and louder, of course, it’s clear that this is not mp3 , but vinyl, it’s clear that, but vinyl, the thing is that vinyl, of course, the sound quality is much richer, much better, much better, tube sound, analog, it’s real analogue, that is, as it were, which maybe, uh-huh, and this is what style is playing now, and i picked this one especially for zhenya, the fact is that when we met, such a theme was very fashionable, and nudisco, nudisco, nudisco, has nothing to do with nudists. and when my wife played this music, she had amazing sets, like this on discs in modern processing, and i thought that today it would play, yes, because this is absolutely not my format, but now that’s not the point, but one composition plays, we load and prepare the next composition, we wait until the track will be closer to the end, yes it will end, and i see that you have already synchronized bpm, this is bit per mine, that is, the number of beats per minute, here 124.2, here 124, it must have the same

speed in order not to there was a discrepancy, you need to pace in rhythm, when there is a breakdown, when there is tudum-tudum, this they call hooves or horses, horses , the rhythms of the bones just don’t match, okay, while volodya is doing something, i’m telling him, that is, it’s one track, but it sounds, say, from one media , and is sent to the console, volodya is looking for speed and moment, an opportunity to bring to the end of this track. the next one sounds, make it so that it is unnoticeable, so that it is in addition to what was this mix, this is a mix, yes, one flowed into the other, sleepless meetings, that is , so that the mode is non-stop, yes, so that the music does not stop and people continued on the more inconspicuous the mix , the more professional and better it is, people in the hall immediately understand that it’s as if one song is playing for them, listen, here are several... how many

folders does each musician have, because even i am in how much music material, if you put me with my flash drives to play , i can play, probably for a month without stopping, and you’re generally multi-style, because when you’re playing, suddenly some kind of heavy metal comes through, maybe maybe, and suddenly, drum and base, suddenly and deep i try something during my dj set, if it’s a club set, of course.

well, i’m in the classical version, as zhenya says, that i usually play the music of alpha centauri, from the planet alpha centauri, yes, this is cosmic music, in all its manifestations , both dynamic and calmer, this is cheesy, but this is not, it’s so positive festival underground trance, this and this is trance, yes you can mix draam and base with it no, but in principle yes, you can if you just do it just like that beat bams yes... do it zhenya, put it right next to the trackman, he does it through a spin, earlier in the nineties, when we met djs, they said the next one jik-jik you can do, jik-jik, that’s it, yes, scratch scratch, yes, this is the era of hip-hop, when it began in the bronx, in my opinion, all this djing began with hip-hop, at the same time, this is both djing and scratch. and

graffiti breakdancing, yes, this is hip-hop culture , a subculture, in fact, every period of life , and there the last century, when it appeared disco music, then transformed into hip-hop or some other music, it’s constant, exactly what we were talking about, a mutating story, yes, something slows down, something becomes harder, then becomes soft, it’s a constant process , which is impossible, it ’s like a spiral along which it happens, and some new turns bring, how much hip-hop, rap, and various things there were... i started with hip-hop, which is why i was very attracted to and together with my friend dj dan we developed broken rhythms, yes constantly, yes, which bachelor party, yes, yes, yes, it was precisely because of hip-hop, precisely because of everything connected with this music, that i switched to broken rhythms, that is, to jungle, to this style, yes, then draman bce, i became djangle draman base or vice versa, no, first there was djangle, then draw base, i can do it too.

he must play, so you can draw rhythmic patterns with your hand, for example, in the ninety-fifth year of the last century , the dejakey championship appeared, for 6 minutes the dejakey must show his creativity, work with records, hide, combine several tracks, yes, so that it is a certain one.

