language cover version of the Fever song - “Thirst”. Then on which the clip is removed. The first sex symbol of Russia, according to Playboy magazine, Inga prefers the modeling business to the music business and does not continue her career as an artist. Now she is successfully working in the USA.
Sasha (1999-2000)
Once in Moscow, Sasha accidentally got hold of Yuri Aizenshpis' phone number. I called. There was a wonderful conversation.
- I would like to become a singer.
- What do you really know?
- And all.
- What all?
- I can give in the face.
So the fate of Sasha was decided. If only everything was that simple. For “I can punch you in the face” they don’t take the stage ...
I am a wealthy person. My car is not just good, but luxurious. The apartment too. They are constantly going to work for me, I can invite friends. Whoever comes, even foreigners, everyone says - this is the level! I have a good wardrobe and good taste. I dress, maybe brightly, but very soundly, solidly, fashionably. Since I'm in show business, I have to dress accordingly. The jokes in the press about me are not always pleasant, but they also work for a stir. For the first time in several years, the Sports Palace was sold out when my show was on - "Me and my friends."
When you are abroad, you think: what an unfortunate people we are! Today we are in complete disarray. People have become like predators towards each other. Although it may be a natural process? Everything has already been in the history of every country where capitalist relations were born.
To be frank, I do not believe that the processes in which we all participate are reversible. Now we are experiencing a political and state crisis. But still, stabilization will come. Even if a military junta comes, even if the communists come back, they will not establish a dictatorship. Because there is a level of world civilization. No matter what happens, I will never leave the country. Despite what I have experienced here, I am a patriot by nature. Like a bird that was born in this area, it will die in this area. All people are responsible for what is happening in our country. And I am part of it.
And it so happened that Yuri Aizenshpis liked Sasha's music. Her wild energy, mysterious charm, positive attitude and extraordinary voice did not go unnoticed. Aizenshpis helped Sasha enter the big show business. In the spring of 2000, the song “Through the Night City” sounded on the air, and later the compositions “It's just rain” and “Love is war” were released. All three hits received video versions, which contributed to the disclosure of not only the vocal, but also the choreographic data of the singer. And then ... Then the Moscow media noticed her, moreover, in the press, next to the name of Sasha, the definitions of "Russian Madonna" and "standard of style" increasingly began to flicker. The touring activity was gaining momentum, and everything seemed to be fine ...
But in the summer of 2001, as a result of a serious conflict with the leaders, Sasha Antonova left the production project and decided on an independent career. Here is just one quote from Sasha Antonova's website from that difficult time:
“I was treated like a slave. Any dissatisfaction was accompanied by screams, stamping of feet, spitting, threats and insults. They demanded complete submission from me. They controlled everything from how I dress to who I talk to and who my friends are. After another conflict, the threats turned into reality. They just beat me up. I even went to the hospital. And I finally realized that I was working with inadequate people, and I finally decided: I would not work with schizophrenics. And she left…”
Nikita (1998-2001)
The scandalous and outrageous artist shocked the Russian show business with his sexual frankness, sensuality and style. After the debut album "Flew Forever" (1999), the company "Aizenshpis Records" releases the artist's second successful record "I'll drown in your love" (2001). Together with her, a new stage in the work of the producer begins: Nikita's song "You are not mine" is already being recorded in Yuri Shmilyevich's own, newly built recording studio, called Star Production.
Dynamite (2001 to present)
In 2001, Yuri Aizenshpis was invited to take the post of CEO of Media Star, the largest production company at that time. Having accepted the offer, Aizenshpis works and meets the talented composer and performer Ilya Zudin, who shows Yuri Shmilevich his songs. Seeing the great potential of Ilya as an artist, the producer decides to create a new group that could take the empty place of the Russian boy band No. 1 at that time. After careful casting, a line-up was formed, which receives the name "Dynamite", which later justified itself more than once. "Dynamite" literally blows up the Russian music market. With their original sound, stylish laconic arrangements, professionalism of studio work and concert performances, Dynamite raised the bar of performing skills of Russian popular artists to a new height. During the three years of the group's existence, viewers saw 15 video clips of the group, and each of the three Dynamite albums rose to the top of various charts and charts.
In 2001, with other producers and their wards, Yuri organizes the Stars for Safe Sex campaign. The stars have taken up safe sex in connection with the approaching World AIDS Day (December 1). As Yuri Aizenshpis put it: "They are just taking off into the starry sky, but, despite this, they should attract the attention of young people, smiling sweetly from the packaging of a European quality condom with a Russian price. I was one of the first to try these condoms, and I can to say that they are not inferior in quality to Western ones, ”however, he did not specify the portrait of which star was on his condom.
Dima Bilan (2002 - 2005)
While studying in the third year of the Gnessin College, he met Yuri Aizenshpis. The first composition "Baby" song "Boom" and the first clip, participation in the contest "New Wave 2002" in Jurmala. In 2003, the presentation of the first debut album "I am a night hooligan" took place. In 2004, the second solo album "On the shore of the sky" was released. Clips were shot for the following hit songs: “Boom”, “You, only you”, “Night hooligan”, “I was wrong, I got it”, “I love you so much”, “Mulatto”, “On the shore of the sky”, “Congratulations ". became a laureate of the international festival "Bomb of the Year - 2004" and the award "Stop Hit - 2004". Among his trophies is the "Golden Disc" of the National Federation of Phonogram Producers. Collaboration with world-famous composers Diane Warren and Shaun Escoffery.
Andrey Maxibit

