maxim recalled that when he grew up in the american outback as a child, he was interested in seeing. what happens if you approach a policeman and hit him and give him a kick? well, of course, he was a normal person. he did not do this in his life, but he embodied this idea on the screen and subsequently. in general, all these poke worries are cracks, flying cakes. they migrated to the soviet to the soviet cinema of the sixties, because gaidai, testing all these sets of techniques, we see this aesthetic, there are cakes and blows, and there each other on the head and etc. all this was then melted into organically into the soviet new type of soviet eccentric comedy, one of the three. it seems to me that i would consider it so, because, firstly, it was not gaidai himself who came and said. and here i want to do screwball comedy or i want to do comedies. well, danelia also did not come, did not speak. i want the lyrical commission first, basically invented during the production of the film. i same moscow beginning in the soviet planned economy came up with we need to do more comedies. ma-minister

of culture ekaterina furtseva - these are their own sealed with a signature. and then search. what kind of comedies actually happened, and it so happened that there were three, like, yes, a sad comedy, and there is eldar ryazanov's comedy, which, well, in general, is a situation comedy, but it seems to me that the most radical of these directions is the direction of the guide, because here it's a legacy of the twenties. suddenly returns to sound film. and what it will be who these masks? who will replace chaplin with us, who will replace us with this strange music, yes, on the piano that accompanies all these, and old races. and how does it all work? how it works on the material of modernity in the soviet union let's look at the material, just one of the first such iconic lines of the guide from barbos unusual cross, how does it work? and here on our material.

here, in fact, the work of the whole team is visible, as it is written, yes, the scenario team, in fact, after all, well, i just finished watching it and remembered. for some reason, ivan is his childhood. there was also a similar announcer, birches, birches, birches, and how differently two directors will work with the same scenery here, in in general, uh, on the one hand, it seems to us that this is all, as if it happens by itself. here it is obvious that everything is invented in advance of improvisation. there are some graphical tricks here, and acceleration is jumping up, and

here is a breaking birch, which, of course, should also be first done properly here is incredibly thin. it seems to me that work with rhythm in general, how is it all done, what are these masks that appear for the first time and music that you can’t pull out either. this needs to be clear in advance. understand the production plan. ah, russian firewood, where does it all begin? where does it all end? it is very interesting that gaidai worked out this visual component very clearly with his permanent cameraman igor chernokh, and he told cherny about it a lot, that they sat down at the director's script and drew for each frame. what is not written there? and what needs to be done there and right then it was photographed and distributed to the whole team, and to the entire film crew, and it was clear, but at the same time on the site, when they came to the guide, i was engaged in actors and no longer interfered.

specifically there in the composition frames. he knew that his camera team would have done all this already. they worked everything out. it's kind of a genre experiment. a game of working with genre material, but at the beginning of his career, this is exactly what manifests itself most clearly when he just takes it. uh, a whole set of stylistic devices typical there or on her husband, andra. you western american film noir and embodies them in the form of separate arbitration films. e business people, where the robbers in the performance as well. nikulina penetrates the house we we see this gloomy atmosphere and the peculiar cinema of the forties and fifties . pick it up and leave it there. i'm sorry you got lucky. we are old friends with rheumatism and also in the left. anyone else would have pierced right through you. when did you not understand your left claw? please tell me and for a long time

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in children's loans from sovcombank in the office . you just need to make up your mind father will help with a large base, reviews of lcds are all new buildings, just to make up your mind pure products without harmful additives. i am svetlana, the author of resistant wheat varieties and a participant in the bread project russia and this is the moment when i decided who i want to become my father experimented. i remind you that this is a paws podcast podcast. gaidai 100 today we are talking about the centenary of the remarkable

soviet director. leonid jovich, gaidai and the history of cinema natalya ryabchikova and with me my colleague stanislav dinsky, film historians. let's continue about noir, why a friend appears again on the movie screen noir in soviet is the same french word. what is the american genre? well, because the french in the forties watched american films and said hmm black some kind of film dark a and came up with such a term, which is natural in the thirties . in america, there was no time when this one was critical of his wanderings, some kind of microfists themselves came up with tricks. here actually. ah. when we look at this fragment now, the camera shoots a characteristic technique a little from below, but a very large face. uh, the actor's hat. yes actually. yes, yes, nikulin this is typical. well, it's a frame! might be in some kind of double insurance white, for example. why not? in general, such a look, yes, sharp shadows? yes contrasting