hello, this is a podcast of zinshtein's witnesses, where we, film historians natalya ryabchikova and

stanislav didinsky, talk about who and how created famous, little-known, cult, forgotten soviet films. today our program is dedicated to a film that is known under two names. zastava ilyich and i am 20 years old, it was directed by marlen khutseev, why does this film have two titles, how did it happen that it was filmed for about 5 years, and there are two versions of this film, we are today and will talk. so, what happened before the film zastava ilyacha, we need to start with this. who is marlen khutsiev? well, i would say that there were two authors who worked in tandem, this...

first they had their own joint directorial proposal, actually a joint thesis, then they had a joint work as city planners, finally their finest hour, this is the film spring on zarechnaya street, well, firstly, this is one of the most famous thaw films, a symbol of thaw cinema, the thaw and that era of the sixties is the time of summer rains, spring rains, this trend is set in many ways, of course, by the film spring in zarichnaya street, with which it begins. the famous biography of khutsyev as a director , after which he wakes up famous, then their paths diverge, but not quite, they shoot almost simultaneously, in odessa, marlen martinovich khutseyev shoots the film two fedors, where he makes a star of the then student

of the directing department, mikhail’s student romm, vasily shukshin, and on these sets he becomes a mentor to another future famous director, andrei torkovsky. v in general, their paths with mironer seem to diverge on the one hand, they have their own projects, on the other hand they want to work together, they submit a new application, which is called zastavoycha, and this... happens somewhere in the very, very end of the fifties years, already gorky's studio in moscow. what's in this application? four friends, uh, young muscovites, all workers, work at the same factory, one of them has just returned from the army, so he goes to the factory and joins back into this peaceful moscow life. his friends, one of them is a newlywed, the other is a bachelor who takes care of a girl named zoya, she is a nurse at the same plant, another

younger man meets with the main character’s sister, they also have a certain mentor at this plant who works in their workshop, he has a fragment of about forty pieces near his heart third year, according to miraner and khuttsyev’s idea, as they talk about it in the application, the ilcha outpost is... time is connected in the same scenery and right before our eyes, but at

the same time the film itself changes quite radically in its plot , because mironer is leaving, he is not ready to write this script, he does not feel this story, he decides that it is better for marlen khutsiev to write this script with someone else or on his own, then a young man appears who must bring... into this script, well, a real atmosphere moscow youth, after all , khutsyev is already over 30, a film about twenty-year-olds, who is this person? this is a man, gennady shpalikov, he is the star of his course, they talk about him on every corner, he is still a student, he starts working in cinema, but absolutely everyone already knows him, that’s the glory about shpalikov comes to khutsiev and he decides to involve him absolutely, it would seem, as a screenwriter. his filmography, nothing really has been filmed yet, but nevertheless shpalikov is

truly a singer of the thaw era, and in a logical way khutsiev decides to involve him, because it seems to him that this is exactly the person who can tell about those people who they sing, dance, and have a good time about the first free generation, which brings many of its new ideas into the script by marlin khutsiev and felix meronero. firstly, the number of heroes is decreasing. four friends is a little too much, they remove one, the youngest, they remove this older factory friend of theirs, who should represent more, the wise old soviet worker, this is a cliche from which the filmmakers themselves began, first of all, but at the same time one collision remains, which as written in the script, the main character sergei meets a girl who, as it is written there, is from a good, decent family. and she has a slightly different company, not working boys, she has a prosperous family,

a settled life, according to the application, she also has the groom, in the film he turns out to be the ex-husband, it seems to me that it was also shpalik who brought some more modern relationships in moscow at that time, and sergei the hero at some point, because of this girl, because of this other environment, begins moving away from friends and... the application left the ending open, they all get together again, but what will happen to them is unknown, absolutely this is the story of thinking about the younger generation, about how they should live further, in general, this question ended up sounding in the film openly, but what else did tash palikov bring, he brought there, he physically brought his company there, his friends, in geekdom, future celebrities, in the film...

