Eduard Hanok biography. Eduard Hanok about the conflict with the artists: “They went too far, they got too carried away, but I’m a fighter by nature. What a happy occasion...

Graduated from Minsk music school. school named after Glinka (1962); Moscow Conservatory named after. Tchaikovsky (1969); Member of the Union of Composers since 1973; Honored Worker of Culture of the BSSR (1982); Honored Worker of Culture of the Autonomous Republic of Crimea (2001).

He wrote his first song at the age of 20, when he was studying at the Moscow Conservatory. Author of famous songs - “I’ll lie down”, “Whether there will be more”, “Robin”, “Two fields”, “I live with my grandmother”, “By the forest at the edge”, “Zavirukha”, “Zhavranachka”, etc.

The Belarusian composer Eduard Hanok unexpectedly decided to run for the Russian State Duma: “There was simply a place and the chairman of the People’s Party of Russia Valery Raikov invited me to join the party lists. But I'm impassable. And the party itself probably won’t cross the 5 percent mark.”

For several years now, Eduard Semenovich has been living in Moscow, has Russian citizenship (he retained his Belarusian one), and performs in concerts dedicated to Police Day, the FSB, and United Russia concerts and events. According to Hank, there is now serious stagnation in the Russian stage: nothing and no one new. Therefore, against the backdrop of the general crisis, Hunk’s songs go with a bang: “the halls are falling down.” And recently, Eduard Semenovich amazed Muscovites with his new hit “Once upon a time there lived a boy Abramovich Roma...” Therefore, despite the fact that the Duma is his home for Khanka (he is an assistant to deputy Kobzon): he often visited there both in the library and in the parliamentary offices - Hanok is not ready to devote his life to Russian voters. After all, as soon as you sit in your office, life will pass you by!

The creator of the “wave theory” in show business, Eduard Hanok, told Belarusian News correspondents about continuing research in the field of creative ups and downs, working on his dissertation “The Theory of Creative Professions,” and also shared news of his Moscow life.

- Eduard Semenovich, briefly remind us what is the meaning of the “wave theory”?

Any talented artist rides the wave one day. It all starts with one hit. If the number of hits grows into albums, this is called a wave. It's like taking off in an airplane. The earth comes off, all people become small, you become important and big. The main idea of ​​the "wave theory" was that the possibilities in different genres are limited. And even if you are a genius, nothing will work out for you. A person takes off on his own waves, reaches a peak and finds himself in a creative climax.

- What is the time frame when an artist is on a wave?

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Pure 5-6 years. If you don’t have more waves built into you, you are a one-wave person, then you can only ride the residual wave. If you want to be successful in the future, you need to either change your profession or find some kind of “trick” that will keep you going.

- What kind of “feature” should this be? Please explain using Pugacheva as an example.

Alla Borisovna has had this “trick” since 1986. From 1975 to 1979 she was on the first wave. The second wave - from 1980 to Paulsov-Nikolaev 1985. When “Panama”, “Robinson”, songs with Kuzmin appeared - this was already the beginning of the crisis. And then Alla Pugacheva suddenly changed. Her image became the main one. At first everyone started talking about Kuzmin, then about Chelobanov, then about the wedding with Kirkorov, now everyone is talking about Galkin. And almost no one is interested in how she sings. Because songs occupy a very small place in her life. Firstly, she rarely releases them, unlike the wave period when there were albums after albums. Secondly, she no longer created songs that came close in skill to her great songs - “Harlequin”, “Kings” and others. After all, for these songs she is called a great singer. As for the rest, she is simply a good, strong performer - like Valeria, like Dolina.

- “The theory of waves” concerns only music?

Initially, the “wave theory” concerned only show business. Over time, I expanded it - it became the “theory of creative professions.” I am looking for similar moments in other fields of activity - in cinema, in theater and so on. "Wave Theory" is the birth of my new profession. Today I am already a professional who, in principle, does not need to confirm whether there is a wave. I am writing a dissertation on “The Theory of Creative Professions” and am a candidate for an academic degree at the Gnessin Academy. For example, I formulated what talent is.

- And what is this?

This is a person’s ability to transform what he sees and hears. You heard, for example, Tchaikovsky, Mussorgsky, and you came up with something of your own. Or take painting. You saw Chagall, but you painted your own. I have identified four factors necessary to take off in show business. The first is talent, the second is the energy that drives talent, the third is the financial base, the fourth is chance. The profession of composer and performer is a profession of rhythms and ideology that reflects today. Classic example. Soviet power left - and Dunaevsky, Solovyov-Sedoy and others disappeared. That is, they remained in memory, but today they do not play any role. We live in another country.

- Do you listen to anything for your soul?

I go to the conservatory, I love listening to pianists and orchestras. I come from classical music and this is an outlet for me. I can’t rest on pop music, because it’s on from morning to evening. No one can stand this, only I can stand it because I explore. And to be delighted by this...

