Yuri Aizenshpis personal life. Did Aizenshpis bring the “blue lobby” into show business? Further activities in show business

Biography
In 1968 he graduated from the Moscow Institute of Economics and Statistics with a degree in economic engineering. He began his professional career in 1965, collaborating as an administrator with the rock group SOKOL. Developed an original scheme for the team's activities. After a verbal agreement with the director of the club to hold a concert, the administrator bought tickets for the evening screening of the film and distributed them at a higher price. For the first time, I involved people who ensured order during the group’s performance. On January 7, 1970 he 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). He was released from prison in 1977 and subsequently received an official apology.
For a short time he worked at the "Gallery" organization under the city committee of the Komsomol, organizing concerts of young performers. At the beginning of 1989 he produced the KINO group. He was one of the first to break the state monopoly on record publishing. Having borrowed 5,000,000 rubles (1990), he released last job group "KINO" - "Black Album". From 1991 to 1992 he collaborated with the TECHNOLOGY group. Helps musicians release their debut album “Everything You Want”, organizes the production of various printed products (posters, postcards, etc.). In 1992 he became a laureate of the national Russian music award "Ovation" in the category "best producer". 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 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 international festival"Sunny Adjara" (1994), as well as in the establishment of the "Star" music award. In 1995, based on the results of work for 1993-94, he was again awarded the Ovation Prize. In 1997, he continued to work with Vlad Stashevsky, while simultaneously collaborating with the aspiring singer Inga.

Yuri Aizenshpis, a second-year student at the Moscow Institute of Economics and Statistics with a degree in engineer-economist, devotes all his free time to his passion - music. Music is by no means official, churned out in millions of copies by domestic giants of the recording industry, but the real, ideologically harmful and dangerous one. Rock, jazz, and, for some absurdity, even the Berry sisters were declared as 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 roots of rock music - rhythm & blues. He knew various styles - avant-garde jazz, jazz-rock, popular jazz. Then I was drawn to the origins of rock music, to the founders of such a movement as rhythm-blues. The circle of music lovers was small, everyone knew each other. If my friends had a record, I would rewrite it. The records came to us from abroad through the strong barriers of customs laws and regulations, and then were sold on “black” markets, which were dispersed every now and then. Neither exchange nor buying and selling was allowed. The discs could be confiscated, they could be prosecuted for profiteering. Well, it’s amazing. However, records were brought in and stuck with connoisseurs.”
Rock came to us with legendary records on “ribs” (underground artisans cut sound tracks on X-rays) and with “native” bootleg 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 these two concepts.”

The new schemes were innovatively original: after a verbal agreement with the director of the club, the group bought up all the tickets for the evening film show and sold them at an inflated price, but for their concert, held instead of the cinema, which was “canceled for technical reasons.” The markup went in favor of the musicians, and the club received sold-out receipts even for the most unsuccessful film - so great was the popularity of FALCON. But music is created not only by creative thought. To create it you need quite material things - 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.