and then popov’s hero ends up at a party where they joke about something extremely expensive to him. according to the script, shortly before this we see a scene when his mother remembers the war days in moscow, how she lost her food cards, dug

potatoes near moscow, and was shelled, that is, absolutely such days are the most intense and. .. these are so moscow majors dudes were such biggies yes, yes, yes, they laugh at these potatoes, konchalovsky’s hero brings potatoes to alarus in a pot for his birthday, a conflict arises, we have a fragment, we can see what it looked like, and you have things, oh which you can talk about seriously, to which you can at least answer me with something, if there are no things that can be talked about seriously, then it’s probably not worth living at all, or you don’t agree, this is already provocative.

yes, but this is his desire to be as truthful as possible, even if he builds this truth into something else, to be as documentary as possible, it simply permeates every frame in the finished film, yes, this scene was filmed in the pavilion, of course, but most of the scenes that we see on the screen are friends walking around moscow, this a huge evening of poets at the polytechnic museum. a scene with poets, by the way, who were , well, probably the rock stars of that time, and with yavtushenko, with voznesensky, with akudzhava, with slutsky, with akhmadulina, they say that this scene was suggested to khutsyev by the minister of culture herself, ekaterina furtseva, and especially for film, for several days, they closed the polytechnic museum, cordoned it off with the police , didn’t let anyone in, only with the passes of the film crew, they invited there, well, again,

everyone they knew, i remember our wonderful film screening at... kleiman was very sorry that he was busy in those days, he couldn’t get into this crowd because everyone wanted to get into this crowd, he could have, but he was busy. this is a podcast of witnesses from einstein, and today we are talking about the cult soviet film, one of the main works of the otepel cinema, in film by marlena khutsyev, zastava ilyecha, or i am 20 years old. well, in general, the shooting of this film was a huge event for soviet cinema, not only. for moscow, but for all cinema in general, because they talk a lot about this film even before it was released, everyone tells each other about what incredible shots the film’s cameraman margarita pelikhina shoots. how she works with the camera, how she shoots outdoor scenes, everyone talks about the dialogues, about khutsiev’s style, waiting endlessly for the right

moment when you can start shooting, yes, the father of russian prolongation, as he was called, but here khutseev is still only, in general, at the very dawn of his powers, but many of his future directorial habits have already been outlined, well, in general , the film is an event, certainly in the years when it is being filmed, well, about the long... filming , one of those present in the scene with potatoes, pavel fin, a future screenwriter, a friend, then very good gennady shpalikov, he recalled, in fact, how in this scene, in this filming pavilion, khutsiev and pelikhina rearranged the actors, then they’ll put it this way, then they’ll put it like that they will make the mise-en-scène, and the actors have already relaxed, started to discuss something, and khutsyev thus, very imperceptibly , created from them not, clear...

they actually filmed on may 9, but this is really a cheaper extras, it’s real, the heroes are walking in the crowd, cheerful

, bright, and moscow is somehow completely flooded with light, spring and the hero follows the girl whom he saw before on a tram or trolleybus, and whom he lost, now he has found her again in the crowd, looks for her again and follows her here... in such a flow of life khutsiev already had a familiar friend, cameraman pyotr todorovsky, his own generation, but todorovsky refused to film the ilich outpost because he decided to switch to directing, in fact, he became a famous, wonderful, magnificent director pyotr starovsky and then khutsiev was advised to margarita pilikhina, a woman cameraman then for the soviet union was quite ... a rare phenomenon in feature films, in the sense that there were actually a lot of women cameramen, but they worked either as second cameramen with their husbands or with their former teachers

from a geek, or they worked in documentary films, that is, they were somewhere on the periphery, and pelikhina was already a really famous director of photography, she worked with mark dansky, one of the classics of soviet cinema, here she became a real co-author of khutsyev, because they were constantly... thinking , how can they film moscow in such a way, so that moscow becomes not just a place of action, but really a fourth friend, that fourth friend whom they threw out of the script, so that moscow would be filled with this spring, summer, in fact , the seasons change there, but always with some very fresh air, from the beginning to the end, there were shots that they shot at night, they had to shoot during the day so that the lighting was like night and pelikhina. it was a great success, it was necessary to film people in a crowd, how to film people in a crowd with equipment that is far from a cell phone, yes, how do you place your

