[000:00:00;00] life is possible in space, we have yuri alekseevich gagarin's spacesuit, we have a spacesuit in which, e . we have alexei arkhipovich, that he always liked to tell the same story , uh, when i was 14 years old. i had a choice of who to become and i painted very well, painted pictures, all to be an artist, but also dreamed to be a military pilot, and we advised the family and it turned out that very, uh, i have four meals a day at the military school at the military school. they gave me a uniform, there was discipline, and i decided all the same. we decided i became a military pilot of great artists, of course, and we, of course, have a very large collection of more old ones, a painting

or a superhuman is beautiful in here we have already moved on to art and for a reason, of course, leonov is a wonderful artist, and he uh with his paintings uh works on the popularization of space, no less than the legendary stories about the first spacewalk by pavel belyaev. as we remember, again, these names pavlovich belyaev, alexei archipch, leonov are all names that my generation knew by the names, patronymics of these people. e even wake up at night, we would e pronounce it. well, i turn my question. e to vasily vladimirsky and hmm let's talk about art. or rather, literature. still, the cosmos is what is around us or what is in art or what is inside of us, and if here is briefly still somewhere the point where e, modern sans fishing starts, of course you can

to say that plato had fantasy in atlantis and in st. petersburg and in the blood and lukyan from samosata and daniel defoe and where in russian literature prince odoevsky has dostoevsky's old funny man, but still, here is the 20th century, how much science fiction depends on it the 20th century depended on real discoveries, because there were frosts in parallel. balchevich, tsiolkovsky those who have already directly said that, gentlemen - it is possible, it is possible, as it all began in literature. well, you know, here's what you started with the classics in almost the same sense the words in which they are generally used are the classics of antiquity a and e, the authors of the new time, the authors of the 19th and 18th centuries. they generally did. it seems to me a certain vector. and e space for the writers of that period of that era of those eras. it's, uh, something, something bigger , something better than the earth, that is, it's an ideal

of some kind. he even said a place where they rotate and uh grow. eh, all sorts of upipis, world mind. absolutely, starting with the fact that this one here, the moon's rotation period is 12 times longer than the prevention of the earth, and therefore, on the moon since ancient times, it was believed that only 12 times better, 12 times more, 12 times perfect. and it seems to me that this is largely preserved in the science fiction of the twentieth century. she is very diverse. that is, uh, someone used these cosmic expanses, like e entourage for adventurous adventure literature, someone used it for dystopia for dyscopia in order to show how where humanity can go in some need to go, where no need to go in, but they endured these very despotic dystopian worlds are also on other dystopias. this is already further internal

terms, but well, actually, dystopia dystopia is practically the same thing, but we will say dystopia for a better understanding. here, uh, and uh, after all, very e people, uh, in the 20th century. at least. well, probably until the fifty-seventh year, until the moment when humanity actually broke into space, it really broke through just in the same year, as we remember, it appeared in the novel by ivan antonovich. efremov fog from andromeda fifty-seventh year. he came out in the e technique of youth, then a separate novel, a separate book, was repeatedly republished by the most popular magazine technique of youth technique. again my childish god millionth editions and aspired to space like uh to something better bigger. uh-huh like some kind of ideal. yes, but when you started something, maybe there was even some kind of looking back at literature. i mean, we already know a little about it. yes,

you may have looked. somehow they evaluated the work of the same ancient authors of the same there anyway to bergerac. uh defoe edgar poe jules verne is needed right. it's already here. as a matter of fact, probably, with jules true, it is possible and yes, you can keep a record of science fiction, as we know it perfectly, as we remember, we lived correctly, landing on the moon did not happen, that is, it happened, but already in the second house and his second book, but about flying to the moon, a and e, the main goal is the main task. uh, the characters from pushkin to the moon is just uh, well, make some kind of travel proof. yeah pick up speed show how it goes uh prove it perhaps, that is, first of all. uh, it's still at the center of technology. yes, here it begins more clearly than a person. then, you know, i wrote my thesis rarely remembers this, but you know about it, because