“We ordered our first amplifier,” says Yuri Aizenshpis, “from one of the Moscow research institutes, and for a fairly modest amount they made us a good device. Unofficially, of course.”
This 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 instruments that amazed the guys at the concerts of visiting foreign bands. It is from foreign touring performers, or more precisely, from their technical staff, that the guys begin to buy musical equipment and instruments.
“It was a mutually beneficial cooperation,” says Yuri Shmilevich, “foreigners willingly sold us the device, since they could buy a new one in their country, and for us it was just a lucky find.” Thus, the sound equipment of the Italian star Rita Pavone, the Yugoslav singer George Marjanovic and many others migrated to the SOKOL arsenal. They had to pay, of course, in currency, any transactions with which in the USSR were illegal and cruelly punished by justice.
By 1969, SOKOL had become a fairly well-known group, and was on a “professional track” in ROSCONCERT. At the end of the year, the young director of the group, Yuri Aizenshpis, quits. “I had to defend my thesis project,” says Yuri Shmilevich, “besides, I worked in the Central Statistical Office, and touring activities did not appeal to me.”
In my opinion, a producer is 50% intuition, 30% luck, 20% efficiency. My working day starts at 8 am and ends after midnight. And what can be taught here?
Meanwhile, the activities of the young impresario had long been monitored by the USSR internal affairs bodies. “We have evolved. Technical equipment required constant modernization. I creative person. Once I hear a good sound - lively, pure, real - I can no longer listen to another reproduction. I bought the most advanced equipment at that time. And here for the first time I encountered real criminal law. And he began to step over it. Started doing business. Today this is a respectable occupation, but then...
My business was related to 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 that what I was doing was natural and normal. But 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 does the state dictate what to sing? I thought about this, but could not find an explanation; the worldview absorbed in the family, at school, at the institute got in the way. Somewhere deep down I knew I was right. And that my business (they didn’t say “business”) is my personal business. In short, I started with music and ended in prison.”
On January 7, 1970, he was arrested, and all the equipment of the SOKOL group was confiscated. On charges of currency transactions, Yuri Aizenshpis was 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 eighties, communist dogmas had noticeably weakened. Freedom came step by step. This was felt even behind prison bars.
“In 1986, during a medical examination in Butyrka,” says Yuri Shmilevich, “after several routine questions about health, the doctor suddenly asked me: “Aren’t you the same Aizenshpis who was involved in the Sokol group in the late sixties?” I remember I felt somehow uneasy, I was very worried. And the doctor gave me the magazine “Youth”, which contained a lot of material about me. It said that I was to the Falcon group 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 changed while I was gone. A new generation has appeared. Old acquaintances may not have forgotten me, but I didn’t know where to find them. Having freed myself, I fell into a state of terrible depression. A lot of time has been lost. Friends have achieved something. And I had to start everything from scratch. No money, no apartment, no family. When I was imprisoned, I had a girlfriend. What happened to her? Don't know.
I was afraid that I would never see my parents again. Luckily, I saw it. They even caught my new takeoff. My father had his own opinion about this. My parents are war veterans, have awards, and are communists. It seemed abnormal to them that their son was interested in music and rock that they did not understand. My father thought I was guilty. The mother may have had doubts, but she did not admit it. She is internally a freer person, very courageous, very real, like millions of ordinary communists who went through the war and all the difficulties. She herself is from Belarus. Despite her health, my mother went to Minsk for a rally of partisans. And she died among her own people - where she was born. She outlived her husband by only a year.
I probably should have some kind of anger towards this system, towards everything Soviet. Serving 17 years in prison would make any person embittered. But I have no anger. In the most difficult period for myself, I managed to concentrate and gather my will. Maybe because it was already hardened. After all, it exists - the struggle for existence. For survival.
When Solzhenitsyn describes the nightmares of Soviet reality, as he calls them, I say: if only he had lived in the conditions in which I lived. He served his sentence among those convicted on mostly political charges. I was sitting among inveterate criminals. And this is truly a nightmare. Every day blood is shed, every day there is lawlessness, chaos. But they didn't touch me. I am a sociable person, I adapt to any conditions. I could become friends with the general who was sitting with me. He could have been talking to a total anti-Soviet guy. I could listen to an adherent of Marxist-Leninist ideology. Could talk to the last criminal and find a way into his soul. Many people talk about anti-Semitism and Zionism. These political phenomena somehow passed me by. I didn’t feel anything like this either at school or at college. And I didn’t feel it in prison. But every day I saw so much blood, anger, cruelty nearby...