images, which, by the way, all this came from, how is it considered that this camera work came from the twenties from the german expressionism era cinema, where there was a separate school of cameramen, many of whom later came to hollywood and all this is here this is a mixture of everything in the world in an amazing way. then, it turns out to be the insai region. well, why do they say this is necessary, this experiment is a stylization, because the material and the approach to the solution in general. this, of course, atmospheres. it's completely uneven there. yes, that is, such noar - this is something hopeless, and here the guide takes the stylistic elements of genres and overcomes them, the same thing happens, there is another short film in the leader of the redskins, which is absolutely eccentric from which , in my opinion, because in general domestic grew up, because it is a boy , with which not parents, not even criminals, who do not look in their own way, can break, but he is trying to kidnap him here. and from this grows, in general, well, a separate direction in the edematous children's cinema, as it seems to me, uh, it seems to me that these techniques,

which he uses. they are taken for this, to surely hit the viewer, so that he has fun. this is the turn, in principle, of cinema to mass cinema to genre the return of the genre. as such, in soviet cinema so that, uh, as many viewers as possible watch this film and they like this film, and if memoirs of one of the authors, gaidai, one of his screenwriters, who spoke, then we checked ourselves all the time when we wrote they said, but this will be clear to the grandmother from yoshkar-ola. for some reason they had this image of a grandmother and for some reason there are cows. and so, if it seemed to them that it would be, it is clear they went further, but in order for the viewer to fall in love with these films, of course, it was a coup. to create a certain group of actors who will constantly work with you nikulin appears in the cinema, gaidai not alone, but

immediately with vitsin and morgunov. and vicin something. guess starred before uh, dog barbossa, unusual, cross in his first not -so-successful comedy that he experienced. uh, such censorship problems are slings, and the film, which was eventually named the wrong light. here there is one vice, and here nikulin and morgunov appear immediately to the faces and they appear in such images that are absolutely recognizable. even the costumes. until now, they are standing in the corridor of mosfilm, and we know who it is without even knowing there are no faces. yes, these are dummies, the same as shurik yes, because gaidai is actually on one side. brought a career, alexander remka. to a new level on the other side spoiled, as he himself sometimes thought, because the mask stuck so tightly, and to alexander demyanenko with shurik's mask, that in general, at some moment e, he believed that he was a hostage. it's bad for you, after all, shurik can you explain what hmm is the uniqueness of this image, after all, it seems to be common features of a student who

has nothing, who all the time even when he grows up. yes, he is always like this, not until now. what is the meaning of this mask? it seems to me that first remind ourselves what it looks like? how does it work? do we have a small snippet? driver

shurik, in my opinion, is a typical representative of the soviet technical intelligentsia. here is the eighties yuri lotsman i recalled that once upon a time in leningrad, if you, in principle, walk in glasses in a certain area , you will definitely be attacked, because why are you wearing glasses there, there is such a prejudice among a soviet citizen to a person with glasses, and the guide makes a man out of him on the one hand. a. well, it seems like not stupid, but on the other hand, he always gets into some kind of stupid situation, so it's nice to laugh at him. these two years also found this, because we think about masks. oh, what a loser, charlie chaplin's hero is a tramp, he always gives stupid positions. here the approach is exactly the same proven methods. guides always use what has already worked somewhere and is testing it for a new audience and proves that these techniques do not get outdated at all. but if chaplin usually does not

get a girl. you say shurik is still a romantic hero. this is such an interesting combination when, on the one hand, he is all busy. for your science, as it will be later, suppose in ivanovich he changes his profession, but at the same time we still enter another effective genre - a romantic comedy that is not so much in the soviet union. in general, people could afford to do well, that shurik was a prisoner of the caucasus. the only thing that comes to mind, and hmm during a date, is to catch a funny song with a girl in general, work. ah, when i'm with music - this is a separate topic for a dissertation i don't know. probably because after it is believed that he offended the theological, and they use some of his music for their first, and later comedy works . i had a very creative and strong union with hooks, which, in general, in my opinion, did not even break until the death of the guide. yes zatsepin is a wonderful composer,

with whom i really guess i was lucky. on the one hand, he is a songwriter, in principle, and on the other hand, he is a master of the very instrumental music that is necessary for such a genre of physical comedy yes, a comedy of physical action. ah. zatsepin he recalls that when he kept asking him to make the music faster, faster, faster , and well, the musician cannot play faster either, and zatsepin knew how to make it so that the rhythm of the drums was laid so that it sounded faster. it just felt faster. yes , it was not necessary to play faster, but at the same time, and on the screen, combined with the image, it all works. let's get back. actually, for the film , the groom became light, why didn’t it work out, when oh, a wonderful story, it seems to me, because the film was cut, almost by half. it should have been called something else first instead of yeah, well, how, well, do you make a movie? and cut it in half for you. well, how is it? it's trauma, of course.

