Magazines of the 60s and 70s. Magazines in the USSR (29 photos). Appendix to the magazine "Young Technician"

"Funny pictures"

"Vesyolyye Kartinki" is a children's humorous magazine designed for children from 4 to 10 years old.

It was published monthly in Moscow from September 1956. Along with Murzilka, it was the most popular children's magazine in the USSR in the 1960s and 80s. In the early 1980s, its circulation reached 9.5 million copies.

"Around the world"

Vokrug sveta is the oldest Russian popular science and country studies magazine, published since December 1860. During its existence, it has changed several publishers.

From January 1918 to January 1927 and from July 1941 to December 1945 the magazine was not published. The subjects of articles are geography, travelling, ethnography, biology, astronomy, medicine, culture, history, biographies, cookery.

"Behind the wheel"

"Behind the Rulem" is a popular Soviet and Russian Russian-language magazine about cars and the automotive industry. Until 1989, it was the only automotive periodical in the USSR designed for a wide range of readers.

By the end of the 1980s, the magazine's circulation reached 4.5 million copies. It is known, for example, that the poet Vladimir Mayakovsky worked in this journal.

"Health"

Health is a monthly Soviet and Russian magazine about human health and ways to preserve it.

Began publishing in January 1955. Initially, it was a body for the promotion of a healthy lifestyle, but later became a full-fledged popular science magazine.

"Knowledge is power"

Knowledge is Power is a popular science and science and art magazine founded in 1926.

It published materials on achievements in various fields of science - physics, astronomy, cosmology, biology, history, economics, philosophy, psychology, sociology.

The motto of the magazine is the saying of Francis Bacon: “Knowledge itself is power” (“Knowledge itself is power”).

"Foreign literature"

Foreign Literature (IL) is a literary and art magazine specializing in the publication of translated literature. Founded in July 1955 as a governing body of the Writers' Union of the USSR.

For Soviet readers, the magazine was the only opportunity to get acquainted with the work of many major Western writers, whose books were not published in the USSR for censorship reasons.

"Seeker"

The Seeker is a monthly almanac that publishes adventure, science fiction and detective stories, popular science essays, as well as fiction and educational literature for children from 2 to 14 years old.

It was founded in 1961, the year of the centennial anniversary of the magazine "Around the World", as a literary supplement to the latter.

The Searcher published for the first time chapters from the stories of the Strugatsky brothers Interns and Monday Starts on Saturday. The magazine published works by Isaac Asimov, Ray Bradbury, Clifford Simak, Robert Heinlein, and Robert Sheckley.

"Bonfire"

Koster is a monthly literary and art magazine for schoolchildren. It was founded under the publishing house "Children's Literature" in 1936. It was published from July 1936 to 1946, then, after a ten-year break, the issue was resumed in July 1956.

At various times, "Koster" was an organ of the Central Committee of the All-Union Leninist Young Communist League; Central Committee of the Komsomol and the Union of Writers of the USSR. It published Marshak, Chukovsky, Schwartz, Paustovsky, Zoshchenko and many others.

Sergei Dovlatov worked for this magazine. And it also hosted the first publication of Joseph Brodsky in the Soviet press. Also, some works by famous foreign children's writers - Gianni Rodari and Astrid Lindgren - were published here for the first time.

"Peasant Woman"

Peasant Woman is a periodical published since 1922. The first issue of The Peasant Woman was published with a circulation of five thousand copies, and in 1973 the circulation reached 6.3 million copies.

In the first issue, an appeal was published by the chairman of the All-Russian Central Executive Committee, Mikhail Kalinin, to readers, which explained the role of the publication in introducing working women to the social and cultural life of the country. A free manual was attached to each issue - lessons in cutting and sewing, knitting, fashion, and so on.

Krupskaya and Lunacharsky spoke on the pages of the magazine. Demyan Bedny, Maxim Gorky, Serafimovich, Tvardovsky and other eminent writers wrote for him.

"Crocodile"

Krokodil is a satirical magazine founded in 1922 as a supplement to Rabochaya Gazeta. At the end of the 1920s, an airplane was built using the funds collected from the subscribers of the magazine and its employees.

Writers Zoshchenko, Ilf and Petrov, Kataev, artists Kukryniksy and Boris Efimov worked in the magazine on a permanent basis. Bagritsky and Olesha published periodically.

In 1933, the NKVD discovered in Krokodil a “counter-revolutionary formation” engaged in “anti-Soviet agitation” in the form of composing and distributing illegal satirical texts. As a result, two employees of the magazine were arrested, the editorial board was dissolved, and the editor lost his post.

By decision of the Orgburo and the Politburo of the Central Committee of the All-Union Communist Party of Bolsheviks, Krokodil was transferred to Pravda, and from that time began to participate in all Soviet political campaigns.

Since 1934, Krokodil has been the most important official mouthpiece of politics at all levels of social and political life.

"Horizon"

"Krugozor" is a monthly literary-musical and socio-political and illustrated magazine, with applications in the form of flexible gramophone records. Published in 1964-1992.

The origins of the magazine were Yuri Vizbor, who worked in it for 7 years from the moment of its foundation, Lyudmila Petrushevskaya, poet Yevgeny Khramov.

The magazine constantly published songs performed by Soviet pop stars: Kobzon, Obodzinsky, Rotaru, Pugacheva, popular VIA (“Pesnyary”, “Gems”, “Flame”, etc.), and many well-known foreign performers, whose records are in demand in the Soviet Union significantly exceeded the offer.

"Model designer"

"Modeler-Constructor" (until 1966 - "Young Modeler-Constructor") is a monthly popular scientific and technical magazine.

The first issue of the magazine called "Young model designer" came out in August 1962 under the advice of famous aircraft designers A. Tupolev, S. Ilyushin, as well as cosmonaut Yuri Gagarin.

Until 1965, the magazine was published irregularly, with a total of 13 issues. Since 1966, it has become a monthly subscription publication and changed its name to "Model Designer".

Each issue of the magazine published drawings and diagrams of a wide variety of designs - from household appliances to homemade microcars and amateur aircraft, as well as materials on the history of technology.

"Murzilka"

Murzilka is a popular monthly literary and art magazine for children. From the day of its foundation (May 16, 1924) until 1991, it was the press organ of the Central Committee of the Komsomol and the Central Council of the All-Union Pioneer Organization named after V. I. Lenin.

The magazine started its creative way writers such as Samuil Marshak, Sergei Mikhalkov, Boris Zakhoder, Agniya Barto and Nikolai Nosov.
In 1977-1983, the magazine published a detective-mysterious story about Yabeda-Koryabeda and her agents, and in 1979 - science fiction dreams "Traveling there and back" (author and artist - A. Semyonov).

In 2011, the magazine was listed in the Guinness Book of Records. It was recognized as the longest-running children's publication.

"Science and life"

"Science and Life" is a monthly popular science illustrated magazine of a wide profile. It was founded in 1890.

The publication was resumed in October 1934. The circulation of the magazine in the 1970s-1980s reached 3 million copies and was one of the highest in the USSR.

"Spark"

Ogonyok is a socio-political, literary and artistic illustrated weekly magazine. It was founded and published in 1899-1918 in St. Petersburg (Petrograd), and since 1923 began to appear in Moscow.

In 1918, the publication of the magazine ceased and was resumed through the efforts of Mikhail Koltsov in 1923. Until 1940, 36 issues a year were published; since 1940, the magazine has turned into a weekly.

In 1925-1991, artistic and journalistic brochures were published in the Ogonyok Library series.

"Sail"

"Sail" (until 1988 "Working Shift") is an all-Union youth magazine that published fiction stories from both novice Soviet authors and world-famous foreign authors. The circulation reached 1 million copies.

On the last page of the magazine were published covers for cassettes of both domestic bands ("Alisa") and foreign ones ("Animals"). In addition, a fantastic story was published in almost every issue of the magazine.

"Pioneer"

Pioneer is a monthly literary, artistic and socio-political magazine of the Central Committee of the Komsomol and the Central Council of the All-Union Pioneer Organization named after V. I. Lenin for pioneers and schoolchildren.

The first issue was published on March 15, 1924 and was dedicated to V. I. Lenin. It is considered a bibliographic rarity, since the author of the essay on Lenin was Leon Trotsky, and the published copies were subsequently destroyed.

"Pioneer" had permanent sections of school and pioneer life, journalism, science and technology, art, sports, children's art. In addition, the magazine organized the work of Timur's teams and detachments.

"Worker"

"Rabotnitsa" is a socio-political, literary and artistic magazine for women. It was established on the initiative of Vladimir Lenin to "protect the interests of the women's labor movement" and promote the views of the labor movement.

The first issue was published on February 23 (March 8, new style), 1914. Until 1923 he was published in St. Petersburg, then in Moscow. Since 1943, Rabotnitsa began to appear monthly.

In 1985, the magazine began a series of publications for 3 years - the Home Academy for Home Economics and Needlework. The program of the Academy included 4 sections - Cutting and sewing, Knitting, Cooking, Personal care.

In the post-Soviet period, the magazine appeared sections "Over 50, and everything is in order", "Man and woman", "Conversation for two", "Men in our life", "Life story".

"A peer"

"Rovesnik" is a youth magazine published since July 1962. The main audience is young people from 14 to 28 years old. In the Soviet Union, existing under the auspices of the Central Committee of the All-Union Leninist Young Communist League and the KMO of the USSR, "Rovesnik" wrote on topics that were unique for the Soviet youth at that time - such as rock music, the life and culture of foreign youth.