There, 70 percent of prisoners are starving. I wasn't hungry. How? Money does everything, of course, unofficially. This is what my phenomenon is, my peculiarity. No matter what environment I found myself in, and I had to visit different colonies, different zones, different regions - everywhere I had the highest standard of living for an ordinary prisoner. This cannot be explained only by organizational skills, it is a phenomenon of character.”
Upon his release in 1987, Aizenshpis began working in the youth musical organization - TO "Gallery" under the Komsomol city committee, organizing concerts of young performers. Such organizations, like mushrooms after rain, began to appear in the field of all kinds of Komsomol and Soviet organizations. “It was a kind of roof. The concept of “manager” had not yet appeared. One of my first actions was organizing a concert of Leningrad rock bands. They performed then mainly in cultural centers, and I took them to the big stage.
“And so I met Viktor Tsoi. In principle, this is not an accident. I found him myself and convinced him to work with me, convinced him that I was not an accidental person in music. He told me what he had experienced. This somehow had an effect on him, although I was a complete stranger to him, and Victor is not the kind of person who makes contact easily.”
At a meeting held in 1988 on a bench in the Hermitage Garden, the musician and producer decided to work together.
“Our acquaintance turned into friendship. Then the friendship grew into a creative union. I don’t want to attribute unnecessary laurels to myself. Of course, Tsoi and the Kino group were known before our meeting. But they are known among fans of Leningrad basement rock. I decided to mold him into a rock star. And it was a success.
“Internally, Tsoi is a very interesting person, unlike anyone else. His second wife greatly influenced him. She is an esthete, from film circles, and was very helpful to him. good friend. I think she also did a lot to create the image that is known to the broad masses. He became from a hungry, angry Tsoi, imposing and mysterious. That’s how I recognized him - a mature performer who had already starred in “Assa”. And managed to help him turn into a superstar, or maybe even 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 independently of the absolute monopolist 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 group “Technology” (1991). And if “Kino” already had a certain initial speed at the start of working with him, then the producer sculpted the success of “Technology” “from scratch”, being already an experienced sculptor. The new group included fragments of the collapsed Bioconstructor group, and the musical material consisted of three or four songs.
“My second project,” comments Yuri Shmilevich, “showed that you can take ordinary, average-level guys and make stars out of them.” First, I instilled in them confidence in their abilities: look, guys, you are working 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 after 4 months they became the group of the year and maintained the highest rating the entire time we worked together.”
The song “Strange Dances” has not left the TOP 10 of “MK Sound Track” for 14 months. The first album “Everything you want” (1991) becomes a bestseller. Then their popularity declines. “There are many objective reasons for this, including, I believe, our breakup. So even a superstar without a talented producer cannot do anything today. We can say that show business is an already established industry - the same industry as car production or iron smelting. Here, too, there is its own technology and its own laws.”
In 1992, Yuri Aizenshpis became the laureate of the national Russian music award "Ovation" in the category "Producer of the Year", which took place in Moscow in concert hall"Russia". Also presented in this nomination were tandem Leonid Velichkovsky (better known as Lada Dane’s husband). Igor Seliverstov (produced by the groups "Strelki" and "Virus"). Valery Belotserkovsky, Alsou’s creative “father”. 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. However, in the music community this award is considered one of the most corrupt.
"Young Guns" (1992 - 1993)
A short history of the “domestic Guns’n’Roses”, as they were called in the press,
equally instructive and typical for both musicians and producers. Having released a couple of bright hits, the group simply exploded from the internal confrontation of the members. “Each of the Young Guns musicians,” comments Yuri Aizenshpis, “wanted to be a leader, they constantly quarreled, fought, and broke instruments. It was my fault that I didn’t stop them in time.”
LINDA
It was Yuri Aizenshpis who noticed the talented graduate of a jazz college in 1993 and helped the singer take her first steps on the big stage. Their work together lasted less than a year, after which creative ways the artist and producer separated.
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 behind the scenes, 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. Together with Yuri Shmilevich, they arranged an audition for Stashevsky, and within a week the first song for his repertoire was ready. It was called “The Roads We Travel.” Stashevsky's first performance in public took place on August 30, 1993 at a festival in Adjara.
The debut album “Love Doesn’t Live Here Anymore” became 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 the very young Russian CD market. In the same year, the performer rises to the top of another, unusual chart: an 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 audience.