let's just explain in fact to our listeners and viewers, what was the catch of soviet censorship and its difference from analogues, because no matter how clear the rules, as such, people could make movies in the spirit of court realism back in the thirties, and then kim came and said, sorry a. you are doing something wrong. how did it happen? well here's the guide and starts the comedy that bureaucracy is bad, it seems like everything is in line with the times, apparently, someone is somewhere else, and the decree was issued that it is necessary to fight bureaucracy ryazanov, on carnival night, is also struggling with velvety. and so the guide honestly makes a wonderful actor the fifth, and georgy vitsin adds wonderful supporting actors there, a story about how, and a person goes, and they steal, uh, money and documents from him on his honeymoon. immediately, he dies and everyone thinks that he died. this is the same person who left him too. a room in a completely unnecessary institution, which is called ku-ku, and something there is

a prosecutor's office with a lot of signs. if you remember, in ryazanov's office romance there is something similar, too, a building that is hung with a huge number of meaningless, and the names of meaningless institutions. yes, the institutions, one of which is headed by our hero, his deputy does not accept him back, because according to all the documents, he died and the hero of the plate cannot get this very piece of paper that he is alive , what remains in the film is still very funny. often this happens. i heard yes , a and uh, there, apparently, there was something too much, and the truth is too funny or too much, showing the absurdity of soviet reality, therefore, that's what's left of the film. uh, horns, yes legs, but on this, i think gaidai learned from this injury, for example, an interesting story in e. there was such a phrase , and which was said by the hero frunze mokruchano,

who plays the uncle, yes, the heroine, but we are talking about the traditional way of getting the bride, the theft is so ritualized, and he says, but in the neighboring area uh, the groom stole a party member. and of course it looks. well, not very well, yes, and uh, according to all the canons, as it were , an artistic council gathers and offers to cut it out. i would like to remind you, but this may be a little obvious to a few, but today more and more often there is a study of historians on how the economy of the soviet union was arranged in general what is the shadow economy, and this is the main material with which gaidai also works and ryazanov in their films and in the sixties, just it's the best in comedy. in the sense of these themes of social justice. why is someone a speculating petioles in the market? someone makes ends meet, well, in beware of the car - this topic appeared brightly. by the way, speaking, it appears just

the diamond hand. yes, that is, here are these soviet entrepreneurs who are trying to somehow bypass the system to hack this topic. ryazanov comprehends she more vividly in the sense that he is trying to think about what social justice is, like a zigzag good luck, but here is a film where a is trying to understand how, but is it good, and should a win? yes , and from a lottery ticket to belong to everyone a whose money is the ticket bought or only to the one who bought it directly. you guessed it, a little stifled. it sometimes seems to him that this is all he does not seriously talk about any problems, too, all this there are elements of this very one, but market economies that are corroded by soviet society. well, just present, but in the form of a comedy, because when the hero screams, she says that in the neighboring area the groom stole the members of the party, they say, it is necessary to cut out then this phrase is simply passed on to nikulin's comedic hero and now, please, all this can be said. a, but the most interesting thing, in my opinion, is history - it's about how it seems that diamonds

in the hand should have been an atomic explosion at the end. it seems to me that you know better about it, yes, but it's like the one that called the worst watermelon on the neckline, he had a scene in the film julian rain. e about the crazy kgb officer. and in the end. eh, as he himself said, i had to donate to save the whole movie. that's just food and apparently many soviet directors and couples had a similar strategy. yes, he tried to distract the admissions office there with some outrageous scene. well, in particular , a bike is considered such that a scene with an atomic explosion was mounted with a variant of the hand. and it's so emotional. and everything excited distracted. for some more. calling by the standards of things they then no longer paid attention. i remind you that this is a podcast gaidai 100, where we talk about the centenary of the remarkable soviet director. leonida yurchi, gaidai, i am a film historian natalya ryabchikova and we communicate with my colleague stanislav dividensky. and