"Roman-newspaper"

Roman-gazeta is a Soviet and Russian literary magazine published monthly since 1927 and twice a month since 1957.

By July 1987 (on the occasion of the 60th anniversary of the publication of the first issue of the magazine) 1066 issues of Roman-gazeta were published with a total circulation of over 1 billion 300 million copies.

During this period, 528 authors appeared in Roman-gazeta, of which 434 were Soviet writers and 94 were foreign. Published 440 novels, 380 stories and 12 poems.

In 1989, the circulation of the magazine exceeded 3 million copies.

"Change"

Smena is an illustrated popular humanitarian magazine with a strong literary tradition. Founded in 1924, it was the most popular youth magazine in the Soviet Union.

Since its inception, the magazine has published premiere publications of books that later became bestsellers. In the 1920s, it was in Smena that the first stories by Mikhail Sholokhov and Alexander Grin appeared, as well as poems by Vladimir Mayakovsky.

In the post-war years, the pages of Smena published an excerpt from the novel The Young Guard by Alexander Fadeev and the story of Stanislav Lem, not yet known in the USSR, “Checking Loyalty”. In 1975, the novel by the Weiner brothers, The Era of Mercy, appeared on the pages of Smena.

"Soviet Screen"

Until 1992, the magazine was an organ of the Union of Cinematographers of the USSR and Goskino of the USSR. The magazine published articles about domestic and foreign novelties of the movie screen, articles about the history of cinema, criticism, creative portraits of actors and cinematographers.

In 1984, the circulation of the publication amounted to 1,900 thousand copies. In 1991, the magazine was renamed Ekran.

"Sport games"

"Sports Games" is a Soviet and Russian sports and methodical magazine published in 1955-1994. Published in Moscow by the Committee for physical education and sports under the Council of Ministers of the USSR. The journal was devoted to various problems of the theory and practice of sports games.

The magazine talked about team sports (football, hockey, basketball, tennis, etc.). Published the results of sports competitions. As of 1975, the circulation of the magazine was 170,000 copies.

"Student Meridian"

"Student Meridian" is a journalistic, popular science and literary and artistic youth magazine, formed in 1924 under the name "Red Youth" (1924-1925).

Before the Great Patriotic War the name changed twice (“Red Students”, 1925-1935; “Soviet Students”, 1936-1967).
In 1925, the journal was headed by N. K. Krupskaya. As a teacher, she came to grips with student issues and published a significant number of pedagogical articles here. Around these years, Alexander Rodchenko worked in the magazine, who attracted Vladimir Mayakovsky to cooperate.

The editorial archive contains the certificate of the "Book of Records", confirming that the editorial office has a unique collection of 36,000 kisses sent to "St. M." magazine fans.
In July-August 1991, there was a special issue of the magazine, 100 pages long, entirely dedicated to The Beatles.

"Technology for the youth"

"Technique for Youth" is a monthly popular science and literary and art magazine. Published since July 1933.
Technique for Youth is one of the few Soviet popular science magazines published during the Great Patriotic War. It published the best works of Soviet and foreign science fiction.

"Ural Pathfinder"

"Ural Pathfinder" is a popular monthly literary and journalistic, educational magazine about tourism and local history published in Yekaterinburg (Sverdlovsk).

The first issue of the magazine was published in April 1935, then, after nine issues, the publication was discontinued. The magazine experienced its second birth in 1958.

Vladislav Krapivin, Viktor Astafiev, Sergei Drugal, Sergei Lukyanenko, German Drobiz and many others were published in the magazine.

In 1981, the editors of the magazine "Ural Pathfinder" established the festival of fantasy "Aelita", which presents the literary award "Aelita", which is the first major literary award in the Ural region and the first literary award in the field of fantasy in the country.

"Youth"

"Yunost" is a literary and artistic illustrated magazine for youth. It was founded in Moscow in 1955 on the initiative of Valentin Kataev, who became the first editor-in-chief and was removed from this position in 1961 for the publication of Vasily Aksyonov's Star Ticket.

From other literary magazines "Youth" was distinguished by great interest in public life and the world around. It had permanent sections "Science and Technology", "Sport", "Facts and Searches". The magazine was one of the first to highlight the phenomenon of bard songs, and in the 1980s - "Mitkov".

One of the most characteristic features of "Youth" was a humorous section, which in 1956-1972 was called "Vacuum Cleaner", later - "Green Briefcase". The editors of the section at different times were Mark Rozovsky, Arkady Arkanov and Grigory Gorin, Viktor Slavkin and Mikhail Zadornov.

basis basic wardrobe today. For examples of how to wear all this, you can contact your parents and grandparents. Indeed, from family photo albums one can trace how the taste and moods in the country have evolved, fashion and assortment in stores have changed.

Vera Ivanovna Frolova

In the early 70s, the rhythmic chirring of a hand-held sewing machine came from almost every apartment. On the weekends, suitcases full of cheerful fabrics, old tailor's scissors, countless colorful spools, and black-and-white photographs of movie stars in festival attire arrived. Copying something "like Sophia Loren" in the last film was a matter of honor.

In the mid-70s, even excellent students raved about flared trousers and miniskirts. It was an attribute of adulthood. You are fourteen years old and you convince your mother to allocate 10-15 rubles from the family budget for sewing the first and most necessary flares in your life. It was impossible to buy anything like this in the store, so everything was sewn by ourselves. The perfect pair of bell-bottoms flared from the hip and hid 10cm platform shoes, and the skirt was 30cm long. At dances, we made an impression with new bell-bottoms or a mini-skirt made from dad's cut of gabardine, issued for sewing military uniforms, as well as a knitted lace-up noodle sweater. By the way, they might not be allowed to go to school in a miniskirt. In the mornings we were met by the principal of the school, standing under the fundamental portrait of A. S. Pushkin five by six meters with a measuring tape in her hands. I still keep things sewn by my mother from the distant 70s.

Margarita Schemeleva

Among my friends and acquaintances were young artists and actresses. Everyone tried to emphasize their individuality and did not blindly imitate magazine fashion. In the early 1970-1973, every fashionable girl had a leatherette coat and flared trousers. The coats were different colors. I liked the black and cherry colors, but I had brown. It was difficult to find a solid ensemble, but we tried. For example, I made a black midi coat at the dressmaker. In Vilnius, I bought dark green patent leather shoes for him and a neckerchief exactly the same color as the shoes.

She drew ideas for outfits from magazines, films and her own imagination. In the summer, you could turn around and do something with your own hands, such as printed T-shirts, two- and three-color skirts, and knot-dyed shirts. I made a stencil for a T-shirt with the print "Make Love, Not War" myself, and with oil paint for painting. Previously, I languished the paint on a piece of cardboard for 24 hours so that the pigment lay on the knitwear without greasy streaks. And it worked. Round glasses with blue lenses were brought by my mother from Prague. Included with the frame was a set of multi-colored glasses, there were even pink ones. I bought a knitwear suit (from a photo in a hat. - Approx. ed.) from a familiar fashion designer.

I had a lot of suede things - bags, skirts. In 1975, I bought Italian sandals with a wooden platform. Once a classmate carved men's wooden slippers according to my sketch, then everyone on the streets looked back at him. Most of my wardrobe was imported, as I had a wonderful friend Venya, who knew how to communicate with foreign students and tourists. He brought me and my sister very beautiful, high-quality and fashionable things. And even French perfumes in unusual bottles. It was then that real navy blue jeans with double stitching, denim skirts and even a denim sundress appeared in my wardrobe. Perhaps Vienna is now seventy years old.

Nilina Vitalievna Mishina

In the 70s, due to the total shortage, it was difficult to get fashionable clothes. I had to show maximum invention in order to look fashionable. They rarely bought clothes, mostly they were sewn in the atelier or from familiar tailors. Fashion was then tracked in cinemas - they watched a lot of European films and read fashion magazines.

The early 70s were remembered for the hippie style, then they wore either extra-mini or maxi, and even curvy women did not deny themselves a mini. I wore colorful skirts that I sewed for myself: I bought the cheapest cotton, sheathed them with lace and braid. They wore fringed shawls, blouses in ethnic style. The hair was left long, tied with braid across the forehead, and the hairstyles were practically not removed.

Then came the safari style, influenced by Yves Saint Laurent and French cinema. Cotton, linen, light but form-fitting fabrics in natural colours. Wooden, mother-of-pearl, horn buttons, stitched shoulder straps, flaps and coquettes. It was the 70s that gave the perfect silhouette to classic men's and women's raincoats, more beautiful than which I still have not seen.

The decade ended with a reckless disco style. The guys wore fitted body shirts, and sutured their entire outerwear at the waist alone. The most daring mods decorated the ends of the flares with metal coins. They wore colorful shirts with very long collar ends. My favorite attire of that time was clogs, light bell-bottoms and sports-type short tops, and I sewed suede and leather accessories for myself. . Hair began to curl in the manner of an Afro on curlers, which they themselves made from newspapers.

Alena Pironko

In the 70s, everything imported was fashionable - bought from under the counter in a department store (if some neighbor or acquaintance worked in the department store), brought by someone who traveled on trips to socialist countries. In the early 70s, I wore a knitted beret with a visor and Soviet-made "jeans", and it was a great fortune to buy a good turtleneck at that time.