characters in a real crowd, so that it would be like a documentary filming, and then margarita pelikhina cut out in sports bag had a hole for the lens, put a small camera there with a small lens, short-focus, yes, next to her was an assistant who was carrying... and somewhere in front of them in the crowd there were actors and a director who needed to command when to start play shoot, they had this sign, he took off his cap, i don’t know how long they saw him in the crowd, because he was very small and thin, but somehow it worked out, and thus pelikina took a lot of shots with a hidden camera, such an immersion in space on there was no such thing as a documentary on the soviet screen before. the authenticity of art cinema, this is what appears in soviet cinema, with khutsiev’s films, we will later see this in july rain, in some other films, this will perhaps become a commonplace, as

the end... of the decade, but not all of this it would have happened, if not for the film of the ilyach outpost, or i’m 20 years old, because the audience of the sixties still knew it under that name. why? because the film has a very sad fate. even before he was completely finished, released on screens, with it, as i said, you have already said a lot, and you didn’t always say it in a positive way, because the final scene. where the main character spoke with an imaginary interlocutor, so to speak, with his own father, who had long since died at the front, whom he personally never knew, whom he imagined in his imagination as some kind of ideal person, well, that is, of course, that this is a classic way to convey internal dialogue on screen, yes, this is a way to show like, what's in our character's head.

but this scene was taken quite literally when the higher authorities watched it, and they began to say that in general, as it were, that this scene was very dubious for ideological reasons, there were actually two scenes with fathers, it is clear that the problem of generations or the theme generations khutsiev is very interested, he is interested in traditions in principle, the transfer of traditions, how we preserve culture, multiply it, that ’s why there was an evening in... technical, that’s why there are so many poets reading on camera, somehow suddenly, yes, they would read pushkin, then mayakovsky in a wonderful poetic scene, and although this character of an older worker, who was supposed to help these young heroes find their place in life, disappeared, two fathers appeared, anya’s father, sergei’s girls, who is , in the end, some kind of nomenklatura

who believes that... where our hero says to him: i would like to go on the attack with you, the father says: no need, but what is necessary, says the hero, you have to live, but how? how can i know if i died, if when i died, it was less than you, they did it very well, yes, we can

see how it looked on the screen in the end. “i would like to run next to you then, there’s no need, but what is needed, to live , but how, how? how old are you? 23, and i’m 21. well, how can i advise you? it’s actually because of this phrase, how can i i advise you, an incredible

fuss erupted at... nikita sergeevich khrushchev’s meeting with the intelligentsia, it was at the beginning of sixty-three, he attacked specifically this film on this scene, well, he attacked a lot, but this film was singled out as a separate category of especially bad examples, because in this father’s answer he saw a direct challenge to the communist party, in general, because it turned out that the younger generation, which our main character represents. .. turns to the older generation for advice on how he, the hero of the generation, can continue to live, and the older generation avoids answering and says that he will not advise anything, that the new generation itself, the hero himself, must decide how they have to live on, and this idea in the year sixty-three seemed not only radical, but seditious, because it called into question literally the entire foundation. we

have been passing on experience here for decades from grandfathers to fathers , from fathers to sons, to grandchildren, and so on and so forth, and here you are questioning our entire concept, well, the main thing is that in khrushchev’s head this is not a generation as such. it was the government party, khutsyev later recalled that he heard that khrushchev later expressed regret that he had attacked the film in such a way. suffered, they say another director, because after the performance in the hall, khrushchev, there were cramped passages, cramped rows, he was pinned in the dark in his chair, it seems that the director was danelia, he began to sternly reprimand him for a very bad film, in his opinion, the ilyach outpost , but the person got confused. i just didn’t know by sight what khutsiev looked like. this is a podcast of lisenstein's witness, hosted by us, film historian stanislav didinsky and natalya ryabchikova. and today we are talking about the film by marlen martenovich khutsiev, ilich outpost, or i am