we are also, in some sense, one. we belong to the workshop with vasily, i wrote my thesis , and stanislavellelepiia. i corresponded with him. this is absolutely great eh, a man in his later years. he was very against the technogenic evolution of such an uncontrolled agglomeric and now, uh, solaris is after all the sixty-first year, right. probably the famous roman of the sixty-first year thanks to tarkovsky. although they had their contradictions, lem e, denied that i denied the film, but the film and the book say differently in the film he had a fight, as always there was a conflict. well, after all, this example shows very clearly that when hmm , this flight cosmos, so much desired by mankind for millennia, took place. i was born in the sixty-first year and therefore i feel like the same age as the space age. eh, then after all there was some kind of glance at literature and

hmm, this confirms our thesis that the cosmos is not only stars, but the cosmos is both what is in us and what is in art and now we will have a traditional middle. e of our podcast. each issue in the middle contains my little solo, and i either show an old book , or comment on a quote from a classic , or read a poem . e, how much cosmic is there, if there is a certain hour of nights of world silence and there is an hour of miracles, live the chariot of the universe is openly rolling the sanctuary of heaven, but i decided to read hmm a wonderful little poem by nikolai alekseevich zabolotsky, a brilliant russian poet hmm, in which the cosmos is given exactly

the projection of the universe on ourselves to our inner world, when the daylight fades away and in the black haze, leaning towards khatam the whole sky will play over me, like a colossal moving atom, which has been tormenting me for a year with a dream that somewhere in another corner of the universe there is the same garden and the same darkness and the same stars in imperishable beauty and maybe some the poet stands in the garden and thinks yearning, why do i disturb him at the end of his years with my foggy dream. which, by the way, brings us back to the tarkovsky discussion. emma well, we 're back in our studio for a literary

podcast. let them not talk, let them read, we are talking about how they read in space and how they read about spacecraft, how do astronauts spend their leisure time on the iss? how is day and night there? uh , change each other day and night, i change you very much. we just get 16 turns. in a day around the planet, respectively, 16 sunrises 16 sunsets. we are guided by greenwich mean time to eat just, well, those chimes. no, of course, there are large wristwatches. yes? yeah, if the soyuz ship flies moscow time to the station station back only in moscow but he stayed, we go straight to greenwich for all the soups. as for books, i can say that they are now. well, very little, because we ourselves are well aware that there is little space. yes, probably the rate is very expensive, since we are only allowed to take a kilogram of personal belongings, so

thanks to, here all our technologies have come already on e-books. we have a very large library of recorded music, so there are a lot of e-books. yes, there are books, right? here, well , i don’t know, let’s say i like a person, because they can support bravo in their hands, as i understand you, all sorts of completely different tactile sensations. this is not an e- book. i can't describe how it is a pleasure to support something in your hands. uh-huh , what books? well, for example, something was not respected or not, it’s hard to give an example, because every astronaut takes a sentry or asks a stupid psychologist for support. eh, to lay a set of some kind of film library, some new tracks, some music books, that is, there is a huge amount of this information, then they remain. well, i want to pick up such and such books, if a kilogram of weight, then, of course, this is hardly hard. yes, that's why they sit and the station. well, she doesn't want to either. in a good way, litter with literature, because we have very little storage space, all the screenings are, in principle, overloaded with

some kind of equipment and even a small book. she's already taking a seat. got it, got it? well, that is, i conclude from this that we also live at the yes station, because we have less and less space. yes, and i have 30,000 books. it ’s not for nothing that i repeat this, but it’s not without reason that i host a podcast. let them talk more than 30,000 books and have nowhere to live, in fact. i have them at two cottages. that is, we live, as if at a space saving station. and what about leisure, we don’t have much free time on weekdays. well, maybe about one and a half there are two hours and a half or two hours, and sleep how much we sleep 10.5 hours. oh eight and a half hours, that is, well, actually, there is no library, only electronic, yes, basically, yes? yeah. well, it's still good. and films are watched together or each separately. mostly, probably, together, after all, because this requires more time. i wanted to say. on a weekday, we are engaged, in principle, in non-preparation for the next working day. day needs to find some equipment to study the radiograms. therefore