Around 1975, acquaintances who worked in a military unit in the GDR brought me a dress and shoes, and my mother a crimpline pantsuit. If my mother liked the suit and really suited her (despite the fact that it was made of 100% synthetics), then I categorically did not like the dress or the shoes: the woolen dress was prickly, the style was stupid, and the shoes were small and stupid. Only in 1979, when I was a student at a music school, did I get my first real jeans, bought from speculators for a fortune. I wore them with a machine knitted sweater.

Nadezhda Petrovna Tikhonova

In the photo, 1978, the husband is wearing the simplest Soviet-made jeans - soft cotton twill weave. A yellow anorak from the then fashionable bologna was sewn by a friend. She sheathed our entire ski company. The jacket was worn by my husband, but sometimes I also shot to vilify. My photo was taken two years earlier - in 1976: I am wearing flared trousers from the same Soviet "jeans", a custom-made blouse with synthetic thread, and Czech-made boots. There were queues for all the good things at that time, but they were available to absolutely everyone. I remember that in the same 70s I managed to buy a coat made according to the patterns of the Dior house.

They bought clothes in GUM and TSUM and in typical department stores. Everyone who was interested in clothes spent time in lines. If you want a new good thing - go to GUM and live there for a week. Due to the meager choice, many sewed things themselves and often with friends at home: in the atelier, the lead time for an order could be a month or more. They dressed more varied than now, and “Moscow Does Not Believe in Tears” illustrates this perfectly. Looking at films from that period, I feel nostalgic.

It was the era of short skirts, the length of some would still seem provocative. Closer to the mid-70s, women's trousers began to come into fashion - they were also sewn on their own. Then came the maxi length, which was a relief from the endless mini. I think it was a great fashion. At that time, everyone took clothes seriously, with the exception of the elderly. Girls of marriageable age dressed especially well. At that time, every stage in fashion was a revolution.

Nylon shirts for men became a real sensation: at first they were exclusively white, and then dry cleaners began to offer dyeing services. In the mid-70s, crimplene became the most fashionable material. Dresses, coats, and men's suits were sewn from it. Everything that was worn in the West, if it did not appear on the shelves of Soviet stores, was carried as if through the air by fashion enthusiasts throughout the country. Of the socialist countries, Yugoslavia was the most fashionable at that time: things and especially shoes from there were considered the most chic.

Svetlana Vasilievna Diricheva

These photos were taken around 1974-1975. I was returning from work and went to visit a friend who was fond of photography. Things in the photo - gloves, hats, veils, negligee - the property of the photographer. As for clothes, in the 70s we wore short and very short dresses, maxi-skirts, from under which a lace petticoat could be seen, sundresses with spaghetti straps with an open back, floor-length dresses with flared sleeves, summer wide-brimmed hats.

I was very fond of over the knee boots, patent leather stocking boots, high platform shoes, stilettos and thick heels. I had several pairs of jeans (Montana, Lee and Levi's) with a high waist and flares from the knee or hip - it was the most fashionable. In addition to jeans, in my wardrobe there was a denim vest and two dressing gowns, maxi and midi lengths. Batiste blouses and velor items were very popular. I worked in a department store in Krasnodar, something like Moscow's Beryozka, so I was one of the first to get all the cream. We also bought clothes during trips to the Baltic States, and I also went to Beryozka itself. For example, in the photo with a peignoir, I am wearing an acrylic T-shirt brought from Hungary.

Lyudmila Glebovna Strakhovskaya

This is 1968, I have been working for two years at the Institute of Applied Mathematics. Keldysh. The coat I made that spring in a steel-coloured wool crepe, lined with natural crepe de chine to match. I think I took the style from Burda magazine - a friend of our family traveled to Germany for work and always brought us the original, German Burda. True, I never sewed on patterns verbatim - I liked to fantasize, besides, I adapted them to my figure.

At that time, many imported things were brought to us, friends or relatives brought something from abroad. For example, the shoes on me were Czech, they are not visible, but they also matched the color of the coat. Ensembles were very fashionable. No one was shy about bright patterns or shades. For example, I had a geometric coat of a very noble pink color with a three-quarter sleeve, which I managed to wear even in winter with high white gloves that my aunt knitted for me - and they also had a stand-up collar instead of a scarf and a white knitted top hat with small fields . In the Soviet Union, there were generally very good natural fabrics. The fabric was sold freely, so every season they bought new cuts and sewed, rather, starting from the material.

We drew ideas about fashion primarily from Italian and French films. We also went to shows at the House of Models on Kuznetsky Most: they seemed not very modern to us, but some ideas could be gleaned. In addition, the House of Models also sold patterns in separate packages, although I cannot say that they were very good. Television in this sense was not very progressive and was inferior to magazines, but at the end of the 60s, Zucchini 13 Chairs appeared, where you could spy on Polish fashion. Fashion changed rapidly, and it seems to me that we were not far behind the West. Basically, it was noticeable in length: at some point, the mini went sharply. I remember one of our employees was kicked out of a seminar because she showed up in a dizzyingly short leather miniskirt that seemed to barely cover her bottom.

Young people who followed fashion dressed uniformly. I remember how I once brought my grandmother Sonya's shoes from Orel, which she had been made to order even before the revolution. They were in excellent condition and made of wonderful leather. Now it would be considered a rare vintage, but they were pointed, and then they didn’t wear them and it was embarrassing to walk in them. Now you can go out in shoes of any style, and then you go and you understand that everyone is looking at you, because you are not in such shoes.

They wore mainly dresses and skirts - they combined them with blouses or sweaters. My sister had a beautiful Austrian sweater with ornaments, which she wore with a straight skirt. At that time, half-sun skirts were also fashionable, which we sewed from checkered woolen fabric. I must say that in the early 70s, women still did not wear trousers every day. Of course, later, when the fashion for flares began, I sewed an orange suit for my sister from large-weave matting - a rather simple and, probably, lousy material. It turned out to be a wonderful ensemble: flared trousers and a lined summer coat. I myself preferred skirts, but I still sewed velvet bell-bottoms for myself.

It was difficult to get shoes, but we always tried to buy imported ones: Austrian, English, Italian. For example, my sister and I had shoes with punched holes on a grooved platform, which we called "accordion". Lacquered rubber shoes were brought from Abkhazia. I remember that I went home from work by tram and, passing by a large shoe store, I always ran out to see if they “give” something or “don't give it”. Of course, when something was “given”, then everyone rushed to the store.

However, do not forget that history is the interpretation of each individual person. Now, if you look back, you understand that we lived, maybe not always simply, but dressed and looked absolutely luxurious.

Tatyana Samsonova

In the first photo, 1975, I am a student of the tenth grade. I'm wearing reddish-brown stocking boots and an obscenely short skirt with two bow pleats, probably made from my father's uniform. He was a military man, and he was given gabardine-type fabric to tailor his uniform. My mother knitted a red and black sweater to order back in the 60s in Poland, where my father served for several years. Mom, as she thought, did not go red, but I liked it, so when the sweater fit me, I wore it without taking it off.

In addition to these boots, I had one more, not quite "stockings" - they had a zipper and a thick platform with a huge heel. They were quite comfortable, springy when walking and made me irresistibly tall. I still remember that the boots were imported, Yugoslav. I remember my mother parent meeting the head teacher asked me not to indulge, as my appearance because of these boots, it seemed to teachers and students too defiant.

In the second photo, 1977, I am a student walking in the park. I still have a platform, but already sandals - yellow soles, high heels. Bartered light blue jeans from a friend. Someone brought her jeans from the GDR. Jeans were too big for both of us, but she didn't know how to sew and didn't know how to make them smaller. And I found a tricky way to remove the excess in the side seam without violating the treasured denim double line. There weren’t any jeans at that time, they cost five of my scholarships from the fartsov, and I was glad even with the sutured GDR one. The lily-of-the-valley chiffon blouse was made by my mother's friend, a very good dressmaker. A terribly uncomfortable flat bag with one handle and a zipper dangles from his arm. I bought it at the market, where in my student years almost 100% of decent shoes and clothes were bought, mainly from the countries of the socialist community.

Tatyana Sergeevna Strelnikova

This photo was taken around 1970-1972. Then I studied at a technical school in Kostroma, I had not been to Moscow. I come from the city of Yuryevets, Ivanovo region, where I had to get all the things. At that time, trousers were a very fashionable item of clothing, but it was extremely difficult to get them in a store. By the way, the picture shows my first pants! Like, I suspect, my friend from the photo. These linen trousers were made for me in the atelier. In stores then, in principle, there was a poor choice, but you still managed to buy something, for example, this turtleneck. Aunt Katya often sewed things for me. Still, it was a little expensive to order from the atelier, and besides, Aunt Katya sewed better anyway.

Irina Avstreikh

The photo with the racket was taken in the mid-70s, I'm here with my school friend Marina. At that time we were fans of melodies and rhymes foreign stage: Raphael , Engelbert Humperdinck , Salvatore Adamo. In the photo I'm wearing jeans with transitions from light blue to dark blue - it was a hit! I dreamed about them terribly, and as a result, my father's colleagues brought jeans from Poland. At that time, the main source of envy and inspiration were the “Medovan children” who studied at my school. Here we saw some unreal things on them. The "noodle" T-shirt was also wildly fashionable. Another hit was to wear knitted vests, like at the Marina, over everything in general - turtlenecks, shirts. Everyone always had such a vest: it was knitted for me on a typewriter from an old Chinese scarf, because it had a lot of colored threads.