Inga Drozdova (1996-1997)
The notorious model, who starred in two videos by Vlad Stashevsky, in collaboration with Yuri Aizenshpis, records a Russian-language cover version of the song Fever - “Thirst”. Then the clip is shot. 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’s phone number. I called. A remarkable conversation took place.
- I would like to become a singer.
- What exactly can you do?
- That's all.
- What - that's it?
- I can punch you in the face.
Thus, Sasha’s fate was decided. If only it were that simple. They don’t take you on stage for “I can punch you in the face”...
I am a wealthy person. My car is not just good, but luxurious. Apartment too. People are always going to work with 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 well, respectably, fashionably. Since I'm in show business, I have to dress accordingly. Jokes in the press about me are not always pleasant, but they also work to create excitement. For the first time in several years, the Sports Palace was sold out when my show “Me and My Friends” was on.
When you are abroad, you think: what an unfortunate people we are! Today we have complete devastation. People have become like predators towards each other. Although maybe this is a natural process? Everything has already happened in the history of every country where capitalist relations arose.
To be frank, I do not believe that the processes in which we are all participating are reversible. We are currently experiencing a political and government crisis. But stabilization will still come. Even if a military junta comes, even if the communists return, 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 had to endure here, I am a patriot by nature. Like a bird that was born in this area, it will die in this area. The entire people is responsible for what is happening in our country. And I am a part of it.
It so happened that Yuri Aizenshpis liked Sasha’s music. Her frantic energy, mysterious charm, positive attitude and extraordinary voice did not go unnoticed. Aizenshpis helped Sasha enter big show business. In the spring of 2000, the song “Around the City at Night” was broadcast, and later the compositions “It’s Just Rain” and “Love is War” were released. All three hits received video versions, which helped to reveal not only the vocal, but also the singer’s choreographic abilities. And then... Then the Moscow media noticed her, and in the press, next to Sasha’s name, the definitions “Russian Madonna” and “standard of stylishness” began to flash more and more often. 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 managers, Sasha Antonova left the production project and decided on an independent career. Here is just one quote from Sasha Antonova’s website during that difficult time:
“- I was treated like a slave. Any dissatisfaction was accompanied by shouting, stomping, spitting, threats and insults. They demanded complete submission from me. They controlled everything: from how I dress, to who I communicate with and who my friends are. After another conflict, the threats turned into reality. They just beat me up. I was even in the hospital. And I finally realized that I was working with inadequate people, and I finally decided: I will not work with schizophrenics. And she left..."
Nikita (1998-2001)
The scandalous and shocking artist shocked Russian show business with his sexual frankness, sensuality and style. After the debut album “Fly Away Forever” (1999), Aizenshpis Records releases the artist’s second successful album “I’ll Drown in Your Love” (2001). It begins with her new stage in the work of a producer: Nikita’s song “You are not mine” is being recorded in Yuri Shmilevich’s own, newly built recording studio, called Star Production.
Dynamite (2001 to present)
In 2001, Yuri Aizenshpis was invited to take the post general director the largest production company at the time, Media Star. Having accepted the offer, Aizenshpis works and meets the talented composer and performer Ilya Zudin, who shows Yuri Shmilevich his songs. Seeing Ilya’s great potential as an artist, the producer decides to create new group, which could take the vacant position of Russian boy band No. 1 at that time. After careful casting, a line-up was formed, which received the name “Dynamite”, which subsequently justified itself more than once. “Dynamite” is literally exploding 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 new heights. Over the three years of the group’s existence, television viewers saw 15 video clips of the group, and each of Dynamite’s three albums rose to the top of various charts.
In 2001, with other producers and their wards, Yuri organized the “Stars for Safe Sex” campaign. Celebrities are practicing safe sex as World AIDS Day approaches (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 condom of European quality 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,” although he did not specify the portrait of which star was on his condom.
Dima Bilan (2002 - 2005)
While studying in my third year at the Gnessin College, I met Yuri Aizenshpis. The first composition "Baby", the song "Boom" and the first video, participation in the competition "New Wave 2002" in Jurmala. In 2003, the presentation of the first debut album “I am a night hooligan” took place. In 2004, his second solo album, “On the Shore of the Sky,” was released. Videos 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 “Stopudovy Hit - 2004” award. 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 Maksibit