Based on materials: www.aizenshpis.com; www.history.rin.ru; www.peoples.ru
More information on the website

One of the most famous producers of Russian show business, Yuri Shmilevich Aizenshpis, was born on July 15, 1945 in Moscow.

In 1968 he graduated from the Moscow Institute of Economics and Statistics with a degree in engineer-economist. After graduating from the institute, Aizenshpis worked for some time at the Central Statistical Office (CSO).

I am an independent producer and build my work independently of anyone. However, I always have to deal with the problems of this very corporatism.

Aizenshpis Yuri Shmilevich

While still a student, Yuri Aizenshpis devoted all his free time to his passion - music, so it so happened that he began his professional career in 1965, working as an administrator with the Sokol rock group.

By 1969, the Sokol group became famous thanks to the organizational skills of Aizenshpis, who purchased musical equipment and instruments from foreign guest performers, or rather, from their technical staff. They had to pay with currency, any transactions with which in the USSR were illegal and severely punished by justice.

In January 1970, Yuri Aizenshpis was arrested and convicted under Article 88 of the USSR Criminal Code (“Illegal currency transactions on an especially large scale”). He spent ten years in prison in Mordovia, Krasnoyarsk, Komi.

After a short period of freedom, he again received a sentence and was imprisoned for seven years and eight months.

The experience of Western gentlemen was unknown to me. Everything came from my own ideas and initiatives.

Aizenshpis Yuri Shmilevich

In total, Yuri Aizenshpis served 17 years in prison, finally being released only on April 23, 1988.

The first time after his release, he worked in the creative youth association "Gallery" under the city committee of the Komsomol, organizing concerts of young performers.

In 1988, he met Viktor Tsoi, who had just released the album "A Star Called the Sun". Soon their joint work began.

From 1988 to 1990, Aizenshpis was the director of the Kino group, he organized tours and television broadcasts for the group. With the advent of Aizenshpis, the group, by that time already quite well known in the country, acquired the status of a cult.

Yuri Aizenshpis himself wrote about this: “Of course, Tsoi and the Kino group were known even before our meeting, but they are known among fans of Leningrad basement rock. And I decided to fashion a rock star out of it. And I succeeded.”

Aizenshpis was one of the first to break the state monopoly on the release of records, releasing in 1990 the Black Album of the Kino group with money borrowed. This was the band's last album.

From 1991 to 1992, he collaborated with the Technology group, which he assisted in releasing their debut album, Everything You Want. In the period from 1992 to 1993 he worked as a producer with the groups "Moral Code" and "Young Guns". Since the summer of 1994, he collaborated with singer Vlad Stashevsky, whose debut album was released under the Aisenshpis Records label. In 1997, while continuing to work with Vlad Stashevsky, he collaborated in parallel with the aspiring singer Inga Drozdova.

At various times, Aizennshpis produced the singer Sasha (from 1999 to 2000), raised the singer Nikita to the heights of popularity (produced him from 1998 to 2001).