I went to prom at school in a Finnish dress. I remember that a whole batch of them was brought to Moscow in different places: some to Beryozka, some to department stores. My mother stood in line for five hours at the Vesna store on Kalininsky Prospekt (now Novy Arbat). In "Birch", however, there were improved options - with velvet vests and other colors. At school, fortunately, no one else had such a dress. It's actually dark pink and green and it was my best piece. I wore it for a long time, first as a weekend option, and then as an everyday one. They also did their own hair - they twisted their hair on tongs. At the same time, I didn’t want to be like any “Abba”: I wanted to be like my best friends, and they wanted to be like me.

Unfortunately, the photo does not show my beautiful high wedge sandals. They were lent to me by a family friend who was a translator and often traveled abroad. For the second part of the graduation, I had other shoes bought for checks at Beryozka. Absolutely deadly - on a wooden heel with leather straps. I followed them for another five years. I needed two pairs because of a quarrel with my boyfriend: we were the same height, and I decided that I would wear heels on purpose to be taller and more contemptuous. In case we make peace, I took a shift on a wedge.

After graduation, I cut my hair, entered the third medical institute and went with a friend to my relatives in Riga. There, for the first time, I saw real colored tights (at school we cooked the tights ourselves so that they were white). True, I didn’t buy tights for myself, but striped knee-highs. Adidas sneakers with a yellowish rubber sole were released before the 1980 Olympics, I got them through a family friend. The jeans are actually corduroy and bought at Beryozka. Here I am with a package from Beryozka, which was a matter of separate pride - they were not thrown away, they were used many times, some were even washed.

Evgeny Chernyshev

In 1979, I just served in the army and entered the first year of journalism at Moscow State University. The photo was taken when we were walking from the faculty up Bolshaya Nikitskaya. I'm wearing a Puma tracksuit, bought with checks at Beryozka. Then, in the dormitory of Moscow State University, I exchanged him and shoes for a double foreign record. Chicago. A friend in the army brought a leather coat from Stavropol, where there was a whole network of underground workshops - they did everything from carpets to rag slippers. The cap was also fashionable - everyone was very jealous.

Tatyana Borisovna Ovchinnikova

In the 70s, things were already imported into stores from everywhere: from Poland, Great Britain, something from Germany, Belgium and Czechoslovakia. Looking good wasn't that hard. If you know the right people You could buy almost everything. In the early 70s, high boots with a small heel were in fashion. Then they were replaced by stocking boots. They cost 40-60 rubles. I had summer - bright red lacquer. But I wore them in the winter too, so they all cracked from the cold. Until the 70s, we didn’t sell boots at all. It was possible to find only boots up to the middle of the calf, shoes and some kind of galoshes.

Then, in the early 70s, short skirts, French dresses and imported trouser suits appeared. They could be bought in GUM, however, they cost about a hundred rubles, and we received 120 a month. A lot of fabrics were sold, for example, there was a magnificent crimple and dense colored knitwear. There were queues behind him. Then they themselves or in the atelier sewed skirts or dresses from it.

Everyone was already wearing short skirts. Not like now, of course, much longer, but definitely above the knee. There were one-piece jersey dresses, my favorite was a little black, almost straight silhouette. My friend and I bought the same, she still has it - a thing for centuries. Around the same time, loose bologna cloaks began to be sold, in which both men and women walked. I would still wear one if I could find it.

In the early 70s, the Yadran store, a branch of the Moscow department store, was opened at Konkovo. By that time I already had a car, and my friends and I went to it for things. There was a queue at the entrance, like in a mausoleum, but we had friends who worked there, so we were always among the first to skip the queue. Immediately typed clothes according to the lists for all friends and relatives. Another acquaintance worked all her life as the head of the fur section in a department store on Gorky Street (now Tverskaya. - Approx. ed.). As soon as they brought something fashionable, she immediately called me, and after work I rushed there. Another friend taught at an institute in Copenhagen and brought clothes from there.

At the same time, we practically did not use cosmetics. Maximum - mascara and powder. Everyone had the same perm, only someone slept on curlers all night, while others did "chemistry" at the hairdresser's. In general, I would say that the 70s were rather a period of stagnation in terms of new materials or styles. In the 60s, we got synthetics: we started selling men's shirts and socks with the addition of elastane. And closer to the 80s they began to bring absolutely incredible coats with fluffy collars, velvet to the touch, and sheepskin coats from Turkey of decent quality.

These photos were taken in 1974 and 1976. First, I'm wearing a custom-tailored winter coat with a fluffy collar, a mink hat, and low-heeled boots. On the second - an English green dress of a straight cut, which suited me very well.

Galina Mikhailovna Malykh

The fashionistas of the 1970s and the fashionistas of the 2010s are two very different things. Now everything is there: both shops, and the Internet, and some kind of common connection between everyone. In the 70s in the USSR, we only had fashion magazines, tailors and rare finds. By the way, I am still sure of the correctness of the phrase that a woman should have a good tailor, hairdresser and gynecologist: these comrades are for life.

I was already married to a researcher in the 70s, I had a daughter, Marianna, a mop of black hair (this hairstyle was called “babette”) and a desire to be the most fashionable. And I was the most fashionable in Irkutsk! All my girlfriends always asked where and what I took. And I myself do not understand: here and there. In the 70s, everything was better than in the 50s and 60s: I remember when I was studying at the institute (mid-60s), they brought me nylon tights, and it was a whole event. It was a Siberian winter, I lived in a wooden house on the outskirts, and the girls and I went to dances. It's cold in pantyhose - a nightmare! And now I’m going back along these trenches instead of roads (what kind of asphalt, what are you), the lights are not on, you need to somehow gently feel your way to the house. In pitch darkness, I fall into some kind of ravine, my knees are tattered, my tights, too, all in arrows. I don't remember ever crying so hard before. It was a whole tragedy! Now it's funny to imagine - crying over a pair of tights.

In the 70s, we lived a little differently: we got an apartment in a professorial house and good jobs and salaries for those times, my husband constantly flew to lecture in Moscow, I sometimes went to the Baltic states and Bulgaria, and we, of course, brought gifts. Here in one of the photos is my daughter Maryasha with a friend in a leather jacket from Bulgaria. She herself brought sweatpants with stripes from the GDR, and it should be noted that it was just chic - to go to Baikal in such an outfit. My granddaughter Sonya Kachinskaya, from the age of thirteen, began to climb into my closet (and I still keep a lot) and wear finds: some things have such a quality that you can walk around for another 10-15 years and not complain. I remember that she and her friends were having some kind of retro-style party with leggings, sweatshirts and bouffants: then I dressed up the whole company, and even gave her friend Genya a tracksuit.

For some time we also loved to look up to the French women: huge glasses and a scarf with large polka dots over a crazy bouffant - and you can go to nature. In the photo, my friend and I are in the Sayans in the village of Arshan. In my opinion, this set even now looks so that it is not a shame to walk. We also wore dresses and raincoats, tied handkerchiefs around our necks and took out scarce
glass shoes. The silhouettes of the dresses were very feminine, but never overly provocative. When the fashion for them began to return, I was very happy: in the 70s, although there were not many clothes, but if you knew how to think and find stylish things, then you looked crazy feminine! Now you almost never see that.

My husband Gennady Ivanovich was a real gentleman, although in those days these gentlemen were called the dry word "comrade". In this photo, my friend with a new camera and a new coat from Bulgaria, and in the other - already in the late 70s on Red Square. A teacher in a suit and coat is a world classic. Even then, there was a connection with Europe, just not so much.

Now I see it clearly when I watch old French and German films: Truffaut and Godard are close to me. Take the "Gang of Outsiders" - although there are not Soviet young people at all, the context is felt perfectly. In the 60s I was young and something restless, universal happened to me - something that young people around the world were permeated with - and it will always be like this, even if you close the borders of everything in the world.

Zoya Leonidovna Samsonova

Dresses with a wide skirt and a narrow top were in fashion, and also, oddly enough, with a low waist. However, what was really fashionable was what they sewed with their own hands. When I came to study at the Leningrad State Pediatric Institute, the main part of the students from Leningrad were dressed very fashionably, and therefore it was not easy to catch up and overtake them. At that time, many Estonians studied with us, and we constantly bought clothes from them - they were beautiful, fashionable and not the same as those sold in ordinary stores.

After graduating from the institute, I was sent to Sverdlovsk. There I was one of the most fashionable girls in the city in my dresses and fur collars on my coat. At the same time, in Sverdlovsk-45, as in most cities of the nuclear industry at that time, there were much more opportunities to buy fashionable things. I constantly wore heels: high or not, they remained the subject of envy. I worked as a pediatrician for 35 years, every day I went around the site and went to the calls - and I was always in high heels. It never even crossed anyone's mind to appear on shift in comfortable slippers, because they wanted grace and beauty.

In the photo, I'm wearing a crinkled swimsuit in the latest fashion. With a high probability, it was brought to me by Estonian girlfriends. In another picture - a fitted dress, she sewed it herself, she loved it very much and wore it for any reason. In the photo in the boat I am wearing a jacket knitted by my grandmother - they say these are called polo today.