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

Interestingly, the real name of Yuri’s father is Shmul. The NKVD officer, filling out the passport, got it wrong. This is how Shmil Aizenshpis turned out. The man went through the Second World War and visited Berlin. However, the soldier was never wounded. Yuri Shmilevich’s mother’s biography is no less interesting. Maria Mikhailovna was born in Belarus.

After the death of her parents, she was given over to distant relatives to raise. Because of the outbreak of the war, I did not have time to obtain a diploma in journalism. Maria Mikhailovna joined the partisan detachment and almost fell into the hands of the Germans several times. In the post-war years she was awarded medals and orders.

Yuri's parents met at the Belorussky railway station in 1944. After the end of the war, Maria Mikhailovna and Shmil Moiseevich ended up in the Main Directorate of Airfield Construction. At that time, the Aizenshpis family lived well. In their house there was a TV and a gramophone with a large collection of records.

Until 1961, the producer's family lived in a wooden barracks, but then moved to an apartment located in the Sokol district of Moscow. Yuri Shmilevich was a sporty child, attended sports school. The producer was a fan of handball, volleyball and athletics. I had to retire from professional sports due to a leg injury.

Yuri took his first steps as an administrator in his youth. In 1965, the man began collaborating with the rock group Sokol. Despite the obvious craving for show business, Aizenshpis received economic education at the Moscow Economic and Statistical Institute.

Music and production

Yuri Shmilevich's career as a producer began while still studying at the institute. Collaboration with a rock band did not help achieve the desired heights. Then Aizenshpis went to prison for conducting illegal currency transactions. After leaving prison, the producer found himself in the perestroika world, which became the starting point for developing a career in show business.

Meeting Alexander Lipnitsky allowed Aizenshpis to become the director of the Interchance festival. Gradually, the man studied the basics of behind-the-scenes life, identified methods of influencing musicians, and later moved on to producing.

Best of the day

“Promoting an artist is the functional responsibility of the producer. And here any means are good. Through diplomacy, bribery, threats or blackmail,” said Yuri Shmilevich.

This approach to the matter turned out to be successful. From an ordinary producer, Aizenshpis quickly rose to the rank of show business shark. Yuri began helping performers who wanted to be on the big stage. Not everyone suited Aizenshpis. The producer, lighting the stars, chose artists who could “hook” the viewer. A prerequisite was the presence of a repertoire. To promote musicians, Yuri Shmilevich used the media and television.

In 1988, the Kino group fell into the hands of Aizenshpis. By this time, the musicians had already reached a certain level on their own, but a professional approach to promotion was required. The collaboration of two talented people - Yuri Shmilevich and Viktor Tsoi - bore fruit.

The fame of the producer and musician soared to unprecedented heights. Two years later, Viktor Tsoi dies. Aizenshpis takes out a loan of 5 million rubles and releases the musician’s posthumous album “Black Album”. The disc's circulation exceeded 1 million copies. The producer earned 24 million from this project.

Yuri Shmilevich's career developed rapidly. After “Kino” there was another group – “Technology”. In fact, Aizenshpis promoted the group from scratch. Young musicians became popular. For an unknown reason, after a year of working together, the paths of the producer and the wards diverge.

Already in 1992, Yuri Aizenshpis was recognized as the best producer in the country. A year after official recognition he meets Svetlana Gaiman, known under the pseudonym Linda. They worked for several months, after which Maxim Fadeev began promoting the singer.

For 6 years, Yuri Shmilevich collaborated with the famous singer Vlad Stashevsky in the 90s. Collaboration led to the recording of 5 albums. Aizenshpis increased Vlad’s popularity and recognition significantly. The musician was invited to major concerts and events in Russia and the USA.

Yuri Aizenshpis' track record includes such stars as Katya Lel, Nikita, and the Dynamite group. The main achievement in the work of the producer was Dima Bilan. Under the leadership of Yuri Shmilevich, they learned about the artist in Russia.

Aizenshpis described highlights life and work in books. The producer published “Lighting the Stars. Notes and advice from a show business pioneer,” “From a black marketeer to a producer. Business people in the USSR" and "Viktor Tsoi and others. How the stars light up." In memory of the producer, a program was broadcast on the TVC channel called “Wild Money.”