20 years old. actually, the film was decided remake it in some way in order to smooth out this confrontation between generations. shpalikov, the co-author, didn’t want to redo it, it won’t work. khutsiev was ready to make cuts, shpalik was ready for a certain moment, but then he couldn’t, what else was the main problem, that in general the generational conflict was already visible at the level of the scenario, and many people noted this, and even when we read transcripts of artistic councils, at which director gerasimov and shpalikov personally discussed some individual moments of this dream. you could see how hard it was for them find a common language, it’s just that these are people not just of different generations, different decades, they just think differently, and all this, of course, later manifested itself clearly in the script. shpalikov in general was not the kind of person who could be forced to redo something for a long time

; after all, after the second or third, to say the least, draft of the script, he lost all interest in the project, could not force himself, we will see this later on further films in his career, so khutsyev has to... or in your previous work with marlen khutsiev, please, there is no need for this excessive pessimism, there is no need for unnecessary tragedy, there is no need, please, to separate generations on different sides, and we must pay tribute to danel, who says: please, there is no need to mix, why our film, our

script should answer the bills of khutsyev's film, we have a completely different plot here, we should not report in any way and should not correct those mistakes in our new film, we just have a different film, but khutsev believed:

he would simply betray his group if went to some big principle , for the sake of small concessions, very often people sacrificed particulars in order to preserve the whole, such a principle very often manifested itself in biographies, in the creative biographies of very different soviet directors, well, in fact, khutsyev not only had to not let his group down , the entire studio, there was a lot of pressure on him, so while he was finishing his film during the sixty-third year and the beginning of the sixty-four, daneli quickly made his own and yes, it came out. earlier than the film that became call me 20 years old, because one of the complaints was that the name of the lich, how can you flaunt the name of lenin, we won’t let you do this, you took too much of yourself by taking such

a name, so let’s just call me 20 years old , even the script was already published under this title, nevertheless, khutsiev remade it, moreover, he took advantage of this time during reworking to shorten something... something, yes, the film became shorter by about 20 minutes, a huge part of this poetic evening at the polytechnic was gone, was the scene was re-shot with another actor. with my father, but what’s interesting is this, this exchange of phrases, how old are you, 23, and i’m 21, it remains, that is, in general, it went away minimally, something that caused irritation, and then a wonderful phrase from my father was added, who said, when leaving, how i would like, you will now go for a walk around moscow, how i would like to also walk around moscow, moscow is a wonderful city, that is, absolutely such a thaw phrase, as if from a film i am hanging out in moscow, a world city, here this is actually the problem. which was stated in the film, fatherlessness

, it actually survived, yes, there is such a wonderful concept from the russian film critic lev karakhan, who believes that in general this tradition lasted until the film return, which was released in our era, and then the same problem, the father returns out of nowhere to his two children, and then all the collisions are connected with his new absence, when he dies as a result of an accident, and this in general, well, looking at the entire history... of soviet cinema, more precisely after the military history of soviet cinema, we we see that some of khutsiev’s ideas later appear in poetics in the plots of many films, but for khutsiev it was important in this scene to really just show it, and this was noticed by those critics who were friendly to him in the film and in general to his work, well, you really need to think with your own mind, it’s logical, when the film was shortened and remade after all, it came out, and they still kept it for a year on...