, we get purely video leisure only on weekends and here only the area of ​​​​cleaning its segment. half day. we are removing our segment. partners do the same, and then on saturday evening, let's say, we can get together to watch some movie or a good soviet movie. or let's say some kind of imported movie. and that is very good. and that's very often a drive in a movie that didn't get released. that is, we watch these films first at the station. well, how curious, that is the first audience. yes document. uh-huh they divulge always invite us to view. how wonderful is that? yes, it is a very good tradition. yes , the crew somehow brings together, even if it is small, but drawing together a joint dinner brings together. well, that's great. now again about the museum vyacheslav lvovich and tell me, please, does the museum publish any books. what exactly? here i have some samples here, yes, the museum publishes books. well how are we doing? these are projects together with publishing house. instrument now you have taken a book, it is very important for us. this is the second edition.

event horizon. ah, the tender letters of the severe man. this, of course, is about sergey, this is about sergey pavlovich, because the amazing branches are very beloved by us. in general, beloved astronauts. it's true. this is the house of sergei pavlovich korolev and in this place. that's all there, just like sergei pavlovich just left. he left me with a seemingly minor operation and more. yes, he never returned to the bathroom. and you know, they are collected here with the permission of niva, anna gave this permission in writing before passing from life , when some time passes to publish them, and now, against the backdrop of the event, the fifty-sixth fifty -seventh fifty-ninth year, he writes letters to his wife, and the wife answers because of this little house house on delivery street. it's very interesting what turned out to be, well, 47.65 is completely 17 years of life, yes. you know, in the house in which i am telling, he lived only 6 years, and i was struck by the number

of suitcases in this house, because for the most part it is the vnukovo machine house and , accordingly, a business trip to the cosmodrome, or to the enterprise he led. and also, i just can’t help but say with religion. here, remember that there is an amazing tradition now about gagarin he will say from an amazing tradition associated with the house you know sergei pavlovich once, sergei pavlovich was walking, for some seconds he walked and found a horseshoe in his house. there, in the yard. yes, and nailed it to a tree. this is right at first glance. the first one will remain. yeah, it was nailed to a tree and now there are traditions for a very long time, when all the crew, the russian crews together, by the way, for our strange colleagues, partners , come to the house before the flight and, for good luck , sit on that horseshoe bench sergey pavlovich, here oleg was with the crew, yes , there's always on the tea field, like this and i didn't know that, very much interesting. you don't want to go out kind of like that too literature literary tradition

you understand the museum? he, too, must create some important things, create some new traditions. this is such a new new meaning of some kind of museum event that is repeated, which is created around museums consciously for astronauts for the community for those who love astronauts, in general , this is just some very important bond. now you have picked up a book. this book is called the amazing story of the first flight. here we are we're trying to figure it out. who is yuri gagarin is insanely interesting, i remember the words that gagarin himself will say in his book. what will the road to space tell? i am a simple soviet man. these are all said. here is a little boy from a small village. yes, under the city. that's how this way way? yes, just not divine but the first man in space to show after the book. therefore, in the museum in the museum they read the museum is very fond of buying books. that is, especially after

watching the exposition, and also the conclusion, what people read the museum like they read nowhere else. here is the museum look at the subject and read these floor. here is the reading and viewing. and this is the achievement of this literature. yes, because really reading the legend is reading the explanation. this is also when communicating to uh, space astronautics. they carried an important thing, the personalities of these people are really very important for us and how then these people who were in space accomplished their feats. and those who started out as yuri - yuri gagarin and , uh, colleagues who continue to collegue. yes, how do they give it all away. and the truth a huge number of meetings even after the flight, too, all this, as if continuing. yes, oleg, of course, is never available. there are no exes. no, no, i understand, but uh or she is yuryevna gagarina the director, where the kremlin is the kremlin's famous person. we go to her.