- Your daughter Svetlana had such a good start to her singing career. Do you regret that it didn’t work out?

Everyone said that Svetlana was talented, but no one gave her money. And money is needed like a runway for an airplane. Without them you can't do anything at all. At that time I could not earn my living. Old connections have been severed. They started inviting us less. And not only financial problems were decisive. Everything is not as simple as you think. Example. Gazmanov could probably raise his son? He has financial capabilities, but has not raised them. Igor Nikolaev threatened to unwind his Yulia. Where is this Julia?

- How is your life in Moscow?

I go to bed no earlier than three in the morning and wake up at 9-9.30. Then I make the necessary calls and work with papers until one o'clock in the afternoon. After that, I go to the Duma, where I am an assistant to deputy Kobzon, and sit in the library. I work until six in the evening. Then I go to some decent concert. I watch a lot of TV to stay on topic. The information is accumulating is enormous. By the way, I’m making my own project for a Russian channel, but it will be filmed in Ukraine. People will watch - one hundred percent.

- Do you often go to social events?

Of all the arts, the most important is the buffet table. Although I’m not a drinker myself, I used to go there a lot in my time. I was building a base. Today I’m no longer interested, I understand all the mechanics. A buffet is about communication. We are all closed people. At the buffet table tongues fly. It is clear who depends on whom, how and in front of whom they flirt. If the concert is dedicated to the memory of a departed star, then the buffet after it is a tribute to the deceased great man. Unfortunately, after such concerts the performers do not stay for the buffet. For example, there was Derbenev’s author’s evening. So Pugacheva sang and left. But he did so much for her. Or the evening in memory of Obodzinsky - Kirkorov didn’t even show up for the concert.

- Why?

Because nothing depends on departed stars. In the late 90s, the entire elite gathered at Krutoy’s buffet table. True, now they are already starting to run away from Krutoy. The ARS empire is bursting at the seams. Prigogine seized the initiative.

- What are the reasons for Krutoy’s problems?

He had a fight with Ernst. And he threw out all his programs from his First Channel. These are formal reasons. In fact, the wave is over, and because of this, the nerves begin to fail. I once said at the Ovation ceremony that according to the laws of the wave, Hanok comes to all stars sooner or later. Because the stars are temporary - Hanok is eternal. The hall lay down, even Alla Borisovna looked at me pleasantly. In general, I am revealing the mechanics of creative professions. Since stars tend to lose their nerves during periods of transition, my work in the future will help psychologists relieve stress in these same stars. And for this I will someday be rewarded.

A quarrelsome composer. Edward Hanok

The Chinese horoscope says that people born in the year of the Ox are often captivated by people born in the year of the Dragon, but very quickly this captivity dissipates and disappointment sets in. This is exactly what happened to Alla Pugacheva (Bull) in her relationship with composer Eduard Hank (Dragon - born 1940). Although their fleeting creative rapprochement gave the Soviet stage two excellent hits: “Song of a First-Grader” (“It will happen again”; lyrics - I. Shaferan) and “Take me with you” (“Song of the Crane”; lyrics - I. Reznik ).

Hanok was born in Kazakhstan into a military family. However, the future composer graduated from school in Brest. After which he entered the Minsk Music College named after M. I. Glinka. This seemed to him not enough, after which in the late 60s he added another music diploma to this music diploma - from the Moscow Conservatory named after P. I. Tchaikovsky. It was during his studies at the latter that Hanok became interested in writing pop music, giving birth to two undoubted hits: “Winter” (lyrics by S. Ostrovoy, performed by Eduard Khil) and “Verba” (lyrics by Yu. Rybchinsky, performed by VIA Gems ). The whole country then sang “The ceiling is icy, the door is creaky...”, making the 30-year-old Hunk a popular composer.

It was thanks to the poet Sergei Ostrovoy that Hanok saw Alla Pugacheva alive for the first time. True, then she was still a little-known singer. It happened in 1972 on a television show dedicated to the poetry of S. Ostrovy (Pugacheva performed the first song based on his poems in 1966 - it was “Drozdy” to the music of V. Shainsky). Soon after this meeting, Khanka’s first song, “And I’m Talking,” appeared in Pugacheva’s repertoire (she was then singing in a duet with Yuliy Slobodkin).

The second meeting between Pugacheva and Khanka took place in 1978, when Alla Borisovna was already making waves throughout the country. However, Hanok also made waves, having written several hits for different performers. In the 70s, his songs “Conversations” (poems by G. Serebryakov) performed by Maria Pakhomenko, “Swing” (poems by V. Kharitonov) performed by Lev Leshchenko and “Vologda Argues and Kostroma Argues” (poems - I. Shaferan) performed by VIA “Plamya”. However, it is a new meeting with Pugacheva that will elevate Hunk to the “second wave” of his popularity (according to his own theory).