notes that they were right, that indeed , the film came out, and yes, not very- then he is good, moreover, okay, the critics who receive the task to write negatively, but there were critics who received tasks to write, as it were , letters from the audience, and one of the critics of that time, tatyana khloplyankina, later having written a book about the ilyech outpost, recalled that she asked herself if she would have gone for it, could would? to write something like that, it was also a very delicate moment,

yes, to pretend to be a working viewer who criticizes or to interview someone who doesn’t like the film, to somehow deal with it, then the soviet cinema magazine, for example , who needed to criticize the film, did a very interesting thing, lyudmila pogozheva, the editor-in-chief, apparently came up with this, to immediately take several reviews or even reviews of the film from actor sergei yursky. to some venerable critics, and it so happened that they hid negative reviews inside positive, enthusiastic ones, like, here you go, we criticize, we are opinions, cinema, yes, we understand that this film was not criticized in vain, but there is these are the opinions that say that this is one of the outstanding works, and so the film existed, accepted, not accepted, criticized.

of his era. and the next chapter in the history of the film zastava ilica i am 20 years old. we are so used to speaking directly with a double name. zastava ilecha i am 20 years old. occurs in the mid-eighties, when , after the fifth congress of the union of graphists , a conflict commission was formed in the union. what it is? this is a gathering of critics, journalists, film experts who watch those films that are on the shelf in order to find out. but what was the problem with these films, can they be released on the screen, and in this way

many films come out that are really were lying on the shelf, it becomes possible for khutsyev to return to his original version, longer and called ilyach’s outpost, the film i’m 20 years old, he takes those materials that have survived, they may not have been in the same quality, but the ideal one that was printed for me it is 20 years old, but it restores and even seems to be a little longer than its original director... version, and this film is being released again as the film zastava ilic, so we really have two versions, the official version and the director’s version, despite the fact that he then...

which, after all, khutsyev in the absolutely 100% world still failed to show all these problems on the screen , very often we argue which version of the film is the original, but the author’s is the real one for example, andrei rublev of andrei torkovsky , this is the theatrical version that came out, the version that was shown in france at the cannes festival, or some other one, which he reduced the limit, because in general, an author is always, any author of any work, text, film... painting, strive to retroactively somehow improve it, think it through, further comprehend it, but still, what is that point, the moment when the work is presented to the public, when everyone perceives it in the form in which which we first met with it, or later editions, this is always such a debatable issue, so the best film is probably

the film that takes shape in the viewer’s imagination after getting acquainted with different versions of the sources; everyone can choose the one that he likes best today. and it was podcast of witnesses from einstein, where we, film historians natalya ryabshchikova and stanislav didinsky, talk about who and how created cult classic, famous, little-known, forgotten soviet films, and today we talked about such a cult film, which is known under two names : leitch outposts and i am 20 years old. all episodes of the podcast witnesses from einstein can be viewed on the website of the first channel 1tv.ru. thank you and goodbye. hello, this is a psychic podcast, and we continue to take apart the bones, molecules, atom by atom, human destinies to look for the right development strategy, or

just try to understand how to live happily. my co-host is a clinical psychologist, ph.d. a true master of this art, well, our today’s heroine came to us with a problem that, it seems to me, will resonate in the hearts of many girls and men too. alena does not know how to part with her lovers. alena does not know how to throw traumatic, painful relationships out of her heart. with this she came to us. hello, alena. hello. well tell your story. you don’t know how to part with such lovers or some one hurt you so painfully that you can’t get this pain out, the first one was my husband, with whom we broke up 7 years ago, i had very difficult breakups and i couldn’t forget him for 3 years , i still have three children from him, literally a little over 7 months ago we also

broke up with a young man, having met for more than a year, i still can’t forget, although they say the time...