this, of course, is also a storehouse of our information, it is important that all this continues. well, uh, our conversation has already turned to how, in fact, the tradition is born, which will enter the anal, uh, or have already entered the lectern of the annals of the cosmic conquest of the universe, but what is happening in modern literature, i turn my question to vasily. after all, anyway. well, of course, yes, but fantasy, which was once composed in a nudity. as a child, i had a 25-volume contemporary fiction library and a few more volumes of appendices. gray little red gray little red, i still remember the first one remember whose efremova second koba the third in a row, i remember nothing in a row you still managed to get these books. yes, i got them much later. uh, compared to how

i read it, i'm naturally younger schoolchildren, and i got it, as it were correctly said , got the soviet word already to m-th students. and it was a second-hand purchase. all these names. we know robert sheckley raider. ah , kurt won a year, vladimir savchenko, if you recently re-read just alexander belyaev, if you take national fiction a little earlier, well, these stanislavl mentioned and so on and so forth. well, this is a classic and almost none of those whom we have now listed, unfortunately, are no longer alive. and what is happening now? here is the new horizons prize, and i recently read an interview with one publisher. very famous, uh, which the publisher says, more precisely, and she, uh, talks about the fact that fantasy among the younger generation of writers is again very

popular. what does it mean? is this some kind of skipism? this is the continuation of a dream. these are some developments in topics, here, what are the names of what is happening , so to speak, if we talk about space, i ’m still talking about space, then this is a very painful painful painful disease on the topic of space is less than fiction. yes, there is practically no space in science fiction, then yes, if we are talking about science fiction about science fiction, which is based on some modern scientific ideas about the world around us, then it is most often the authors who turn to information technology and space fantasy. it is definitely present, but it is present. hmm, so that's the background. being this is such a fork, which , by the way, stanislav lem spoke already in such mature years in recent years that humanity, instead of conquering the universe, as it seemed at the end of the 19th century.

why are we first out of the fluff, then away away to the stars. well, somehow it went to the internet in some parallel worlds. no , i think there is. uh, hmm the connection is definitely a connection with what's going on with our space industry, which is the lack of it. eh, some understanding. that's so practical. actually. why does a person go into space practically, as it were, what is in the foreground . i watch the doubt look at you the same. no, the questions are generally correct. you, oleg, also said that the concept works. although the romantic work there, uh, the book takes a kilo of everything for all. for what. you just have to return that something else and return. yes, there is some kind of payload from there. well, i did not expect from you vasily i thought you were swift. any given? and you say that you need to understand why, unfortunately, i talked a lot with our st. petersburg specialists, so to speak, and experts on manned cosmonautics with anton pervushin, whom i probably

know, yes, the historian of our cosmonautics is not very good. e, optimistic about the future in the future of astronautics. i mean in any global sense compared to dreams. yes, some kind of technological breakthrough must occur, so that this everything will return. uh, so that, for example, well, the delivery of a payload into space from space has become at times or there for an order of time somehow, so that the mother terminal, which is much easier , the second korolev should be born in the same second king was born and we are already waiting for the account. it’s just that i don’t know yet from mine, but some kind of thing should happen, really technologically very serious, that is, what will happen. eh, well imagine or science fiction writers certainly remember space, they don’t forget about it, they don’t forget it. uh, one way or another they use it in their works, but as a rule, the cosmos is just a background against which it can happen. well , anything can happen some kind of adventure there e collisions. yeah, uh, maybe

life events. maybe the moon, for example. uh, there is such an ian mcdonald writer american not american uh, british irish origin. here he was with us in russia a few years ago, as times i participated in bringing it. he has a cycle. moon action he has going on. well , no, naturally, some minerals are mined on the moon and delivered to the earth. we understand that this is, well, not cost-effective at the current level of development, but nevertheless. here he allowed such a fantasy. the moon is practically the same for him. here again we continue the romance and work. this is the designation of the practical sphere. or is it some kind of cultural symbol there, in addition to, well, practically mining, there is also such a laboratory. social, that is as different scenarios of the future where in what direction will humanity move there, all this is happening is developing in real time. in our country, in