In 1978, Pugacheva included two of his songs in her repertoire: “Whether it will happen again” (“Song of a First-Grader”) (verses - I. Shaferan) and “You take me with you” (“Song about a crane”) (verses - I. . Reznik). In the same year, Pugacheva took Khanka on tour to Tolyatti. The composer himself recalls this as follows:

“In March ’78, we were working on the song “It Will Be More” and had already set a recording day. I I gathered the musicians, paid for the studio - we sat and waited. But Alla forgot about the recording and didn’t show up! After that (in April) she went on tour to Togliatti and unexpectedly called me there. They greeted me like royalty and put me in a luxurious room. And then she came from the concert. I rushed towards her. She immediately cooled me down - with her look, her attitude. She silently looked at me so hard that I jumped back as if I had been scalded. I didn’t approach her again, and, naturally, there were no rehearsals...

In Togliatti, I took part in one or two concerts instead of one of her friends, who had completely lost his “creative form”. Then, in the Sports Palaces, the star’s performance was necessarily presented in the appropriate surroundings, and although Pugacheva, it seems, was the first to break this tradition, even then it was felt that this whole “party” was a burden to her.

In our communication, the line “neither friend nor enemy, but just like that” immediately emerged; moreover, I noticed a trait in her that I later discovered in myself: she does not like so-called frontal relationships. When meeting a new person, Alla first builds a kind of wall between him and herself, releasing invisible thorns, and then “spreads roses.”

While in a Tolyatti hotel, I suddenly remembered one simple song related to my unsuccessful work at Belarusfilm. “Crane” was written for the TV movie “Green Frigates”, but it never went anywhere, and, having risked showing it to Pugacheva, I unexpectedly won: she immediately sat down at the instrument and offered her (as it turned out, the best) version of this song. This is how our first and last two joint works appeared: “There will be more, oh-oh-oh...” and “I want to see the sea, blue, blue.”.

True, there was also the song “The sun laughs, shines brightly for children” - if I’m not mistaken, Christina made her debut in the program “Merry Notes” in 1979, and her eminent mother was hiding behind the stage, so as not to cause a commotion.

Just before the end of the Tolyatti tour, I went to Alla’s room. She came from some kind of reception and was in a very good-natured mood. On the table lay a huge amount of money for those times - lilac twenty-five ruble notes. Suddenly Alla turns to me and asks: “Hanok, how many days have you been here?” I I answer: “Seven!” She says: “In our team, a working day costs 25 rubles.” With these words, he takes money from the table and counts out seven twenty-five pieces of paper for me...”

This episode clearly demonstrates how Alla Pugacheva’s financial situation has changed in just seven or eight years. If in the early 70s she was a poorly paid artist, receiving only 7 rubles per concert, now, as they say, she was “awash in money.” Therefore, it is funny to hear today the common fable that, they say, the Soviet government underpaid pop stars. Yes, that time, of course, cannot be compared with the current “monetary debauchery”. However, by Soviet standards, pop stars received large fees. It is enough to give just a few examples. We have already talked about Alla Pugacheva, so let’s listen to others.

Edward Hanok

Alexander Gradsky: “Starting from 1975, I was one of, maybe, two or three highest paid artists in the Sports Palaces. I was paid 400–500 rubles for a concert (the average salary in the USSR at that time was 130–150 rubles, and the prices were quite low. - F.R.). I received one and a half thousand rubles a day for 3 two-hour concerts in the three-octave range.”

Igor Granov (leader of the vocal and instrumental ensemble “Blue Guitars”): “It’s a sin to complain - by Soviet standards we earned very, very decently. I I still feel inwardly indignant when people start talking about party power, that it strangled everyone and “didn’t let them in.” Yes, this did not happen! We earned money, lived well, and traveled abroad. Yes, you had to fight for such a life, but you had to think a little with your head...

But let's return to Alla Pugacheva and Eduard Khank. The latter recalls:

“In 1979, Pugacheva resumed her collaboration with Ilya Reznik - they said that because of a dispute over the authorship of a song, they quarreled to pieces. This subsequently led me to think about the truth of the expression: “From love to hate (and back) one step,” because a year earlier, when getting ready to record “Song about the Crane” (based on poetry by Reznik), she muttered to me something like: “So that I didn’t see this Reznik on the recording.” In general, this is not so important - the main thing is that their alliance led to a joint super hit and Pugacheva finally made people sing: before that, her songs were mostly listened to.

By the way, it was during this period that Alla became interested in composing music, but, sitting at the rehearsals of her new program and listening to how “somewhere outside the city, my dad bought a car very inexpensively,” I felt a certain artificiality, the artificiality of this song.”

Largely because Pugacheva became interested in composing, she interrupted her collaboration with Hank. However, there were, apparently, some other reasons for this: either personal or creative (Hunk’s new songs did not satisfy the singer’s tastes).