Personal life

Rumors constantly circulated around Aizenshpis. In show business they said that the producer brought the so-called “blue lobby” into the work. Previously, women were brought to men for promotion; later, lovers of politicians and businessmen began to appear. More than once Yuri Shmilevich and the producer’s wards were called gay, but no official confirmation of the men’s orientation was found.

“Spending time in prison could have influenced Aizenshpis’s orientation,” suggested Alexander Stefanovich, Alla Pugacheva’s ex-husband.

Numerous rumors did not stop us from living civil marriage Yuri Shmilevich with Elena Lvovna Kovrigina.

After the death of Aizenshpis, she quickly arranged her personal life by marrying director Leonid Goyningen-Güne. Yuri and Elena had a son, Mikhail. In 2014, a young man was reported to the police for drug use. During the search, Mikhail was found to have 1.5 grams of cocaine.

Death

Imprisonment had a negative impact on the producer's health. For a long time, Yuri Aizenshpis hid what he had serious problems. Officially, the cause of death is myocardial infarction, but a number of diagnoses led to this, including cirrhosis of the liver, gastrointestinal bleeding, hepatitis B and C. The information that Yuri Shmilevich had AIDS, which led to death, is not documented.

Three days before his death, Aizenshpis felt unwell. Doctors decided to hospitalize the producer. After the manipulations, the condition improved, so Yuri Shmilevich persuaded the doctors to release him from the hospital. The producer wanted to see Dima Bilan receive the prestigious MTV-2005 music award.

The producer did not live to see the ceremony for two days. Aizenshpis's life was cut short at the age of 61. The funeral took place at the Domodedovo cemetery. The farewell ceremony was attended by artists, composers and other show business figures. Numerous photos of the grieving Dima Bilan spread across the Internet. The producer's grave is located next to his parents'.

Admiration for Yuri Aizenshpis
Damir 19.04.2007 03:47:24

I would like to express my admiration for this little man! The younger generation needs to follow his example!

Good memory to Aizenshpis
nikolos 09.01.2010 11:08:34

I came here to honor the memory of this wonderful man, I am proud that we have one Motherland, may you rest in peace, blessed memory forever and the Kingdom of Heaven Yuri Shmilevich! Nikolai.

Born on July 15, 1945 in Moscow.
In 1968 he graduated from the Moscow Institute of Economics and Statistics with a degree in economics engineering. He began his professional career in 1965, collaborating as an administrator with the rock group SOKOL. Developed an original scheme for the team's activities. After a verbal agreement with the director of the club to hold a concert, the administrator bought tickets for the evening screening of the film and distributed them at a higher price. For the first time, I involved people who ensured order during the group’s performance. On January 7, 1970 he 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). He was released from prison in 1977 and subsequently received an official apology.

For a short time he worked at the "Gallery" organization under the city committee of the Komsomol, organizing concerts of young performers. At the beginning of 1989, he produced the KINO group. He was one of the first to break the state monopoly on record publishing. 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 TECHNOLOGY group. Helps musicians release their debut album “Everything You Want”, organizes the production of various printed products (posters, postcards, etc.).
In 1992 he became a laureate of the national Russian music award “Ovation” in the category “best producer”. Between 1992 and 1993 worked as a producer with the groups “MORAL CODE” and “YOUNG 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 Aisenshpis Records label). He participated in the organization of the international festival “Sunny Adjara” (1994), as well as in the establishment of the “Star” music award. In 1995, based on the results of work for 1993-1994, he was again awarded the Ovation Prize. In 1997, he continued to work with Vlad Stashevsky, while simultaneously collaborating with the aspiring singer Inga Drozdova. From 1999 to 2000 he was involved in the SASHA project. From 1998 to 2001 - raised performer NIKITA to the heights of popularity.

He passed away on September 20, 2005 in Moscow. He was buried at the Domodedovo cemetery near Moscow.