principle, unfortunately, uh, our russian-speaking authors are much less likely to refer to cosmic symbolism and even to cosmos, as a purely entourage. eh, but eh, i can say that not so long ago a collection of new futures was released and, unfortunately, there is again the same story. there is not a lot of space there, in fact, the most interesting, probably, are space stories. this is, uh, the story of eduard verkin, which e, describes just under the influence of e. well, how to say after the ladies and alexander green of the strugatsky brothers, ivan efremov, he describes just the same technology that we talked about, the technology of e-e transportation, well, well, ultrasportation, yes, and the transfer from our space. in another to another to another section of the solar system or not only solar not necessarily the solar system to another galaxy of some matter, for example, a book, for example, books, yes, please, when this happens, as

eduard verkin teaches us, yes uh, everything will change and the cosmos will return to us again in all its radiant glory, how great it is, that is, the cosmos is developing in all directions and in general , the word space in russian from the verb stretch, for example, yes expand, the german word, deir raum, is empty, like rum in -english. yes, there is no prostration space, i don’t know what the internal form of the english word is, but i really like it. i tell students all the time and teach them, because you need to look at what lives in the word. yes , the arrow lives in the word shoot. although only space athletes shoot from a bow. this expansion in all directions. and here we are in our conversation. how it turned out by itself yes, we talked about technologies and real flights and losses and how it is fixed on earth , preserved and continues to live for people.

and how literature goes, either following the cosmos, or somewhere a little ahead, so a and e a person who picks up a book learns something familiar from the reports of news agencies. so and vice versa. those who e like uh, our wonderful authorities oleg novitsky and off the ground fly into space something learn from books. in a word. thank you very much, dear friends. i think that we have succeeded in this threefold approach to space from different sides. let me remind you once again that russian pilot cosmonaut oleg novitsky was our guest, and the deputy director for scientific work was our guest. all uh, cosmo such vyacheslav klementov and we had uh, book reviewer vasily vladimirsky so we did it today and i’m sure

it will work out, and you have our dear witnesses and participants in the next issue of the literary podcast. let them not speak, let them read, and i , in my usual constancy, say my always final phrase. consider with pleasure, dear friends. hello dear friends. this is an anthropology podcast on pervy, hosted by dmitry dnevrov, 30 years old. i've been waiting for this evening for 30 years. i dreamed that evgenia smolyaninova would someday be in our studio and that's it. it wasn't happening. and today

, for the first time, the lord ruled that this happened . and now what are we let's say great. he himself would be singing the mariinsky. for example, drag the bolshoi theater for everyone. here i have raspberries and you will also have it, because this voice is also the tenth or some kind of wonder of the world and everyone who hears evgenia valerievna turns into a pillar of salt. now you become it too. lechka

urinates with you. danced ah-ah, how's the sound of love? noisy and

ding-ding ding-ding ringing on the glasses is enough for me. we collect this cost to us. no, money is silvering

ding-ding, a lot of bell i need well, amazing, now dear friends. we just realized that we are in an incredible metaphysical dimension evgenia valerievna was born in the city where dostoevsky got married in what city did dostoevsky get married program? who wants to become a millionaire channel one, he is novokuznetsk and then kuznetsk magnificent old city in the number one maternity hospital, which, uh, is nearby, and moved with the novokuznetsk drama theater, then with your parents to kemerovo yes, but it was stuffy for you there your voice was, there nothing. yes, not the one required no, quite the opposite. i had a spacious

shower of chemical plants there. let's compare, that is , not at all comparable, even among professionals , i'm not sure that i understand this very well. i never needed it , but i didn't need to know that my voice was not repeatable. well, this is perfectionism in everything, i want to get to the very essence. well, he manifested himself in another way, he manifested itself, but in the way i wrote music , in the way i do creative work in general. i wrote music. i really liked music in general. i generally think that i will be a composer he showed up. i played the piano manifested itself in the way i play the piano. here in this, you are a russian novel that flew there, that is, with the passion of the love that it should be filled with? where did you get it from? but artistry, i think, is a natural talent, so to speak already. but actually, here i have to thank him all. e viktor brusevich.