Zoya Georgievna Filimonova

Fashion trends then drew from two sources: the magazines "Worker" and "Models of the Fashion House". They had trendy patterns, and magazines were sold exclusively in GUM and TSUM. Midi and knee-length trousers, dresses with pleats on skirts, turn-down collars and dresses with white collars, like schoolgirls, were in fashion. At the same time, it was quite difficult to stand out - everyone was dressed the same, and finding a thing of the right cut or size was expensive.

For many years, my favorite thing was the cowboy shirt sewn by my brother Volodka and his friend Zhenya. This is such a shirt with shoulder straps, a belt and a button closure. I bought a red-blue-green fabric and brought it home, where my brother and his friend were just sitting - they helped to cut the cowboy shirt by eye.

In the photo with my friends in Jurmala, I am wearing a blouse and skirt, which I sewed myself according to patterns from the Model House. Despite the shortage of beautiful or simply diverse clothes, there were a lot of fabrics on sale and it was easy to buy them. In the second photo, I am wearing an autumn-spring coat from GUM with a fleece that was fashionable at that time. The previous coat was sewn for me to grow: it fell off me, but my mother, having calculated how much it cost, strictly forbade taking it off. The buttons alone cost a fortune.

Alexey Viktorovich Nifontov

In the 70s, everyone looked about the same: bell-bottoms, fitted and plaid shirts, girls always had platform shoes, men had mustaches or sideburns. Fur coats were in fashion - always huge and fluffy. Everyone loved the Beatles and wanted to be like them, even if they didn't listen to their songs. Those for whom it was important to look good did their best - they sewed up shirts, looked for fartsov and some ways to find cool things.

My mother was the chief artist of the Kharkov House of Models, so I learned to sew at the age of eight. I turned buttons, dyed fabrics, in the 70s I sewed shirts for myself just to the point of madness. Caps like John Lennon's, flares for myself and my son - I sewed everything myself. In 1976, we moved to Ulaanbaatar for several years, and the choice of clothes became better: there were Japanese military stores where we bought outerwear - leather, raincoats, windbreakers.

An international team gathered in Mongolia, Poles and Hungarians periodically brought things. We also had a so-called messenger from America - a woman who somehow managed to get American clothes and sell them. The flea markets also helped, although it was rarely possible to find something of high quality and originality there, but it was possible to alter these things endlessly. To my pride, I can say that the things that I sewed myself, they tried to buy from me. Surrounding people mistook me and my wife for Czechs - we looked so cool. I sewed a shirt for my wife entirely from silk scarves, she was covered in roses, chic and definitely not in any Soviet store.

In general, we did all the things ourselves if we wanted to look somehow decent and stylish. Here, in these photographs in Ulaanbaatar, I am wearing trousers and a cap that I sewed myself. I made several of these caps, in different colors, and put them into rotation. But the jackets on my son and I are Japanese.

Valentina Platonovna Seryogina

In these photos, I'm wearing everything imported: Finnish trousers, a Polish knitted blouse with a pattern and a zigzag scarf. Then there were fashion glasses exactly this form. My shoes were excellent, leather. I love shoes very much and always thought that a dress can be the simplest, but shoes must be one hundred percent.

I myself am not very good at sewing, and the services of the atelier were expensive, so I mostly bought clothes. Now it is considered indecent to come in the same sweater on the second day, as if you had not spent the night at home, but then this was not the case. There were not many things, they were worn several times in a row. In the 70s, flared jeans began to appear, but I was uncomfortable in jeans. In the central office, jeans were considered indecent. So, to one of my colleagues, the secretary of the party organization forbade her to wear them to work.

My husband in the photo is on vacation, in a tracksuit and Iranian boots. The watch is ours, they were given to him for his wedding. The job required him to dress strictly. He wore fitted suits - no bell-bottoms. The only thing is that the collars of the shirts were pointed. I once managed to grab one without a queue. Men had sideburns in fashion, and the husband then also decided to let them go along with the beard. In the picture, he is wearing boots, but in general, Chinese “three swords” sneakers appeared at that time and we wore them with the whole family.

Natalia Butuzova

The most fashionable were "native" American jeans: blue, blue, flared or pipes. Jeans were brought from abroad by relatives and friends. Those who did not have such relatives bought from fartsovschikov. Especially wealthy people could afford things from Beryozka.

In the photo, where my husband and I are together on stage, I am wearing a thin elastic T-shirt of pale blue with a bright pattern on the theme of Disneyland, bought in Odessa on Privoz, worn Levi's flared jeans. The husband is wearing a white cotton T-shirt brought from abroad as a souvenir, jeans are also Levi's - they were bought abroad and brought for sale by close relatives.

In addition to jeans, fashionable people wore flared trousers, which were sewn to order or by themselves. The material had to be expensive - this was always evident in the form. In fashion were styles that fit perfectly on the figure, tight-fitting hips, and from the hip as flared as possible to the bottom, almost to the floor, in order to take into account shoes on the platform. These trousers were called "elephants".

Very popular among the girls was a wool sweater with a turtleneck collar, as well as elastic thin turtlenecks, both white and colored. Real hippies had medium-length or shoulder-length hair, and with jeans they wore multi-colored knitted short-sleeved T-shirts. Denim skirts were valued - from mini to maxi. Midi length skirts could be tight-fitting or flared from the waist with a zipper in the front. They were worn with T-shirts or with batch shirts - staple blouses in a small flower. In addition, cotton midi skirts with a bright, large pattern, as well as maxi skirts in a "staple flower" were in fashion.

From footwear, it was fashionable to wear clogs on the platform, and in summer - sandals on a wicker wedge with a closed cape, with a thin jumper around the ankle, on a platform and with an open toe. In winter, they wore stocking boots on a huge platform, with a massive round toe. They were made of brown, burgundy or black lacquer, and up to the knees - an elastic, tight-fitting lacquer top.

There were also ponchos. Few wore them, but some extravagant fashionistas came up with very original options. For example, I came up with a poncho knitted from 12 different colors of wool yarn. The poncho was knitted with “English” or “Ethiopian elastic”, stripes. Neighboring stripes matched perfectly with each other in color. Long multi-colored brushes were attached at the bottom along the perimeter. Separately, it must be said about things knitted from mohair wool: pullovers, cardigans, mohair coats and jackets. They were considered expensive, sold only in "currencies" or brought from abroad. But mohair hats among young people were not quoted at all. It was not fashionable to wear hats: they went without a headdress all year round, only a hood was allowed.

Irina Glebovna Strakhovskaya

In the 70s, everyone in our circle tried to emphasize individuality in clothes. To see the same sweater or dress or hat on another person was considered embarrassing. That is why they often sewed in the atelier - so as not to buy in the store what others will have. The trick was that while doing this it was necessary to observe the general fashion, trends and silhouette. The style is like everyone else, and the details and fabric are unique. Once I even sewed a dress from a curtain, it was just a very beautiful natural linen fabric with an interesting geometric pattern of wide stripes.

In the photo I am in Tsaghkadzor in Armenia in the mountains, this is approximately 1975. The vest is my former goat fur coat, we often changed things to follow the fashion and update the wardrobe. Woolen knitted socks - from the art salon. Hippie style was more appropriate on vacation: it was considered more athletic, free.

In the city at this time one could see trapeze dresses or suits. Crimplain was in vogue, and in a photo from my friend Marinka's wedding in 1971, I'm standing in a pink crimplen suit with Chanel-style white trim. It was either Italian or French and bought at the Beryozka store. Checks were given there to those who were associated with representative work, for example, diplomatic corps. The photo is also interesting because all the outfits are made of new fashionable fabrics - Marinka, for example, has a wedding dress made of nylon. The artist Boris Nemensky is standing next to me, and his companion is wearing a dress of a very relevant style at that time. From this picture you can judge the silhouettes of the era: this is the very beginning of the 70s and echoes of the fashion of the 60s are still visible.

We followed the fashion very much, apparently, worrying that everything is worse here than in the West. We went to the House of Models, at the same time, fashion shows were sometimes shown on TV, and this was always an event. Of course, Burda helped, and, ironically, the magazines "Worker" and "Peasant Woman" - all the silhouettes were already there. Paradoxically, when I met foreigners for work, I understood that we were dressed no worse, and in some cases even better. Because abroad everyone was more relaxed about clothes, but we had a complex that we were poor, and we tried to take care of ourselves and dress well.

In April 1944, two months after the liberation of Leningrad from the blockade, the first House of Fashion Models in the Soviet Union (LDMO, later the Nevsky Prospekt Fashion House) was opened on Nevsky Prospekt. It is located in house number 21, built in 1911-12. according to the project of the architect M.S. Lyalevich for the store of the firm of furs and fur products F.L. Mertens.

Fashion designers and craftsmen of the LDMO created patterns and pilot samples of clothing, including accessories for Soviet clothing factories. The collections of the House of Models were shown not only in the Soviet Union, but also abroad.

In 2000, the historical name "Mertens Fashion House" was returned to the building.