Meanwhile, two decades later, Hanok again reminded Pugacheva of himself, and not from the best side for her. In July 1998, he published a book under the expressive title “Pu-ga-chev-schi-na.” In it, he outlined his “wave theory” in detail. In one of his interviews, Hanok briefly explained his theory as follows:

“Any talented artist one day rides a wave. It all starts with one hit. If the number of hits grows into albums, this is called a wave. It's like taking off in an airplane. The earth comes off, all people become small, you become important and big. The main idea behind the “wave theory” was that the possibilities in different genres are limited. And even if you are a genius, nothing will work out for you. A person takes off on his own waves, reaches a peak and finds himself in a creative climax.

The time frame when an artist is on the wave is pure 5–6 years. If you don’t have more waves built into you, you are a one-wave person, then you can only ride the residual wave. If you want to be successful in the future, you need to either change your profession or find some kind of “trick” that will keep you going.

Alla Borisovna Pugacheva became for me the best object of observation, because the entire “periodic table” of Soviet and Russian pop music fit into her; to put it simply, she was a model that helped formulate not only the wave law, but also the theory of waves in general. Using her material, I demonstrated the full cycle of human creative development, although, in truth, there are still some details missing.

From 1975 to 1979, Pugacheva was on the first wave. The first wave is always directed upward, because you are still climbing. There are three categories of songs by which it can be measured, and the first is undoubtedly the so-called iconic greatest hits. Well, for example, “Harlequin”, “Kings Can Do Anything”, “They Don’t Renounce, Loving” - those things without which Pugacheva would not exist. Take them away - and there will be a good singer, strong, popular, but the Alla Borisovna that everyone knows will not come out, because she has her own superstructure.

In general, I would like to start the conversation about Alla with Khrushchev’s “thaw”, without which all Pugachev’s courage would have been impossible, because everything that existed before the mid-50s was strictly regulated: the artists sang, standing almost on the counter “ at attention" (except, perhaps, for Klavdiya Shulzhenko and Leonid Utesov, and then - within certain limits).

In a profession, it doesn’t happen that you fall right away - there is a certain pattern that determines the end of the wave. For Pugacheva, the end of the first wave is clearly marked by the song “Summer, ah, summer!”, which in 1979 ended the period of her work with various authors. Then - a year-long break (even in the finale of "Song-80" Alla Borisovna was not present), and then - the second wave: the so-called Paulsov-Nikolaev-Kuzminskaya, which gave a simply fantastic result - you see, on the waveform it is black and black from the names of super hits. This lasted until the mid-80s.

When “White Panama”, “Robinson”, songs with Kuzmin appeared - this was already the beginning of the crisis. After all, the first wave goes up, and the second, as a rule, stays at the same height - it’s like an airplane: it’s picked up speed, and the passengers are already having fun. Thus, the most powerful time is coming, which may not be repeated.

It is no coincidence that I decided to include a wave record of Pyotr Ilyich Tchaikovsky in my book. How does it differ from Pugachev’s? The first wave for both is relatively small, and Pugacheva’s second is grandiose: “Iceberg”, “The Ferryman”, “Without Me, My Beloved”... But Pugacheva did not have a third wave. Why? Yes, because over the past 10 years she has had one and only iconic hit - “Call Me With You.” What, you ask, is a landmark hit? This is a song that absolutely everyone knows and that worries the country.

Realizing that she would not have a third wave, Pugacheva changed. Her image became the main one. At first everyone started talking about Kuzmin, then about Chelobanov, then about the wedding with Kirkorov, now everyone is talking about Galkin. And almost no one is interested in how she sings. Because songs occupy a very small place in her life. Firstly, she rarely releases them, unlike the wave period when there were albums after albums. Secondly, she no longer created songs that came close in skill to her great songs - “Harlequin”, “Kings” and others. After all, for these songs she is called a great singer. As for the rest, she’s just a good, strong performer - like Valeria, like Dolina.”

Pugacheva reacted poorly to this “wave theory”. And since then, I crossed Hunk off the list of people to shake hands with, and forgot his songs forever. Although there was a moment when Hanok tried to restore relations with her in the late 90s. But nothing came of it. According to the composer:

“Once, in the Rossiya hall, I even apologized to Alla Borisovna, although I still don’t understand why. Apparently he chickened out, but most likely it was just a short moment of fatigue, “a moment between the past and the future.” After that, however, they told me that she said: “I don’t forgive traitors.”

If Pugacheva really said so, I will be grateful to her to the end of my life, because a traitor is actually a person who has valuable information. Thus she confirmed that I gave out information of great interest, it’s another matter; I will report to history myself. Today, for me, Pugacheva is already so small.”