also, if we talk about attractiveness, the attractiveness of movement, the attractiveness of actions on the screen and physical attractiveness, when i could somehow afford to enter the territory of sexuality in soviet cinema. here's what. i don’t even know such sensationalism, or something like what svetlana svetlichnaya does in a diamond hand. here for yourself as for viewer. gaidai is never shown to us and the whole thing. we don’t see how , in fact, the bra flies off the saints, if personal and further some frame that was cut out of the film by coins. there, in principle, it was not supposed. i really like how this theme comes up in the latest film by gaidai on the bass tree, good weather to pick up things. ah, again this rain, where is our soviet, and such a secret agent receives instructions from his commander from his mentor, and he reminds him. and if you

a beautiful woman will seduce and want to destroy you, what should the agent and hero of russia do? she says the hero must destroy the beautiful woman himself, and the mentor speaks incorrectly, and the hero must not pay attention to the beautiful woman. here is the cinematography, gaidai, yes. the agent must destroy the beautiful woman himself, and the audience. actually, gaidaya immediately positions himself as a director of spectator films and this is actually a strange position for a soviet director, because it was believed that, well , there is some kind of graphic community and it's better to close your film, everything will be cut, but you will have rena, we are a person who fights the system. but if you shoot a genre movie, even if you won something there, that the themes and come up with something that they will definitely cut out later, so that everything else passes, it seems that you are not a serious director, that you are, well here's a genre, well here's a mass cinema while any audience is huge. yes, at the same time, this is the grandmother from yoshkar-ola, who clearly looks at this, clearly understands,

there is information that films are shown to the japanese there, and gaidai and they all understand. and this is not a coincidence. it tormented the guide. there is evidence that he earns a lot of money. yes, on these films she earned money, he also earns a number. well, at some point i also earned money, because the actual success of the guide and his comedy is associated with such a name as unobvious to grigoryevich paradise and vladimir pozner, the senior dad of the famous modern tv presenter , because people are the efforts that were created by the experimentally creative goddess, where the guide was filmed, and some piles of movies and where a system of paintwork was built, motivating the director. uh, the more collects yours at the box office. that, in fact. you earn more yourself. your group was successful, it really worked, because people were motivated. well, again , this motivation is financial, which actively manifested itself in the nineties. ah, and when the phenomenon

of co-operative cinema arose in the late eighties. again, it is, yes. and why are there some non-obvious things, but simple emotions are human desires to earn a desire it is good to live, these are the basic concepts with which the guide worked, after all, it is no coincidence , again. why is the twenties the twenties in the soviet sense is on and, but. look at ivan vasilievich, this play was written in the twenties, and the guide itself refers to some of his films, just to the theme of the nep, which directly takes place 12 chairs again, yes, as his favorite events, this is also a response to the twenties, when could make films on this very thing and here are the films of the last two films of deribasovskaya good weather or on brightons. d ah and operation cooperation is again. eh, in fact, such a renaissance in the work of the guide. i think that, well, gaidai is a lot of masterpieces of the sixties and seventies. and then how it goes downhill, so that the palm tree. uh, in

this era of stagnation, ryazanov, as it were, pulls out who make such philosophical films are no longer very funny, honestly, as i would consider the garage, rather a tragedy and office romance. they didn’t live really funny comedies, but nevertheless here, as it were, like this, but a new rise, and well, a lot of new formal tricks. that is, if in the eighties of sportloto yes, there are also tricks there, but somehow it already looks a little strange, as it were, here is the epoch, there is such a feeling that it has gone somewhere. but the nineties is just such an elephant, when well, a new growth, nothing is clear, but it seems that burning again does not fit. so you think why the reason for success or maybe there is a creative failure, yes with these films, it seems to me that even fit in, i suggest watching a small fragment, it is very important that please please thank you how much i

owe you save this katz owes you katya you owe me not to you personally. i mean the kgb. oh , if not for the kgb would i be in this order, if not for the kgb, i would still be tormented by an assistant professor at odessa university. well, i won't interfere. bon appetit. thank you. i 've said two things here, the first is the measure of audience success. i think this is especially true in comedies. and how many phrases will go to the people one of my favorite cus always offered to stay. well, late guess, how can you say that he is not successful, if, uh, so many phrases from deribasovskaya still live in a time when the audience did not go to the cinema so often. i have a favorite piece. true, because of this film is different. i love him when we see him, and the auditorium of the bolshoi theater and where at some point