is good for them, but it was to many concessions, and can you give an example of what it means, i tried to be good and made concessions, this is most typical when i lived with my husband, i know that he comes late in the evening, uh, i took on all the household responsibilities myself, but accordingly i then sat in maternity leave, no matter how tired i was with three children, i cooked him a hot dinner, he ate and went to bed, thank you, he told you though, thank you, he said, sometimes he said, sometimes not , he also has his own, sometimes he didn’t even eat , because uh huh. i don't want to, i think, well here i am i stood by the shower for half an evening, i wanted to please you, and then, when you went to bed, you asked how it all happened, how i bathed the children, put them to bed, then killed them. from the table, washed the dishes, collected toys , that is, he came home to spend the night, and he himself left you, yes he himself, why did he

leave you, how did he have some version, well, he met a smart, young , beautiful, everything , ah, he met another woman, and how did he tell you about it, no way, he told me, i just saw a correspondence when it was already like that, well seeing his correspondence, i showed him , i say, what is this, he says, well, yes, there is, and what, i say, like it’s nothing, that we have a family, we have your children together, he says, well, it’s okay, and come on, he says, we ’ll probably break up with you, that’s it , that’s how it all happened, in general everything suited him, until i found out all this, he packed his things, left, no, he didn’t pack his things, he asked me and the children to leave him, because we lived in his apartment, and so he said, well, at that time i was still pregnant with my third child, in the seventh month, he says, come with your camp from my hut, with your camp, about your common children, about our common children, yes, then we sued him for a very long time, because the girl with whom he began to live, she couldn't have children, she suggested it to him. let's take them with you, cool, because they are a little less, i have them three years old, everything is fine, for five years we were suing there, well, everything was difficult too,

well, because i already went to work, everything is fine with me, that is, a miracle did not happen, he didn’t repent, didn’t apologize, didn’t say that he was wrong, now you, when they started talking about your first husband, the father of your children, you cried, you’re sad, i see that you’re in pain, it hurts, what exactly, what hurts , where a... it hurts that i couldn’t keep a family, a complete one, it turns out that i have children without a father, i agree, it hurts, although now after a while they tell me, mom, we don’t want to go to dad, i don’t either i say, let’s go to dad for the weekend, he’ll invite you, no, we say we don’t want to, and it works out for me too counterbalance, he says that i’m setting them up against, i say, well, you can talk to them on the phone yourself, he says, no, it ’s all according to your diction, i say, i don’t mind, on the contrary, for children, boys to communicate with dad, they don’t want to, they saw it all , it was all in front of them, despite the fact that they were not little, and that is, you are mourning

your women’s dreams that did not come true, for a strong family in which there is a father and a mother, three you are raising children together, and how many years have passed since you broke up, 7 years, and can i now have a second story, a second story, here it was a little different, well , in some ways even similar, i met a young man, it seemed to me that everything was... wonderful, i’m probably just used to the men in my life, i i probably turn them into children, i begin to patronize , look after, take care of, offer some entertainment options, and here there was a similar situation, the rest was at my expense, i also bought groceries in the store, and it immediately became so that you became such a mommy, and a mommy sponsor or all at once right from the first day, and then the opposite is true for us, i tell him, listen, why do i always pay for groceries at the checkout, he’s like, well, it’s your own fault, you quickly take out the card... you take out the card, great, here you go how do you choose them, tell me, by what criteria, that is, what did you like about both of them that you decided

to enter into a relationship with them? i probably like external features, i like tall, big men, how did this relationship end? he was very jealous, and even waking up at night, he looked all the time my phone, i look like this, there is no man, where did he go, i go out into the kitchen, and my phone is on charge, and he is trying to find something there, i say that you broke up there on his initiative? on his initiative? yes, how was it? there was also terrible jealousy there, we have a mutual friend from our company, when we began to, well, communicate with us, he was jealous of him, although that friend was dating my friend, how did he say that you were breaking up? and he said so, he says: i’m done, i can’t stand you anymore, i’m already tired of everything, but there were such some, he will say that he can’t stand you and he left mentally, and then you tried to return something, i tried to return it, tried to communicate with psychologists, something about... something valuable to myself, you know, i had two psychologists, and it was very amazing when one girl told me, she says: you need to fight, save your family, do it

in every possible way, so...