Let us note that Hanok asked for forgiveness twice: in the State Central Concert Hall “Russia” and in the studio of the television program “Old TV” on NTV on February 2, 2000. Moreover, in the studio he knelt in front of Pugacheva and apologized for all his “attacks” on the singer. The prima donna accepted the apology. But a couple more years passed, and the old enmity resumed. Either the apology was insincere, or the forgiveness was not real. And now Hanok says the following:

“Galkin is her refuge: there is no personal life, but there is a friend... There is a philistine concept - a presentation. Somewhere in a photograph I recently saw her with Galkin. She is an old lady and he is a dead “millionaire”. These two schmucks are coming. It's sad to watch."

Composer I walked along the embankment past a dirty tavern. Suddenly I heard someone shouting my name with all their might. Looking around, I saw in the window the fat-bellied figure of the butcher Sidorich, my old friend. He grinned in a friendly manner, beckoning me with his hand, and

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Composer Spendiarov F.G. remembered Sofya Parnok more than once. And once she said: “You’re wrong to think that she wrote only poetry intended for a narrow circle.” She once even wrote a libretto for an opera! - And who composed the music for this libretto? - Spendiarov, of course!

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participant of the encyclopedia "Famous Scientists"

Doctor of Philosophy, Professor. President of the ANO "World Inform-Encyclopedia" (Dubna, Moscow region) In 2007-2018. Professor of the Baltic Federal University (IKBFU) named after. I. Kant (Kaliningrad). Operates from 2002 to present. vr. in Bryansk State technical University (BSTU), heading a multidisciplinary scientific and philosophical school of research into the socio-technological development of the world and changes in the evolution of life. It was highly rated by the Ministry of Education and Science in 2007-2018. at university certifications, since 2012, RAS, awarded a diploma of RAE in 2011. Specialist in social sciences. philosophy, sociology, urbanization theory, ecosophy, sociopedagogy, global studies (technospherization of the planet, the transition of life and humans from natural, biosphere forms of development to postbiosphere ones, etc.).

Born on February 27, 1937 in Leningrad, student. family. In connection with the death of his mother Efrosinya Petrovna in 1940, he lived in her homeland - p. Obodnoe, Vinnytsia region. Since 1949 he lived with his father Semyon Vasilyevich. In 1954 he graduated from Koryukov school No. 2 of the Chernigov region with a silver medal, in 1959 - Bryansk Institute of Transport Engineering (now BSTU), with a specialization. Foundry mechanical engineer. production. In 1959-1961 worked as an engineer at the Perm Motors plant, 1961-1962 - in the Perm Regional Committee of the Komsomol, in 1962-1983 - in the Komsomol. and party bodies of Kaliningrad, in 1983-2007 – associate professor, professor of the philosophy department of Bryansk State University, since 2007 – at the IKBFU. In 1971 he graduated from the Higher Party School, in 1977 – graduate school at the Academy of Societies. Sciences under the Central Committee of the CPSU, defending his Ph.D. dissertation on the sociology of urbanization. In 1992, he defended his doctorate in the council at the Faculty of Philosophy of Moscow State University. dissertation on the topic “Urbanization: the concept and policy of urban development.”

Author of scientific concepts: 1) global urbanization as technospherization of planet Earth; 2) social and technological development of the world; 3) changes in the evolution of life with the transition from biosphere-biological to socio-technobiological; 4) eco-technological transformation of humans; 5) the formation of social pedagogy as a philosophy of pedagogical sciences; 6) distributed multimedia socio-information system World Inform-Encyclopedia with the implementation of a sample in the Kaliningrad region. – www.kaliningrad.wie.su In the works of E.S. Demidenko, urbanization, its socio-economic basis and historical boundaries are analyzed from a scientific and philosophical position. He develops a new problem for social philosophy: material spaces. and architectural and technical organization of the post-agricultural society. The socio-political and demographic problems of urbanization are analyzed, its characteristic features and methods of managing it are revealed. Urbanization is considered as a process of technospherization, i.e. the formation of a global technosphere, due to which society accelerates economic development, technosocialization and identification of humans and wildlife. For the last two decades, his attention has been paid to the development of a socio-philosophical concept of technogenic society. and socio-natural development, revealing the essence and content of technogenic society. His scientific The works are devoted to the formation of a global socio-techno-natural system that replaced the biosphere in the 3rd millennium, the ongoing transition of life from the Cenozoic era to the Noozoic era - the first post-biosphere era of life, from nature. life forms – to artificial ones. Attention is paid to the development of principles and effective measures to preserve the centuries-old biosphere, humans and terrestrial biosphere life. Participated in more than 20 scientific studies. research. In 1989-1992 – in the development of draft legislation of the USSR and the Russian Federation on urban planning. politics, in 1986-1998. – in studying the social consequences of the accident at the Chernobyl nuclear power plant and developing the concept of a service for helping children in the Russian Federation affected by radiation, in 1993 – in socio-economic. designing a promising settlement of the 21st century for displaced people under the UNESCO-Chernobyl program (project 33). By order of the International Academy of Informatization (MAI in general consultative status with the UN), he is developing the foundations of international. a project to create a global system of national-lingual information policies in the world with cultural-encyclopedic banks. and other relevant information for the Internet and telecommunications. systems. Supported in 1995 scientific community of the science city of Dubna, in the Declaration of the UN, MAI, Moscow Administration. region and Dubna, IV International Congress on Informatization, its ideas, scientific developments and ongoing scientific research. The conferences contributed to the formation of the Russian Programming Center (RPC) in 2004. In 1996, the ANO “World Inform-Encyclopedia” was created to implement the project. A number of scientific projects are related to overcoming technogenic soil pollution, creating conditions for the collection and processing of biological waste in cities, certification of food products, and improving the health of the population and children of Russia. . Actively works in scientific and other organizations. He is a full member of the International Information and Environmental Parliament (MIEP under the Council of Europe), MAI, Russian Ecological Academy and a number of others. President of the ANO "World Inform-Encyclopedia". President International Academy of Social Development (Moscow). In the 90s XX century was president of the Bryansk branch of MAI, in 2002-2007. headed the Bryansk branch of the Russian Philosophical Society and was editor. 5 issues Sat. scientific works “Problems of modern anthroposocial knowledge”. On the basis of BSTU and the Russian Federal District, with his participation, the Bryansk Scientific and Philosophical School of Research of Socio-Techno-Natural Processes was created, whose philosophers, scientists and graduate students over 17 years published about over 50 monographs, books, textbooks and teaching aids, over 100 articles in central and recommended scientific journals by the Higher Attestation Commission , more than 350 articles in other collections. . In 1963-1983. was a deputy of the Baltic district and Kaliningrad city councils of workers' deputies, was elected to party organs, and secretary of the Kaliningrad party committee. Higher Marine Engineering schools. Member of the Councils for the defense of dissertations in philosophy, pedagogy and geography (1985-2017).