Show business, twice winner of the Ovation music award. He helped many current Russian pop stars ascend to the show business horizon. And the creative groups and solo singers with whom he worked still evoke a response in the hearts of the public.

Family and childhood of Yuri Aizenshpis

Yuri Aizenshpis, whose photo can be seen in this article, was born in Chelyabinsk, immediately after the war, on June fifteenth, 1945. His father Shmil Moiseevich was a veteran of the Great Patriotic War. Mother's name was Maria Mikhailovna. The surname Aizenshpis means “iron peak” in Yiddish. Yuri's parents were Jews and worked in the Main Directorate for Airfield Construction.

At first the family lived in a wooden barracks. But in 1961 they received an apartment in Sokol (it was a prestigious Moscow district at that time). Yuri Aizenshpis was very fond of sports since childhood. His greatest interests were athletics, handball and volleyball. He could well become a champion in one of these areas. But he still had to leave the sport. The reason for this was a leg injury he received at the age of 16.

First steps in show business

After school, Yuri Aizenshpis entered a university with a degree in economic engineering. He graduated from it in 1968. In addition to his passion for sports, Yuri had something else. He was attracted to music. Since his sports career was closed for him due to injury, he chose show business.

And his first job was as an administrator of the rock group “Falcon”. He sold tickets to the concerts of the creative team according to an original scheme, which helped technically equip the stage with first-class equipment. And the quality and purity of sound have always been very important for Yuri.

First, he negotiated with club directors for the group to perform. Next, Aizenshpis bought all the tickets for the evening concerts and then sold them himself at a higher price. Yuri was the first in the Soviet Union to hire security to ensure order during the show.

Yuri Aizenshpis: biography. Arrest

Using the proceeds from ticket sales (mostly dollars), Aizenshpis purchased musical instruments for the group and high-quality sound equipment from foreigners. But at that time in the USSR all foreign exchange transactions were illegal, and he took a great risk by making such transactions. If he had been caught, he could have been imprisoned for a serious prison term.

His “speculative” activities drew attention law enforcement agencies. On January 7, 1970, Aizenshpis was arrested. During the search, more than 7 thousand dollars were found and confiscated (as Yuri himself admitted in one of his interviews, he had even accumulated more than 17 thousand dollars) and over 15,000 rubles. Aizenshpis Yuri Shmilevich was convicted of currency fraud. He was given a sentence of ten years in prison. Yuri was sent to the city of Krasnoyarsk to serve his sentence.

After he was released, he did not enjoy it for long. And again he ended up in prison under the same article. But this time he was given seven years and eight months in prison. In total, he served seventeen years in prison. And he was finally released only in April 1988.

Imprisonment

Yuri was put in prison to serve time among inveterate criminals. Every day he observed cruelty, blood and mayhem. But they didn't touch him. The main reason Most likely it was his communication skills. He knew how to listen and conduct a dialogue. Being a very sociable person, Yuri Aizenshpis was able to quickly adapt to an environment alien to him.

Although more than half of the prisoners usually go hungry, he avoided this pitfall. The money, although secretly transferred in the form of bribes to the prison, was able to make his existence in the zone more bearable than for many. At least he wasn't starving.

Yuri was not kept in one place; he was transferred many times to other regions and zones. Only in any place he was distinguished by his unbending character and high standard of living.

The first “star” group of Yuri Aizenshpis

After his release from prison, where Yuri Aizenshpis served a total of seventeen years, he got a job at the Gallery, which created the Komsomol city committee. Aizenshpis first organized concerts for young talented performers. In 1989 he became the official producer of the Kino group. Yuri was among the first to break the state monopoly on the release of records. Aizenshpis released the last recording of the Kino group, “Black Album,” in 1990, taking out a loan of 5 million rubles for this. This was his first group, which he brought to the world stage.

Further activities in show business

In 1991-1992 producer Yuri Aizenshpis worked closely with the Tekhnologiya group. He helped release their first album, “Everything You Want,” which became their debut. He expanded his advertising activities widely, producing printed products depicting members of the “Technology” group: postcards, posters, etc.