there is an announcement over the speakerphone of kgb agents against leaving, and then chasing to the exit and at that moment all the visual gets up and goes to the exit. and even one of the dancers leaves, and the ballerina goes out. that is, this guide, and in fact, he beat them very much, not so much political humor. how much he simply loved to joke about some here. their realities, which, well, which have set everyone on edge. yes, and so the realities, i think this is what is still interesting to see the films of the year - this is the second part. yes, what i like about this is not an anti-soviet. he does not question the fundamentals of the system at all. i remind you that this is a podcast. gaidai 100, where we talk about the centenary of the remarkable soviet director. leonid yavichi gaidai i am a film historian natalya ryabchikova and we communicate with my colleague stanislav. we actually have already begun to move on to the topic of why the guide is now popular and why does he need to watch?

i personally tried, and at one time to get to the bottom of the reason for this people's love, and i specifically analyzed tv programs for 50 years, how often and what films were repeated on new year's eve on soviet television, and oddly enough, it turned out that and not so much often, that is , a phenomenon, love, guide. this is a phenomenon of repetitions of recent decades, after all, soviet television in the usual underwater year to show some kind of premiere how would it be really a perfect movie. and now, nevertheless, the strategy shows what people really like to know, they will definitely look at what they seem to support a certain rating and people really watch and know, but i would like to deliberately trend and advise viewers to watch the film that is perhaps the most unknown from gaidai's film, here is the very bridegroom of that world, which is available to us in half of its full form. but, in my opinion, there you can see where the legs grow from. there you can see everything that appears later and this a very interesting bunch, but of soviet cinema and

soviet reality of the late fifties and early sixties. here is one movie to watch that i highly recommend. it didn't become light. and for your recommendation, listen, probably, the diamond arm. why? well, because on the one hand there is no shurik and kaidai's economy is a little violated. here, on the other hand, this is formally, perhaps the richest saturated film. c because there are also references to italian. dialo yes and uh. well, here are the footage of the nightmare. ah, look at nikulin's hunchbacks, this, of course, is absolutely somewhere close to the genre of italian cinema and uh, well, the songs of the song of course well, as if the songs are not the main one, but in general the way the film is made from a formal point of view. actually, it is interesting, when it is in our time, and due to the fact, in my opinion, that e mankens begin to understand how difficult it is. ah, his cinema was arranged,

how carefully his team prepared. and in general, as if a movie with her is not so simple as it seems to many modern critics. this quite difficult and directed. yes? this is a rather complex process of preparation , especially the development stage. and in production, where you need to come up with all these tricks, you will never be able to make the kind of movie that gaidai made if you think that you need to improvise the built improvisation, of course, improvisation is always present in the acting of actors, some ideas and things arise in the process of shooting , but still, you can’t build complex tricks on improvisation from tricks. gaidai has quite a lot. they need to be invented first, really in this sense, probably, the diamond arm. it seems to me one of the most perfect, uh , films of the gaidai, although ivan vasilyevich may be closer in spirit to me, but if he was an electrician, probably the diamond hand. i think we've made a pretty compelling recommendation and leave our viewers with a choice. which movie in wondering to watch or re-watch? it was a podcast when and 100th movie history natalya

ryavchikkova. and my colleague. the history of cinema stanislavsky pleasant viewing. good night all! who does not sleep to everyone who watches podcasts on first today we have a literary tackle. let them not speak, let them read, of course, we will talk today, but we will speak precisely in order to awaken in us passion for the pleasure of reading passion for reading good and different books , and we, today's guest, a wonderful poet, dmitry vodynikov, will start a conversation. e with what you've been doing in recent years. you have taken up essay writing and published several books. essay. they have gained popularity. some of them i have here is the last book i would like to talk about more. this book is called the immortal

dragonfly. one name what is worth. and how did it happen, how organic it is. why did it happen that poems for some period became a thing of the past and these texts appeared, which can be called the ussr when i was 15-16. maybe even 13 14 i suddenly began to read if we know the block as an outstanding, perhaps great poet, but very few people know him and soistics. it was very cool. i opened it and began to read it. i have never been able to write anything. similar to prose. she just never gave me the only record i experience. well , except for of course, here's how your studio is, because sitting in your studio you can only experience envy, how beautiful it is. i'm experiencing this library, but finally i ended up in the library. and hmm, i tested the prose writer. i thought it was an amazing thing when you kick like a spider. and this text is not