He headed the Bryansk branch of the Moscow Aviation Institute (1994-1999), the Bryansk branch of the Russian Federal District and was the editor of a collection of scientific works. works “Problems of modern anthroposocial knowledge (2002-2007). Awarded the medals “Veteran of Labor” and “For Valiant Labor. In commemoration of the 100th anniversary of the birth of Vladimir Ilyich Lenin."

Scientific publications:

E.S. Demidenko is the author of more than 320 scientific papers. and methodical publications, including 10 original and 23 collective monographs and books. In 2008-2018 he became a laureate of competitions for the best book 8 times: all-Russian - in Moscow and Sochi (RAE and RAO), regional - in Bryansk and Kaliningrad. . Author's books: “Demographic problems and prospects of big cities. Urbanization under socialism. M., 1980", "Urbanization: concept and urban policy. development. M., 1992,” “Ecotechnological Apocalypse, or the “end of the world” of natural man. Bryansk, 1993" (report at the 19th World Philosophical Congress, Moscow), "Noosphere ascent of earthly life. M., 2003"; Sat. articles “Rural urbanization and techno-noospheric prospects for agriculture. Bryansk, 2005", "Urbanization: problems of management and social development. Bryansk, 2005"; “Fundamentals of ecosophy. Complex experiment. educational author's program. M., 2006”, “Formation of meta-society and post-biosphere earthly life. M., 2006”, “Philosophy about global processes and problems of our time. M., 2007", "Life and family in Soviet society. M.-Bryansk, 2007.” Awarded with diplomas (2008-2018): “Demidenko E.S., Popkova N.V., Shustov A.F. Technogenic development of society and life on Earth. In 2 books. Bryansk: BSTU, 2007" (in Sochi); “Demidenko E.S., Dergacheva E.A., Popkova N.V. Technogenic society and the earthly world. M.-Bryansk, 2007" (in Bryansk); Demidenko E.S., Dergacheva E.A. Technogen. development of society and transformation of the biosphere. M., 2010" (in Bryansk and Sochi); “Demidenko E.S., Dergacheva E.A., Popkova N.V. Philosophy of social and technological development of the world: articles, concepts, terms. M., Bryansk, 2011" (in Moscow); “Social pedagogy in Russia: at the cutting edge of time. Collective monograph. M.; St. Petersburg 2014"; “Anthropo-technogenic degradation of the biosphere: Proposals for overcoming it. M.: INION RAS, 2014; “Demidenko E.S., Dergacheva E.A. From global degradation of the biosphere to a change in the evolution of life. M.: RAS, 2017"; “Philosophy of socio-natural interaction in the age of convergent technologies: Collect. Monograph. - M.; St. Petersburg, 2018.” He has certificates of participation in the encyclopedias “Elite Information Scientists of the World”, “World Inform-Encyclopedia: Kaliningrad Region” (from MAI) and “Honored Worker of Science and Education”, “Founders of Scientific Schools”, “Scientists of Russia” (from RAE).

