(born on 23.12.1936)
Kim Julius Chersanovich (born on December 23, 1936, in Moscow). In 1938, Father K., an interpreter from the Korean Kim Cher San, was shot, his mother until 1946 was exiled. In 1959, K. graduated from the historical and philological faculty of the Moscow Regional Pedagogical Institute named after NK Krupskaya. He taught history and literature in the secondary school: until 1962 in Kamchatka, in 1962-1968 – in the physics and mathematics boarding school No. 18 at Moscow State University.
From the beginning of the 1960s he acquired all-Union fame as an author and performer of lyric-romantic and humorous songs of his own composition. Along with B. Okudzhava, V. Vysotsky, A. Galich and several other authors, he became a “classic” of the genre of the author’s song. The tape recordings of K. concerts (as a rule, domestic) were distributed all over the country. K. worked a lot for the theater, cinema, television – most often as a songwriter, but sometimes as a playwright, screenwriter, actor.
As a representative of the author’s song K. inherent musical and performing talent and strongly pronounced theatrical, playful beginning. In his songs, irony, stylization, parody is almost always present, intonationally used and played a lot of both literary and literary variety genres – from rural folklore and classical ballad to modern urban romance or student’s skits. This last feature was clearly manifested in his work as a “password” – a poet writing songs for theatrical performances, television and movies. Here, K.’s gift of reincarnation is fully expressed. Among the most famous productions in which K.’s songs were used (often together with the composers G. Gladkov and V. Dashkevich), the films “Seven Notes in Silence,” “
K. – participant of petition campaigns 1967-1969. He, along with his father-in-law P. Yakir, and I. Gabay, was the co-author of one of the most famous appeals of those years: “To scientists, culture and art” (January 1968). It analyzes the negative social consequences of political persecution, it is said about their detrimental impact on the moral atmosphere in the country.
To the same period, the block of K.’s songs, thematically connected with “dissident” plots: courts, searches, shadowing, etc., belongs to this period. These songs are a kind of poetic encyclopedia
of dissidence, solved in a mixed genre and intonation key, where satyrs are present, self-irony and tragedy.
In 1968, K. was forced to resign from the school “on his own”. He was also “recommended” to stop public concerts; with the posters of performances, from the credits of the TV and movies, where K.’s songs were used, his name disappeared. Later K. allowed to cooperate with the cinema and the theater, provided that he will use a pseudonym (Yu. Mikhailov). However, publications in print, albeit under a pseudonym, were not allowed until the beginning of perestroika.
In 1970-1971, K. participated in the work on the preparation of the “Chronicle of current events.” Some of its editions of this period are almost completely edited by him.
After the trial of Yakir and Krasin in 1973, he took no active part in human rights activities.
After the start of the restructuring, the record company Melodiya released a record with his songs (1988); in the credits of the movies his surname appears. In 1990 he published a poetic collection K. “Creative evening”.
In recent years, K. increasingly appears as a screenwriter and playwright. His plays, scripts and compositions feature performances “Noah and His Sons”, “Magic Dream”, “Til Ulenspiegel”, “Immortal Flemish”, “Moscow Cuisines”. The song play-composition “Moscow Cuisines” became a kind of completion of the theme of dissidence in K.’s work.
Among the last works of K. is a series of memoirs of stories “Once Mikhailov…”.
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