poetry. and this is some kind of lesson, which is impossible to do is impossible to do. it was out of my mind. i can't do it covered the trouble and suddenly when the verses are gone. they are gone. i already have something to consider there, by the way, me. i've been writing poetry, really 29 years 25 years. i started writing now i'm 54. a total of 29 years, if i can count , although not a fact, but still three decades - it's almost round yes, yes, the poems have recently appeared again, but we'll talk about this when these poems have gone to 10 years old and i suddenly realized that i can weave a knit rose. it's a completely different story. it's a completely different knit. this is a completely different thing, take it as prose, yes, i can't do prose. there are real prose writers out of their minds. petrushevskaya tatyana tolstaya leo tolstoy dostoevsky and yes i am not. i can son. i can't write stories. i

can't write novels. i can write. i only i know that i am very good. maybe i'm better if i can write, cool, huh? we're in the library, damn it, e extreme sincerity. i can write a very good text from the aesthetic word searched. there it will come in handy again, of course, but e, it is generally accepted that the word essay was invented by montaigne well , or, uh, canonized him, or what? yes it the book we call experiences is lessa. you will laugh. i always go back to the past, remember about boxing for about 13-14 years. e at 12 years old. i was reading a mantenay at another dacha. she was i read these experiments to manten. it seemed to me that these are very cool huge books. short things in three tomatoes. well, what is an essay is an experience, not in the sense of expertise. what do you mean try? yes, i don’t know how to say exactly in english, e he er, it seems to me that maybe i’m wrong. i, unlike you, was not so keen on them. he he in

childhood, perhaps, he could write anything, but to a dragonfly, and smells about the morning about homeo. remember what an amazing phrase i don't remember who said it. god forbid, if i came up with it myself, either i dreamed of a dragonfly, or i dreamed three times. here it seems. that this is the key with there must be some kind of angle of view, you understand, yes, there must be some kind of sliding story that is not completely clear who was dreaming of who, who was dreaming of who and the montene shows it just like that, because you remember that the antenna first has one statement, and after several pages or a chapter there, he has the following statement, which contradicts the first, i see. well, this is actually such a french culture. lara shukova, farisms, logical news, after all, the essay, in my opinion, is not about that. it seems to me, not about it and not a prologue. it seems to me, yes, in the sense that i had about the block. you probably know that, uh, he was

a very sickly boy and he had some kind of constant sore throats, an interesting fact. here, in fact, the essay begins with this. it does not begin that alexander alexandrovich is a great block, a russian poet with this son begins. when she was little , he had a lot of sore throats. and it was generally believed that he was sick. you understood the heart from what, that is, and then you can enter, yes, that is, this is the key this is the key this is the key with which you can open a small, secret door. e in a very small e closet, of course. well, that is, we can assume that i am the ocean there and now we could, yes, without leaving the studio, but if you look, by the way, i could come up to try to open there is no door, by the way, i suggest you make a door somewhere. these are good the idea of ​​a door, you know, so that you can go there and try to open it. i think that e soist dmitry vednikov works exactly like this, but opens the door. you call it a key. i call it a door for myself. e door, which, as you have now correctly

formulated, is based on an unusual angle of vision. yes, on some emotion on some kind of happiness, in the end it's a positive thing. yes, look, we just said on the coals vision, amazing ideas on coal on coal, coal, vision him coal. the sight you understand that after all, in fact, vision, however, there is coal. it's either fuel, or color, or action. well, you know, burning out? now you have already started writing an essay. just did not see this coal door vision. well, here's a provocative question. eh, how old am i? no, how old am i? i even know from your books, because periods are measured all the time, and so on and so forth, but still my provocation. that's what ah, an essay is a key or a door or an entrance to some joy, some emotion, some coal vision. what is the name of how we are not necessarily

joy, but it may be anxiety, it may be anxiety, but still, and how interesting it is for others. this is what the poet almost said here. and what the poet expects, you know, i noticed that dmitry, i noticed that when there were no poems to steal, and you wrote some post there now. banned or on an unauthorized network doesn't matter. yes, a good post, by and large, a post from the ussr, short of course, and everyone came in some kind of enthusiastic and thank you to them for their delight the people who said dmitry borisovich this poem and you always twitched, because you always understand the difference. here you are between a poem, but they, well, relatively speaking, they thought it was written in such a berlibre, yes, which is simply written in the form of prose, but you know the difference between berlin and just fasting, come on, you know the difference between a lyre and the prose there rests on a different pull. remember ahma.