Demonstration of a coat and an evening dress. 1968 Photo chronicle TASS / P. Fedotov

Spring combined suits made of new woolen fabrics. 1968 Photo chronicle TASS / P. Fedotov

Spring sets from woolen fabrics. 1978 Photo chronicle TASS/Yuri Belinsky

Demonstration of a raincoat with zippers and a dress with a bright tie. 1968 Photo chronicle TASS/P. Fedotov

Demonstration of a trouser suit with a bright scarf. 1970. Photo chronicle TASS / P. Fedotov

Demonstration of a tweed suit with an elongated skirt and a short waist-length jacket. 1970 Photo chronicle TASS/P. Fedotov

Demonstration of a light nylon dress with a fashionable pattern, complemented by a light chiffon scarf. 1970 Photo chronicle TASS/P. Fedotov

Demonstration of a sundress in the spirit of ancient clothes (right) and summer attire for relaxation. 1970 Photo chronicle TASS/P. Fedotov

Demonstration of cropped coats complete with dress and suit. 1968 Photo chronicle TASS/P. Fedotov

Demonstration of an ensemble consisting of "Golf" trousers and a cape. 1971 Photo chronicle TASS/P. Fedotov

Leningrad House of Models. Demonstration of a summer suit with a white panama. 1970 Photo chronicle TASS/P. Fedotov

In our childhood and youth there was no Internet. But the country did not experience information hunger. We found all the most important and interesting things in books, TV programs and periodicals. Each Soviet family subscribed to several newspapers and magazines. The citizens of the USSR looked forward to the release of a new issue of their favorite periodical.

The catalog of Soviet periodicals was a rather weighty folio, where, in addition to about 8 thousand newspapers, subscription indices were indicated for several hundred magazines - both all-Union and republican.

At the end of each year, a very responsible process began in Soviet families - the registration of an annual subscription to Soviet periodicals. Parents subscribed to their newspapers and magazines, and for the children they always subscribed to children's periodicals, especially the children rejoiced at the fresh issues of children's magazines in the mailboxes. The color magazine "Murzilka", smelling of fresh printing ink, concealed a whole world under its cover! Reading the magazine began right there, at the mailbox.

Funny pictures

"Vesyolyye Kartinki" is a children's humorous magazine designed for children from 4 to 10 years old. It was published monthly from September 1956. Along with Murzilka, it was the most popular children's magazine in the USSR in the 1960s and 80s. In the early 1980s, its circulation reached 9.5 million copies.

The magazine includes poems and short stories, board games, comics, puzzles, jokes, riddles. He organizes the leisure of the whole family, since parents read to small children, and older children need the approval of adults, whether the task from the magazine is well done, whether the riddle is correctly guessed.

The name of the magazine was chosen based on the fact that funny and funny pictures, accompanied by short witty captions, always appeal to young children. Historically, "Funny Pictures" came out of "Crocodile" - the founding father and first editor of the magazine was "Crocodile" cartoonist Ivan Semenov. He also drew the main character - Pencil, which became the symbol of the magazine. The pencil is an artist, his whole appearance speaks of this: a loose blouse, a beret, a red bow around his neck and a red stylus instead of a nose. He is the inspirer of a group of funny little men, he and his friends, Samodelkin, Pinocchio, Chipollino, Dunno, are the constant heroes of "Funny Pictures". About them - the first Soviet comics. The regular headings of the magazine were also associated with them. At the School of Pencil, children were taught to draw, at the School of Samodelkin they were taught to make toys with their own hands, at the Merry ABC they were introduced to letters.

In 1977, in the magazine "Funny Pictures" one era ends and a new one begins. Chukovsky, Barto, Mikhalkov, Suteev are being replaced by “young and arrogant” ones: editor-in-chief Ruben Varshamov, and with him nonconformist artists Viktor Pivovarov, Ilya Kabakov, Eduard Grokhovsky, Alexander Mitta and “new children”: Eduard Uspensky, Andrey Usachev, Eugene Milutka.

In 1979, the artist Viktor Pivovarov created a new logo for the favorite children's magazine "Funny Pictures". From now on, the magazine has its own logo: little letters that form the name of the magazine.

"Funny Pictures" was the only publication in the USSR that was never censored. In particular, the pages of the magazine did not publish notices, obligatory for the press, about the change of leaders of the Soviet state. When L. I. Brezhnev died and a directive appeared to publish his portrait in a mourning frame on the cover of all publications, the editors of Vesyolyye Kartinki managed to prove that against the background of the magazine's name it would look extremely inappropriate.

Murzilka

Murzilka is a popular monthly literary and art magazine for children. Until 1991, he was the press organ of the Komsomol Central Committee and the Central Council of the All-Union Pioneer Organization.

Murzilka is a small forest man who existed in popular books for children at the end of the 19th century. It was invented by the Canadian writer and artist Palmer Cox, who described the brownie dwarf people, related to brownies. At first it was a little man in a tailcoat, with a cane and a monocle. Then Murzilka became an ordinary little dog helping everyone who is in trouble.

On May 16, 1924, the first issue of the Murzilka magazine was published in the USSR. Murzilka was a small white dog and appeared with his master, the boy Petya. In 1937, the artist Aminadav Kanevsky created the image of the correspondent puppy Murzilka, which became famous in the USSR - a yellow fluffy character in a red beret, with a scarf and a camera over his shoulder. Subsequently, the character evolved into a boy correspondent, whose adventures were also devoted to several cartoons.

Writers such as Samuil Marshak, Sergei Mikhalkov, Boris Zakhoder, Agniya Barto and Nikolai Nosov began their careers in the magazine. In 1977-1983, the magazine published a detective-mysterious story about Yabeda-Koryabeda and her agents, and in 1979 - science fiction dreams "Traveling there and back" (author and artist - A. Semyonov).

In 2011, the magazine was listed in the Guinness Book of Records. It was recognized as the longest-running children's publication.

Pioneer

Pioneer is a monthly literary, artistic and socio-political magazine of the Komsomol Central Committee and the Central Council of the All-Union Pioneer Organization for pioneers and schoolchildren.

N. K. Krupskaya, M. I. Kalinin, Em. M. Yaroslavsky, writers S. Ya. Marshak, A. P. Gaidar, L. A. Kassil, B. S. Zhitkov, K. G. Paustovsky, R. I. Fraerman, V. A. Kaverin, A. L Barto, Vitaly Bianki, S. V. Mikhalkov, Yuri Sotnik, V. P. Krapivin, Yu. Kozlov, E. Uspensky and others.

"Pioneer" had permanent sections of school and pioneer life, journalism, science and technology, art, sports, children's art. The magazine organized the work of Timur's teams and detachments. He was awarded the Order of the Red Banner of Labor (1974). Circulation in 1975 was over 1.5 million copies. The maximum circulation - 1,860,000 copies - was reached in 1986.

The journal has been published to date (in a small circulation - 1500 copies in March 2015).

Young Technician

"Young Technician" is a monthly children's and youth magazine about science and technology.

Founded in Moscow in 1956 as an illustrated scientific and technical journal of the Komsomol Central Committee and the Central Council of the All-Union Pioneer Organization for pioneers and schoolchildren.

In a popular form, it conveys to the reader (primarily a schoolchild) the achievements of domestic and foreign science, technology, and production. Encourages scientific and technical creativity, promotes professional orientation of schoolchildren. He regularly publishes works by famous science fiction writers - Kir Bulychev, Robert Silverberg, Ilya Varshavsky, Arthur Clark, Philip K. Dick, Leonid Kudryavtsev and others.

Young naturalist

"Young Naturalist" is a monthly popular science magazine for schoolchildren about nature, natural history, biology and ecology. Founded in July 1928. From 1941 to 1956 it was not published. In some years, the circulation of the magazine reached almost 4 million copies.

The magazine acquaints children with the diversity of life of the animal and plant world, fosters love for nature, teaches them to take care of its riches, promotes the development of a materialistic understanding of natural phenomena in schoolchildren, and tells about the latest discoveries of biological science in a popular form. "Y. n." promotes the best practices of youth circles, student production teams, school forestries, etc., gives readers practical advice on caring for an aquarium - a corner "Behind the glass coast"; for young gardeners and vegetable growers - the section "Whether in the garden, in the garden", etc.

Among the stated goals of the publication is the education of the younger generation of love for the Motherland and nature, biology and ecology. You can send your drawings, poems to the magazine. There was a competition for young naturalists.

V. V. Bianki, M. M. Prishvin, K. G. Paustovsky, V. P. Astafiev, V. A. Soloukhin, I. I. Akimushkin, V. V. Chaplin and other writers published their articles in the journal, I. V. Michurin, K. A. Timiryazev, V. A. Obruchev, V. K. Rakhilin and other scientists and popularizers of science.

peer

"Rovesnik" is a youth magazine published since July 1962. The main audience is young people from 14 to 28 years old. It became a real breakthrough for publishing in the Soviet Union. It was the first magazine aimed exclusively at young people. In addition, it was in it that for the first time they touched on previously inaccessible topics: rock music, the life of Western youth, and others. The magazine also published reviews of recent films and music albums. Needless to say, the magazine was popular in Soviet times. Young people read the magazine "Rovesnik" to the holes, circulation reached millions of copies.

In the 1980s and 1990s, Rovesnik published the Rovesnik Rock Encyclopedia, practically the first experience of a rock encyclopedia in Russian. It was written by Sergey Kastalsky, and several articles of the encyclopedia were published in each issue, in alphabetical order. The entire Rock Encyclopedia by Kastalsky was published as a book in 1997. In total, it contains 1357 articles about rock music, 964 illustrations, 210 album reviews, 49 articles about musical styles, discographies, lyrics.

Currently, "Rovesnik" is a popular monthly magazine about music, show business, new movies, videos, education, recreation and entertainment, with a circulation of 30,000 copies.