In recent years, Yuri Shmilevich has been closely engaged in the career of the singer Dima Bilan and the Dynamite group.

Aizenshpis participated in the organization of the international festival "Sunny Adjara" (1994), as well as in the establishment of the "Star" music award.

Since 2001, he has served as General Director of Media Star.

In 2005, he starred in a small role in the film Night Watch 2.

Yuri Aizenshpis was twice the winner of the National Russian Music Award "Ovation" in the nomination "Best Producer" (1992, 1995).

He was buried in Moscow at the Domodedovo cemetery.

Yuri Aizenshpis was divorced, he had a son, Mikhail.

Yuri Shmilevich Aizenshpis - quotes

I am an independent producer and build my work independently of anyone. However, I always have to deal with the problems of this very corporatism.

The experience of Western gentlemen was unknown to me. Everything came from my own ideas and initiatives.

On September 20, Yuri Shmilevich Aizenshpis (1945-2005), one of the few real producers in this country, died.

Aizenshpis got into show business in his youth, but much of what he did then was on the verge of legality (). As a result, the guy went to a prison university and was able to fully return to work only by the age of 45.

Aizenshpis' first project was Viktor Tsoi, whose cooperation was interrupted by a tragic accident.

Artists left him with scandals, he threw them himself, sometimes there was not enough money for further promotion.

Let's talk today about the "thwarted" projects of the producer, who is considered super-successful.

TECHNOLOGY GROUP (1991-1992)

Collaboration: The members of the group agree that Aizenshpis took them, like Tsoi, "ready". There was no need to do anything - "Technology" had already successfully performed "Strange Dances" and "Press the Button", which became the visiting card of the guys.

Aizenshpis just shot them a video for "Strange Dances" and charged the airwaves. In addition, he persuaded the participants to mow outwardly to Depeche Mode. Well, I also brought lighting equipment from abroad.

But to shoot clips and charge the broadcasts cost money, which the participants of the "Technology" did not seem to understand. The editors on television demanded money for every sneeze, making Aizenshpis nostalgic for the days when Tsoi's appearance in the Vzglyad program cost nothing.

Reasons for the gap: The "Technology" was ruined by the crowd. Incomes were divided at the rate of 60% to Aizenshpis, 40% to the group. In principle, in a divine way, but these 40% had to be pulled for four and the amount was not impressive. Why Technologiya accused Aizenshpis of this is not entirely clear. Let's assume - trouble with arithmetic.

Wanting to wrest from Aizenshpis not only freedom, but also money, Technology turned to crime for help.

Aizenshpis said:

“A letter on 15 pages with a red ballpoint pen with a bunch of accusations was received not only by me, but also by some criminal elements who undertook to judge us. I just couldn't dismiss these people and agreed to meet. The shooter took place in one of the rented apartments near Sokol. In addition to me, who came in splendid isolation, and the brawlers from the group, there were several more very authoritative people in criminal circles. Kind of like a protégé of musicians. And with someone I even somehow sat together ...

Debriefing has begun. Having calmly listened to a whole stream of accusations, I answered each of the points with such skill and reason that I didn’t even leave a stone unturned. The criminal element recognized my innocence and did not take the side of the musicians. All that I lost as a result of this meeting was a mountain of promotional material for the group, all sorts of stupid posters and calendars with their arrogant faces "

"YANG GUNS" (1992)

Collaboration: Not realizing that the time for pop music was coming, Aizenshpis took another rock band under his wing, but quickly changed his mind. He did not have time to invest steep finances in this project, for which he repeatedly thanked the Lord.

Reasons for the breakup: The initiator of the breakup was Aizenshpis, he got too wild musicians. The guys all the time shared leadership in the team, starting fights right at the concerts, spoiling the equipment, conflicting with the police. And it was not yet glory, and even its breath would blow the roof off without a return. Realizing this, Aizenshpis broke the contract.

LINDA (1992-1993)

Collaboration: Linda Aizenshpis was interested in dad, banker Alexander Geiman, or rather, his money. First of all, Aizenshpis destroyed Linda's duet with her girlfriend, convincing him that it was easier to push through a solo project. Then he faced the shyness of the future star. Aizenshpis gave her a description:

“Linda wore long hair and could not speak coherently: an ordinary provincial Jewish girl whose dad has risen a lot. No talent at all, just a girl who wanted to sing. And in the school, of course, having felt the taste of profit, they began to write it down as super talents. They just bred the parent for clearly selfish purposes so that he would hire expensive teachers.