titova at our director. and for the first time i sang a romance for the film life of a climasom, and in fact, he insisted that i sing romances, because then i drank only folk songs folklore, i was sure, and i argued all the time and well, not so much, of course, uh, but i keep saying, come on, i'd rather burn this garbage to you folk song. i do it better, and he asked for a romance. i didn't know how it would sound. hmm, moreover , my school had some such musical experiences, when i drank romance, uh, the teacher told me, never in my life has a romance been caught. yes, but i did not listen to her fortunately. i drank romances. and when i sang for the first time, which i recorded and now i don’t remember which he is what i heard. e, i liked it so much and in fact, tuff e he is this paradigm a define l for me i e thanks to this opportunity, and i learned to sing romances. as a matter of fact, here for one record. i learned to sing romances, because romance

does not live everywhere. so let's not go far from this than this. i ask you, at your discretion, evgenievich, listen, it's not for us to dictate here that you are. i was driving home, my soul was full , it seemed to me that everyone

was looking at me with such participation. watched distant, blagovest in the air, like a tender string, the pink beauty woke up and the swallow, striving somewhere in the distance

with a transparent air, went home. i thought you can in the sense of mine and i will be us. touched mine.

well, everything is there if, no, deceit and hell , love and fears and flowers. look, and you even have a cajon in the orchestration, but you need this voice, which. here the leading voice suggests to us that this woman has changed him; now she is going with repentance or without repentance to her husband who has shamed. well, i have a different story. and what you don't even have plot. for some reason, this is an image of this romance of devotions and marings in mine, you know , some kind of female hopelessness, this woman is carrying discord in her soul. it is, of course, a tragedy. this is the absence of paths, in the end, and leaving in some other way. i'm here is

strange, imagine, i'm here i'm crying. i'm going through this, and i'm crying, it's normal. i generally think it is. eh, this is exactly what i consider my strength not only in the voice, but precisely in the ability to survive the russian romance. how does the genre allow you to experience these experiences? same. and who showed you something? this opened the secret of russian song and russian romance. well, i'll tell you viktor titov and we recorded a merchant going to the fair there was a tragic song. it would seem that. yes, well, in art it doesn’t happen that if there are crackers, everyone is having fun. eh, that didn't work for me either. she must have been dynamic all the time. eh, hmm, somehow strengthen and reach some kind of catharsis already with this song, the tragedy should have been there, but i didn’t succeed, not my aesthetics, people. noah didn't let the song come out like this

openness and these tuff yes, he has a press. well , actually, what can you not say there does or does. so it’s better to draw a picture for me, better than a picture, and he said in such a voice, you know, when i buried him. chopin did not sound mozart did not sound vladimir vysotsky sounded a little slower than a horse and when he said this, i understood everything how to sing. we want to listen and enjoy. well, then i'll sing not

a romance, and then a romance is good. i hear the shore how the white oroks can’t go to the end of the bridge, but it’s better in the name wet sounds. i remember. l last

separation is the county of luke and my white hands in the water, and i owe him a paid debt. he told me who she sings in the meadow on the other side of it stands for him, like a mermaid on rubbish and

get rid of her finger, beauty. well bravo dear friends, this is not a comparable evgenia smolyaninov anthropology podcast on channel one. this is an anthropology podcast before our first guest evgeny smolyaninov. well , we need to know who is visiting with you today. we have yuri chervin in the studio. very nice. a-a flutist how to say it a person who speaks buzuluk yes, i see that there is more worth lying. that 's it, you're with folk songs.