Youth

"Yunost" is a literary and artistic illustrated magazine for youth. Published in Moscow since 1955. It was founded on the initiative of Valentin Kataev. Until 1991, the magazine was an organ of the Union of Writers of the USSR, later it became an independent publication.

"Youth" differed from other literary magazines in its great interest in social life and the world around it. There were permanent sections "Science and technology", "Sport", "Facts and searches". The magazine was one of the first to highlight the phenomenon of bard song (A. Gerber's article "On bards and minstrels"), and in the eighties - "Mitkov".

One list of editors and authors of the magazine "Youth" looks like a chronicle of Soviet literature of the 50s-90s: Akhmadulina, Voznesensky, Yevtushenko, Rozhdestvensky, Okudzhava, Iskander, Rubtsov, Gladilin, Gorin, Arkanov, Kir Bulychev, Rimma Kazakova, Olzhas Suleimenov, Boris Vasiliev, Aksenov, Voinovich, Kovaldzhi - you open the archive issue of Youth, and they are all here, still young and smiling from photographs. "Youth" has always remained a youth, and tried to keep up with the times.

"Youth" survived two ninth waves of popularity: in the 60s and in the late 80s. Then each issue became an event in the reader's private life.

There were also colored tabs dedicated to painting in Yunost, where such artists as Alexei Leonov, Ilya Glazunov, Mikhail Shemyakin, Vagrich Bakhchanyan and others performed among others. In the 1960s and 1970s, both the journal as a whole and individual authors were subjected to party criticism. In 1987, a permanent journalistic youth discussion section "Room 20" was opened, which quickly gained great popularity among readers.

The emblem of "Youth" is a linocut of the same name by the Lithuanian graphic artist Stasis Krasauskas, which is one of the author's most famous works ("a round girl's face with wheat ears instead of hair." It is reproduced on the artist's tombstone.

Change

Smena is an illustrated popular humanitarian magazine with a strong literary tradition. Founded in 1924, it was the most popular youth magazine in the Soviet Union. By the end of the 1980s, the circulation of "Change" reached more than three million copies.

"Change" was founded by the decision of the Central Committee of the RKSM as a "two-week magazine of working youth." The covers of the first issues were designed by the famous Soviet artist, the founder of constructivism, Alexander Rodchenko. His bright, trendy covers immediately attracted a large readership. The poet Vladimir Mayakovsky, with an argument that brooks no objection, urged the youth audience on the pages of the first issues of the Smena magazine: “Be ready to change the old people, read the Smenu magazine.

Since its inception, the magazine has published premiere publications of books that later became bestsellers. It was in "Change" that the first stories of Mikhail Sholokhov and Alexander Green appeared, the poems of Vladimir Mayakovsky, Konstantin Paustovsky, Lev Kassil, Valentin Kataev published their first works. An excerpt from the new novel by Alexei Tolstoy "Peter I" and his fairy tale "The Adventures of Pinocchio" were printed. In 1975, the novel by the Weiner brothers, The Era of Mercy, appeared on the pages of Smena. AT different years I. Babel, M. Zoshchenko, A. Gorky, A. Platonov collaborated with the Smena magazine. A. Fadeev, V. Astafiev, V. Bykov, Yu. Nagibin, Yu. Semenov, the Strugatsky brothers published on the pages of the Smena magazine.

From the moment of its foundation, the information and journalistic section has always performed mainly a propaganda role, but with the beginning of perestroika in the mid-80s, Albert Likhanov became the editor-in-chief, and Valery Vinokurov became the editor of the literature and art department, and the magazine revealed to young people previously taboo topics - the struggle with hypocrisy, bureaucracy, rock music, youth subcultures and other interesting information.

Radio

Radio is a massive monthly scientific and technical magazine dedicated to amateur radio, home electronics, audio / video, computers and telecommunications.

The first issue, entitled "Radio Amateur", was released on August 15, 1924 and came out every two weeks. In the middle of 1930 it was renamed into Radio Front. At the end of 1930, the editorial offices of the Radio Front and Radio Amateur magazines merged. In the future, the magazine was published under the name "Radio Front" until July 1941. The first post-war issue of the magazine was published in 1946 under the name "Radio".

The magazine has repeatedly published training cycles for beginners. The first cycle of articles "Step by Step", begun in May 1959, began with the basics of radio transmission and reception, and ended with the construction of a network tube superheterodyne broadcast receiver for DV and SV. In 1970, the magazine published a description of the legendary amateur radio transceiver Yuri Kudryavtsev (UW3DI) on vacuum tubes. Shortwaves replicated this design in thousands of copies.

In 1983, the magazine published a description and diagram of the first Soviet amateur radio computer "Micro-80". In 1986, the magazine published diagrams, descriptions and codes for the programs of the Radio 86RK amateur radio computer, which is much easier to assemble and set up than the Micro-80 and is software compatible with it. In 1990, the journal published a series of articles on the Orion-128 personal radio amateur computer, which was compatible with the RK-86, but had wider capabilities.

Technique-youth

"Technique for Youth" is a monthly popular science and literary and art magazine. Published since July 1933. In the first years of its existence, Technique-Youth was a purely technical publication, in which there was a fair amount of ideological material.

To attract subscribers of the Central Committee of the All-Union Leninist Young Communist League, a large-scale campaign was carried out, as a result of which, already in 1935, some issues were published with a circulation of more than 150 thousand copies. At the same time, science fiction began to be published in the magazine, the best works of Soviet and foreign science fiction were published.

The journal became one of the few popular science publications published in the USSR during the war. The only break was made between October 1941 and March 1942.

The editors of the magazine organized more than 20 all-Russian and international competitions of cars of amateur designs. Using the materials of the magazine and with the participation of its authors, the program “You Can Do It” was broadcast on television. Under the leadership of the magazine, numerous circles and sections, clubs of young scuba divers and designers of self-made cars were created.

During its existence, the magazine has influenced several generations of Soviet citizens. He helped unleash the potential of inventors, innovators and innovators - many of them admitted that as teenagers they read every issue of Technique Youth.

In addition, the magazine popularized many sports that are now common, such as hang gliding, skateboarding, skiing, etc.

The Tekhnika-Molodezhi magazine is one of the most popular publications in the USSR, with more than 900 issues in its archive, and a total circulation of more than a billion copies!

Model designer

"Modelist-Constructor" (until 1966 "Young Modeler-Constructor") is a monthly popular scientific and technical magazine.

The first issue of the magazine called "Young model designer" came out in August 1962 under the advice of famous aircraft designers A. Tupolev, S. Ilyushin, as well as cosmonaut Yuri Gagarin. Until 1965, the magazine (more precisely, the almanac) was published irregularly, in total 13 issues were published. Since 1966, it has become a monthly subscription publication and changed its name to "Model Designer".

The magazine contributed to the development and dissemination of technical creativity among the population of the country, as well as the popularization of such sports and modeling as: karting, buggies, track modeling, amateur car building, amateur design of gliders and ultralight aircraft, velomobiles and single-engine equipment, small-scale mechanization for gardens and gardens.

Each issue of the journal publishes drawings and diagrams of a wide variety of designs - from household appliances to homemade microcars and amateur aircraft (in this regard, the journal is the only one in the country), as well as materials on the history of technology and the movement of amateur designers in the country and abroad. The authors of the magazine are both well-known inventors and designers, and just lovers of technology and craftsmen.

Science and life

"Science and Life" is a monthly popular science illustrated magazine of a wide profile. It was founded in 1890. The circulation of the magazine in the 1970s-1980s reached 3 million copies and was one of the highest in the USSR.

The chief editor of the journal "Science and Life" Bolshevik N.L. After the revolution, Meshcheryakov reorganized the once popular publication in Russia, choosing the "Marxist-Leninist" path in covering all materials. However, as in the pre-revolutionary edition, the updated journal "Science and Life" set its main task for the reader to popularize knowledge and communicate all outstanding scientific and practical news in the most popular form.

Soon the publication becomes very popular, both in the scientific community and among the common reader. Since 1938, the journal "Science and Life" has become the printed organ of the USSR Academy of Sciences.

The popularity of the journal "Science and Life" began to grow rapidly in the 60s, there was not enough paper to provide the huge circulation that the Soviet reader needed. By the mid-1960s, circulation had grown more than 20 times. I had to limit my subscription.

A wide range of interesting journalistic materials on various topics reflect the names of the rubrics themselves: “Science on the march”, “Your free time”,“ Briefly about science and technology ”,“ Household affairs ”,“ Entertainment is not without benefit. Scientific discoveries and technical achievements, stories and excerpts from the literary works of science fiction writers, quasi-scientific hypotheses and their refutation, leisure with do-it-yourself technology, puzzles - this is not the whole list of interesting materials on the pages of the Science and Life magazine.

Today, the journal Science and Life is published in print and electronic formats - to any of the reader's preferences.

Around the world

Vokrug sveta is the oldest Russian popular science and country studies magazine, published since December 1860. During its existence, it has changed several publishers. From January 1918 to January 1927 and from July 1941 to December 1945 the magazine was not published. The subjects of articles are geography, travelling, ethnography, biology, astronomy, medicine, culture, history, biographies, cookery.