Reasons for the gap: Naturally, the producer's criticism strained the banker, and Aizenshpis did not know how to mold something acceptable from the artist. And then Max Fadeev appeared on the horizon.

The success of the first albums could not be repeated, although in 2004 Linda had another powerful promotion with producer Prigogine at the head.

VLAD STASHEVSKY (1993-1999)

Collaboration: The first project of Aizenshpis, molded by him from start to finish and having a great success. Taking a handsome, well-mannered guy, Aizenshpis ordered music and text for him. Vlad shot very powerfully, at a certain moment all the broadcasts were his.

The project lasted a long time, since Stashevsky understood what he owed to the producer and did not have grandiose creative claims. Everything was going great until Vlad married the daughter of the owner of Luzhniki, Olga Aleshina.

Reasons for the gap: Alyosha began to blow Stashevsky in the ear that it was better to work without Aizenshpis, she would be the producer and all the money would go to the family.

Aizenshpis tried to stay cheerful:

“My “divorce” with Vlad is the first major one in our show business, which was tactful and peaceful. Without mutual claims, name-calling and boycotts. For the first time, two famous people, a producer and an artist, publicly announced that from that moment they were ending their collaboration. We did this in the office of Intermedia, where we signed a statement for the mass media about the end of the five-year contract and about satisfaction with the results of joint activities. As confirmation of this amazing fact, I cited such indisputable evidence of the success of the project as the release of five albums, one hundred songs, seventeen clips and five diplomas of “Songs of the Year” in five years.

It's good that Vlad managed to return to normal life without any "a la Zhenya Osin" pushes.

SASHA (1999-2000)

Collaboration: From a really bright singer, Aizenshpis tried to mold the Russian Madonna (meaning an earthly star, not a heavenly one). The situation was facilitated by the fact that Sasha did not come alone, but with a budget. Pretty soon, songs like "It's just rain" flooded the airwaves.

Reasons for the gap: The philanthropist, who gave money for Sasha, put her to bed, and then began to be jealous, while being married. There were constant troubles.

Aizenshpis recalled:

“On the basis of scandals, there was a constant mess with the ethers. Everything has already been paid for, suddenly at the last moment a call: “Cancel everything!”. I cancel with losses, it’s good that I saved at least some of the money. And suddenly the call came again: “Bring everything back!” And try to explain to him that this is not done!

Investor Aizenshpis fired, and Sasha tried to block the way to the stage.

NIKITA (1999-2000)

Collaboration: Like "Technology", Nikita came to Aizenshpis with ready-made material and at first did not impress. But after looking more closely, the producer decided to invest in the boy. The songs “Fly away forever”, “You descended from the sky”, the scandalous clip “Hotel”, with the strictest account, will go down in the history of the Russian music industry.

Unfortunately, Nikita thought of himself as an independent creative unit, and so it probably was, but at the same time, he clearly underestimated the contribution of Yuri Shmilyevich.

Reasons for the gap: They were voiced by Aizenshpis.

“Our relationship was constantly confronted. It would seem, well, what's the big deal, you're lucky, you work with a major producer, you get good money, an excellent prospect. But no, on all issues there is a point of view, fantastic self-confidence and peremptoryness and, as a result, constant conflicts.

After two years with a penny, Aizenshpis and Nikita broke up.

“When I started working alone, in the early days I just wanted to hang myself. When I collaborated with Aizenshpis, I did not think about anything other than performances. And now I have to solve all the issues alone - from organizing tours to choosing concert costumes ... "

Aizenshpis no longer wanted to contact Nikita. As a result, the promising singer rolled down to an artist of the level of clubs in the sleeping areas of Moscow.

The latest projects of Aizenshpis, the Dynamite group and Dima Bilan, were successful.

Although by the time Yuri Shmilyevich passed away, Dynamite was in crisis, since Leonid Nerushenko, expelled from the group, died. As for Bilan, he fell into a lawsuit with the widow of Aizenshpis, as soon as the producer's corpse had time to cool down.

These are the results of the professional activity of a non-trivial, tough and very talented person.