His catchy hits were once sung by the whole country, and many still remember them very well. But today Eduard Hanok calls himself a former composer, but he is ready to talk for hours with enthusiasm, detail and reasoning about his already well-known theory of creative waves.

It was this theory that formed the basis of “Pugachevshchina,” which stirred up the swamp of Russian show business, and then two more books that continued the same theme. Meanwhile, without fear of enemies and without fear of conflicts with those whom he believes he has the right to be offended by, the 77-year-old master looks great, has long given up bad habits, radiates serene optimism and works tirelessly, only allowing himself to take a walk in the evening and drink tea in the bar of the Belarusian State Philharmonic...

A correspondent of the Minsk-Novosti agency met with Eduard Hank and learned about his creative plans, as well as his relationships with Belarusian pop artists, whom he had recently banned from performing his songs.

“Pugachevshchina” with continuation

- What are you working on now, Eduard Semenovich?

- I’m finishing a book called “The play is over, the lights are going out.” It should be released in the first quarter of next year and, I think, will make no less noise in Belarus than “Pugachevshchina” once did in Russia, since it talks about “Slavic Bazaar”, “Eurovision”, the current state of the Belarusian stage, in in general, about everything.

This is a confession from a former songwriter, because I have been doing science for 30 years. I probably do have quite good songs, but sooner or later they will be forgotten, but I am convinced that the law of the creative wave that I discovered is enough to go down in world history. Spivakov, Bashmet, and other famous people have my wavegrams. I just give them as a souvenir, and you know why? Previously, unrecognized artists who believed in themselves gave away their paintings so that they would be preserved. So I distribute wavegrams.

- In theory, it was possible to make good money on the three “Pugachevschinas” with their scandalous fame?

- You are wrong. To sell a book, you need to invest huge amounts of money in its promotion. And I thought: why should I look for money for this? It’s easier to give it to good people. Both me and them will be pleased, especially since I travel all over the former Soviet Union.

- Having returned to Belarus, are you interested in the work of our fellow countrymen who managed to fit into the Russian musical scene - the same Alena Sviridova, “Bi-2” and others like them?

- Certainly. In my new book they appear, and Seryoga with the “Black Boomer”, and Bianca, I didn’t even miss Podolskaya. And Agurbash too, although she hasn’t settled in well in everything, she is something of herself. Don't worry, no one is forgotten and nothing is forgotten. Since people managed to break into Moscow, they certainly deserve respect.

- Haven’t you made peace with the performers of “Lyagu-prylyagu”, “Robin” and your other hits?

- No, and I won’t make peace. They went too far, they got too carried away, but I am a fighter by nature. If they don't want to pay under the new copyright laws for the songs that brought them popularity, or name the author - no problem, let them not sing. But they like to earn money according to the laws of show business, and talk to authors according to the no longer valid Soviet ones, while throwing slop at me for defending my rights, which I absolutely do not like.

I will file claims in court to protect my honor and dignity; it is important to create a precedent here. Larisa Rubalskaya, having learned about this situation, said very briefly and expressively - she also has to struggle with this.

- I recently listened to your “Samurai” on YouTube based on her poems - an incendiary thing!

- “Samurai” is my main song, a lifesaver, although it was written in 1996 or 1997. I consider myself a wealthy person only thanks to her, many Russian high-ranking officials fell in love with her, at one time they even gave me a lot of money for promotion. I managed to make an expensive video in the heat of the moment, but was stopped in time by Igor Krutoy, whose opinion I really listen to, saying that my chances of making money this way are microscopically small.

The money was invested in another business, they make a profit, they work, and I live relatively comfortably and have the opportunity to calmly do science. And thanks to the song “You and I are destined to serve Russia,” written at the beginning of the century in collaboration with Ilya Reznik, which is played every year at parades in Moscow, say, on May 9, I received Russian citizenship, honorary, so no one can take it away from me.

In a restaurant with Khrushchev and Gagarin

- I read that relatively recently you shook up the old days and wrote a cycle of 17 new songs.

- In the early 1970s, composer Mark Fradkin, who had been idle for a long time, released a cycle of the quickly becoming popular “I’ll Take You to the Tundra,” “I’ll Get Up Before Dawn Today...” and other things. So I wanted to test my theory - whether there is a residual wave, whether creative recovery is possible after a long break.

This is how these 17 songs based on poems by Rubalskaya and Reznik were born. One of them is performed by Valeria Lanskaya, the second was bought from me for his singer wife by a millionaire friend living in Moscow. The rest are waiting in the wings, but for now I have received the go-ahead from the authors of the text for Belarusian artists to sing them for free, but only in our country.

- Igor Kornelyuk, whose childhood was spent in Brest, once also started with light hits, and then wrote bright music for the films “Gangster Petersburg”, “The Master and Margarita”... Has such a prospect ever attracted you?