In 1992 he received the Ovation Award as the best producer in the country. And from this year to ninety-three he collaborated with the Moral Code and Young Guns. In the summer of 1994 he began working with Vlad Stashevsky. During their collaboration, four were recorded music album. The debut was “Love Doesn’t Live Here Anymore.”

In the same year, Yuri was one of the organizers of the international music festival “Sunny Adjara”. Participated in the establishment of the Star Prize. Based on the results of his creative activity in 1995, Aizenshpis Yuri Shmilevich again received the Ovation Award.

Yuri Aizenshpis is called one of the first producers in Russia. It was he who opened the Kino group to the general public and brought Dima Bilan to the big stage. Aizenshpis died 8 years ago, but there are still a lot of rumors around his name.

A fabulous amount was seized

Aizenshpis’s sister, Faina Shmilyevna, still remembers her brother almost every day. Although in childhood, according to a relative, they did not have to communicate so often. After all, Aizenshpis spent his entire youth in prison.

“We had completely different childhoods,” recalls Faina. “While I was growing up, he was in prison. My parents were very worried, but I probably didn’t realize everything.

Yuri Shmilevich ended up in places not so remote for currency fraud and speculation on an especially large scale. IN Soviet era this was a serious article. Relatives still remember: the first time he was detained right at the entrance on Christmas Day - January 7, 1970. Having sold the gold at a profit, he returned home. A fabulous sum of sixteen thousand rubles and seven thousand dollars, as well as imported equipment, was confiscated from him at that time. Aizenshpis was sentenced to ten years in prison. He was released early after serving seven years. However, less than a month later he was again put on trial for profiteering - and received eight years.

According to Faina Shmilyevna, the relatives could not even imagine that after this Yuri would become a famous producer. Although his organizational skills manifested themselves in his youth. Already at the age of 20, he worked as an administrator with the rock group Sokol.

Stashevsky's departure was a blow

Having freed himself, Yuri Shmilevich began to engage in show business. At first he helped the Kino group and Viktor Tsoi, then he found Vlad Stashevsky. In a matter of months, he turned an unknown boy into a real idol, whom the whole country coveted.

“My brother never shared his difficulties, although of course there were plenty of them in his work,” says Faina Aizenshpis. “But this topic was closed, he always answered our questions: “It’s better not to talk about this.” Yura was a demanding and tough person in his work, but at the same time a very fair person. With us, he was completely different: calm, reasonable - we had ordinary family relationships.

Joseph Prigogine once admitted: Aizenshpis had no luck with artists. Having achieved fame, they betrayed him. At first glance, they parted with Stashevsky quietly and calmly. Vlad decided that he could work independently. Yuri Shmilevich let the singer go, but deep down he was very worried. The departure of Vlad, in whom he had poured his whole soul, was a real blow. Unfortunately, he was far from the first - many whom Aizenshpis brought into the public betrayed him and left him with nothing.

“Once my brother told me that an unknown boy came from somewhere and he was messing with him,” continues the producer’s sister. – It was Dima Bilan. It was Yura who helped him rise; his ascent took place before our eyes.

Until the last time we heard his heartbeat

There are still a lot of rumors surrounding the death of Aizenshpis. According to the official version, he died of a heart attack, but in show business they believe that this is not so.

“I had a heart attack,” sighs Faina Shmilyevna. “I was at the door of the intensive care unit where he was taken.” We spent the whole day there, I still remember everything in the smallest detail. We heard the heartbeat - everything is loud in the intensive care unit!

Those close to the producer do not hide the fact that Aizenshpis never really thought about his health. His players were much more important to him. For example, before his death he was very worried whether Bilan would receive well-deserved awards at one of the prestigious music awards. Dima took the awards and dedicated them to his first producer, who lived only 60 years.

“I think the prison did its job,” says Faina Aizenshpis. – So many years of life were actually lost. Every day is a struggle for existence, health is ruined. Everyone told him that he needed to rest and work less. But he didn’t listen to anyone, for him it was a normal existence. Therefore, if his brother were alive, he would not change anything.