Since 1961, the literary supplement "Seeker" has been published, in which adventure and fantasy works are published. Among the published authors are Ray Bradbury, Francis Karsak, Robert Sheckley, Isaac Asimov, Stanislav Lem, Arthur Clark, Robert Heinlein, Clifford Simak, Olga Larionova, Sinclair Lewis, Lazar Lagin, Kir Bulychev and other Soviet and foreign authors.

The tart smell of Soviet realities
And magazines read dust
We carefully forgot
That no one has forgotten yet
Maybe it was better back then.
If light sadness glimmers,
Live as before - borrowed until payday,
If it rains - say "so be it!"
Feeling cold on the skin
Sail where the wild wind carries ...
We just used to be younger
Here it is easier to look at everything.

Roman - newspaper

Roman-gazeta is a literary magazine published monthly since 1927 and twice a month since 1957. The idea of organizing a literary magazine for proletarian writers came up with V. I. Lenin. Participated in the birth of this publication and M. Gorky. Roman-gazeta was published by the Moskovsky Rabochiy publishing house, and since 1931 by Goslitizdat (Khudozhestvennaya Literatura publishing house).

During this period, 528 authors appeared in Roman-gazeta, of which 434 were Soviet writers and 94 were foreign. Published 440 novels, 380 stories and 12 poems. The design of the magazine changed several times, there were at least 5 different types of cover. In 1989, the circulation of the magazine exceeded 3 million copies.

Health

Health magazine is a monthly magazine about human health and ways to preserve it. Published since January 1955. Initially, it was a body for the promotion of a healthy lifestyle, but later became a full-fledged popular science magazine. The magazine was popular in the USSR, publishing both articles "for the people" and serious materials, as well as materials for children. Constantly being in a creative search, the magazine continued to appear after the collapse of the USSR. Since 1995 the magazine has been published in Finland.

spark

Ogonyok is a socio-political, literary and artistic illustrated weekly magazine. It was founded in 1899 in St. Petersburg. In 1918, the publication of the magazine ceased and was resumed through the efforts of Mikhail Koltsov in 1923. Until 1940, 36 issues a year were published; since 1940, the magazine has turned into a weekly. In 1974, the circulation was 2 million.

Photo reports are the favorite format of Ogonyok magazine. They have always occupied a large part of the pages of the publication.

The history of Ogonyok magazine is associated with the lives of many talented publicists and writers. Each period of leadership of the journal is marked by new interesting creative achievements. In the 1950s, the poet Alexei Surkov became the editor-in-chief of the Ogonyok magazine. It was he who suggested putting on the cover vivid image Soviet citizen - a leader in production, an astronaut, an athlete, an artist.

Since the 50s, the content of the Soviet magazine Ogonyok has become more and more interesting, there are detective stories with sequels, insert reproductions with masterpieces of world art, and a lot of sections interesting to the reader.

From the 60s to the early 90s. The popularity of the Ogonyok magazine among readers increased. Not always the publication was in a free subscription, sometimes only through an enterprise. In those years, the magazine took an active social and political position.

In Soviet times, the works of famous Soviet writers Vladimir Mayakovsky, Alexei Tolstoy, Isaac Babel, Mikhail Zoshchenko, Ilya Ilf and Evgeny Petrov, Alexander Tvardovsky were published in a separate supplement to the Ogonyok magazine - Library.

With the collapse of the USSR, just a few years later, the Ogonyok magazine was “relegated” to the background among similar publications, unable to withstand the competition of the modern format.

Since 2005, the Ogonyok magazine has been published in a new format. The publication retained its corporate identity and logo, otherwise it is a magazine with a new design, different headings and a different readership.

Behind the wheel

Behind the Wheel is a popular magazine about cars and the automotive industry. Published since 1928. Until 1989, it was the only automotive periodical in the USSR designed for a wide range of readers.

The editors of the magazine "Behind the wheel" was formed by the famous Soviet publicist Mikhail Koltsov. Such celebrities as the poet Vladimir Mayakovsky and the artists Alexander Zakharov and Boris Efimov collaborated with the publication at various times.

Many generations of our motorists were brought up on the automobile magazine "Behind the wheel". All those who were fond of automotive history, technology, read this magazine from cover to cover. It was a problem to write it out and purchase it at the kiosk. Even when the circulation of "Behind the Wheel" in the USSR was more than 4 million, the magazine was not enough for everyone.

Over the years of its existence, the magazine "Behind the wheel" has become a real guide to the automotive world. The editors of the magazine "Behind the Rulem" selected such materials and photo publications that timely covered all the novelties of the domestic auto industry, as well as introduced them to the world's achievements in the automotive industry.

In addition, if you set out to trace the entire history of the development and formation of domestic cars, you will not find a better and most detailed publication than "Behind the Wheel".

For motorists and professionals, materials were posted on how to become a good driver, mechanic, make independent repairs, and identify the cause of a breakdown. He covered the Soviet magazine "Behind the wheel" and the difficult fate of domestic roads, talked about international exhibitions, motor races, competitions.

Such a huge range of interesting materials in the journal has become a moment of a kind of authorial prestige. Many journalists in the USSR dreamed of working in the editorial office of the magazine Za Rulem.

Since the times of the USSR, the magazine Za Rulem has been the initiator of various competitions among motorists and professionals. One of the most famous - "Race of the Stars", has been held since 1978.

Currently, the Za Rulem publishing house publishes the magazine and newspaper Za Rulem and a number of publications on automotive topics.

Crocodile

Krokodil is a popular satirical magazine. It was founded in 1922 as a supplement to the Rabochaya Gazeta and was published simultaneously with a large number of other satirical magazines (for example, Zanoza, Searchlight, etc.).

The symbol of the publication is a drawing: a red crocodile with a pitchfork. The magazine was published three times a month. The circulation reached 6.5 million copies. At the end of the 1920s, an airplane was built with funds collected from the subscribers of the magazine and its employees.

After the closure of Rabochaya Gazeta in 1930, the publisher of Krokodil became the Pravda publishing house with its own printing plant, which was not directly involved in organizing political campaigns. In choosing the strategy of his satirical activity, "Crocodile" could act relatively independently. Thus, the journal opposed the RAPP and its leader L. L. Averbakh, in the fall of 1933 defiantly did not publish articles on the opening of the White Sea-Baltic Canal, tried to resist the fight against "pests", etc.

Writers M. M. Zoshchenko, I. A. Ilf, E. P. Petrov, V. P. Kataev, M. D. Volpin, A. S. Bukhov, V. E. Ardov, Emil Meek, M. A. Glushkov, artists M. M. Cheremnykh, Kukryniksy, Boris Efimov, K. P. Rotov. E. G. Bagritsky, Yu. K. Olesha, S. I. Kirsanov and others published periodicals.

Since 1934, Krokodil has been the most important official mouthpiece of politics at all levels of social and political life. The magazine published both satirical materials and illustrations of significant achievements of the USSR.

The satire of "Crocodile" was not limited to petty everyday topics - exposing bureaucrats, drunkards, bribe takers, hacks, dudes, as well as criticism of incompetent middle and lower managers, it also reflected key issues and central events of internal and foreign policy ranging from denouncing Leon Trotsky, spies and "enemies of the people" to castigating West German revanchism, American imperialism and its satellites, colonialism, NATO, and so on. Up until the start of perestroika, the magazine's satire remained rigid, with minimal exceptions.

In the corresponding historical periods, Krokodil adhered to the policy of combating "rootless cosmopolitans", etc. During the "Doctors' Plot", the magazine published extreme cartoons, much more vicious than similar materials from other Soviet periodicals. Filmmaker Mikhail Romm noted the exaggerated offensiveness of a number of racially explicit cartoons published in Krokodil between March 1949 and January 1953.

The magazine "Wick" became the film understudy of "Crocodile".

Due to the limitations of the printing press, Crocodile's printing was idiosyncratic until the 1980s. One side was printed in four colors (that is, it was full color), the second - in two (black and color).

Soviet Screen is an illustrated magazine published at various intervals from 1925 to 1998 (with a break in 1930-1957). In January-March 1925, the magazine was published under the name "Ekran Kinogazeta", in 1929-1930 - "Cinema and Life", in 1991-1997 - "Ekran". Until 1992, the magazine was an organ of the Union of Cinematographers of the USSR and Goskino of the USSR. The magazine published articles about domestic and foreign novelties of the movie screen, articles about the history of cinema, criticism, creative portraits of actors and cinematographers. In 1984, the circulation of the publication amounted to 1,900 thousand copies.

The publication of the magazine dates back to the time when cinema became the most popular art form in the early 20th century. V. I. Lenin himself noted that the propaganda effectiveness of cinema art is in its mass character.

At various times, the Soviet Screen magazine was published under the guidance of such eminent film critics, journalists, writers and screenwriters as Alexander Kurs, Dal, Orlov, Yuri Rybakov.

For the inhabitants of the USSR, cinema, as an entertainment factor, stood in the first place. All the famous "celestials" of the screen were known by name, and there were plenty of film idols in the USSR.

The Soviet Screen magazine was collected, stored for years, cut out photos of favorite actors and pasted over boring wallpaper over the bed, doors in the toilets, as well as cabs in truckers and conductors' compartments.

Reading interviews with favorites of the Soviet public on the pages of the Soviet Screen magazine, young schoolchildren dreamed of acting glory, and ordinary citizens learned with interest about the most humane and humane Soviet cinema art in the world, as well as about novelties of the foreign screen.

The publication could not recover from the economic crisis in the country in the late 90s, the magazine ceased to exist in 1998.