- No, although I graduated from the Moscow Conservatory, studied with Dmitry Kabalevsky, and at the same time Maxim Dunaevsky and Alexey Rybnikov studied with me. This is still a specific art. I’m not particularly proud of the music for the cartoon “Kvaka-Zadavaka” and the song “You are my hope, you are my joy” for the TV movie “Yas and Yanina”.

Kornelyuk fits well into this niche. But he was not originally a pure songwriter, just like Kim Brayburg, who turned out to be a great creator of musicals. I also wrote music for the theater both in Brest and Minsk. In the Russian theater named after M. Gorky, our “Immoral History” was shown to a full house for ten years, but, by and large, it’s not my thing. But in the field of discoveries and analytics, I consider myself a notable figure. All humanity lives by the law of the wave, and here I have no competitors. Today it’s generally funny to talk about copyrights, which some people reproach me with.

- Was it only in Soviet times that they fed a successful songwriter well?

- Yes, I was then probably the richest composer in Belarus, better than my friend Igor Luchenok, who specialized in lyrical and patriotic music. Royalties for the hits performed came from every restaurant in the Soviet Union. This was strictly monitored by specially appointed people; a mouse would not slip past them. I was convinced of this myself when I worked in taverns. Try to collect 5 kopecks from each establishment in 15 republics - estimate how much you will collect. But before there were no corporate events, which today have become almost the main source of income for many performers. And since there are no copyrights on them, for the composer they are scraps from the master’s table.

- Have you worked in restaurants?!

- It happened. Here, in Minsk, in “Neman”, in Moscow, while studying at the conservatory, I worked part-time in “Budapest” and “Warsaw”, the scholarship was meager. I played the piano and felt pretty good. And when one of the regular congresses of the CPSU was held in the capital, we were incredibly lucky. All delegations were distributed to restaurants and came there for dinner in the evening. And since our “Budapest” was located in the center of the city, the Moscow party organization was attached to it, and it included Nikita Sergeevich Khrushchev, Dmitry Borisovich Kabalevsky, Yuri Alekseevich Gagarin, Valentina Vladimirovna Tereshkova and others like them.

Well, we, musicians, thanks to this gained access to the shortage, that is, we stocked up on Marlboro and Winston cigarettes, juices, sausages, and so on. It's a pity that the convention ended quickly. Then I was just as lucky during the 1980 Olympics. Our artistic team, including Evgeny Pavlovich Leonov, Alexander Anatolyevich Shirvindt and other famous people, performed in the Olympic Village, and the store there also had everything your heart desired.

What a happy occasion...

- How did you find performers for your hits?

- At first I simply wrote a song, and then began to painfully adjust it. I come, say, to the Yunost radio station, the editors like my “Ice Ceiling,” but only until Eduard Khil looks there. He takes the song, makes a magnificent arrangement, and on December 30, 1970 in Leningrad it is heard for the first time in a pop concert. And at the end of 1971, she and I entered the finals of the newly organized “Song of the Year”. To get there in the company of the celestials Fradkin, Frenkel, Pakhmutova, Kolmanovsky and the same debutants Oleg Ivanov (“We have a crust of bread and that in half…”) and Volodya Ivasyuk with his “Chervona Ruta” was unheard of luck for me. I instantly turned from a novice author into a popular one.

At the beginning of 1972, a program called “The Poet Sergei Ostrovoy” was filmed on television, where, thanks to “Ceiling,” I was invited. There we met an unknown but pretty red-haired singer, who I remember only because during breaks she went to feed her daughter.

- And the daughter’s name was Christina, and the singer’s name was Alla?

- That's it. Several years passed, everything changed dramatically, she took off, and Mark Minkov and I went to visit Pugacheva’s mother to show our songs. We sat, ate, drank, I still allowed myself then, Alla took his “Loving does not renounce”, later becoming the laureate of “Song-76” with her, but she put mine aside. She kept it for two years and sang when Christina had to go to school.

- “The First-Grader’s Song” has become the spoon on the way to dinner?

- And a hit. After which Alla took me on tour to Tolyatti. And at the gatherings after the concert in the room, I showed her the waltz(hums) : “In the evening the polyphonic sound of flocks of birds settled down in the forest.” And he went with a bang. It could have all ended with one song in 1976, but two fell into good hands at once. Lucky case!

And the same “Robin”, for example, I first gave to the musicians in the restaurant of the Belarus Hotel in Brest, they “chopped cabbage” on it for three or four years. But during the tour, “Verasy” heard her there, and Vasya Rainchik probably convinced his guys that she was right for them. A little later, instead of a saxophone, they added a whistle and it turned out to be a piece of candy, again included in the “Song of the Year”. Then they liked “I live with my grandmother” and “Zaviruha”. And, let’s say, “Happy Chance” was born in 1988, when I had already given up this business, also almost by accident. Obodzinsky once grabbed hold of “Someone else’s Darling,” but it went out, and it lay on the table for 25 years until it came to Solodukha. Life is generally a chain of patterns and accidents...