yes, it’s connected, i wouldn’t limit myself, only we perform different folk music in general, we can play different music among ourselves, we call yura kulibin similar to musical kollegin well, this is hello to you from other music, how does he understand drums that this is big? hello. it's very big. hello. well, this hello is also not random because here we were remembering how it all happened. and we became to work when my musical style changed, or rather, not that it changed, but some kind of new direction, new songs appeared, and i really wanted to return. it's boring for me to play percussion, e, romances folk song on a cajon. here hello please, well, here is so thin. eh, texture, what's the opposite for me? this is interesting. not all the same flamenco to scratch. well , here is mikhail smirnov for those who have not yet understood

who he is, and here is svyatoslav smolyaninov. it's not a cousin. this is my son, yes. in my opinion, absolutely fantastic components. it is audible. but no, this hmm horror, isn’t nature resting, as it should be for you no no, and you don’t need to reach all the time they offered to drink always and little, when he was still small and his voice had not yet mutated, and he was amused by what he depicted my high violets, so to speak, from which everyone concluded that he would be a singer, but in this sense, nature did not give nature, nature never rests, but she gave

rest. e glory, and he already had uh absolutely no need to sing, and no matter how there was to eat it. here we are, for example with the audience. can i speak for two , we hear bam, if you can work as much as possible, by the way, do you know how it works? sorry slava in general, this is very bad. and how does it work, in general, you are already quite an adult. you can tell about yourself. sometimes good company is good under a good mood. glory indulges us with songs here. well, this is extremely rare. well , since you are silent and since i even represent as a front, yes oh, the glory of his school and , uh, slava is a psychologist, and therefore he is his beautiful bass of rehearsed students

clients, if you are treating people in this rather complicated internet age. yes, i'm a consultant. and what is this? for example, the voice of the madam, smolyaninovich, too, maybe the drug against stress is not so, and that's how you listen to evgeny valerievich well, straight, i 'll tell you that grace was born in the fact that i never wanted to be an actress singer ever. i wanted to heal people. yes , i have, uh, my technique and i do voice therapy. perhaps someone. now. it will be therapeutic. after all , maybe the tv does not transmit these natural frequencies. i don't know how the tv transmits. here you can guess. i think that if a person has a perception of this, then everything else. eh, the person himself will understand , perceive, and it will affect him, dear

friends. we remind you at the reception of evgeny smoeninova as part of the anthropology podcast on the first

don't leave. with me you do not leave the body, then with me. i have loved you for so long and i will burn you and i am tired of

fighting you and i will burn you there. don't leave, stay with me, passion burns in my chest of delight, love, waiting for us with you. don't go, don't go don't

go, don't go yes, but you're just an anguish. and here's another interesting thing, that's what you felt, but some archaism of your hobby. here is a folk song after all, when you wrote yours, well, after all, you probably were on a par with the times, and all these songs are 200 years old, firstly, stay with me directly. yes, and one, yes, and folk songs are a thousand or more and more, no one knows exactly the time of origin. ah, and they can say so. out of time, grandmothers prematurely signed up when they chose

namely a folk song as an ample and a romance for a grandmother. and what do you know, i went in some respect, and then on the trail. and i will follow my beloved andrei of tarkovsky, whom i loved very much, literally fell in love with a child, a ruble is nostalgia. e, solaris everything is generally a starter. everything was important to me. it was important to me. here is the swaying of the grass. it's all aesthetics all mirror. all everything, it. maybe not so, it was deeply clear to me then, but it beckoned me very strongly and, uh, when i met olga sergeeva by the way, a folk singer, who is from the pskov region, uh, the south of the pskov region, and her voice sounded in the picture of tarkovsky for a century. he took her voice for her song and she sang this professional singer. or is it the same grandmother that you say,

but she, but the wrong word is identical, but you know, she is beyond the boundaries of these grandmothers. uh, other grandmothers are grandmothers and let's put it this way. the archive is a whole archive, there is a whole repertoire. olga fedoseevna sergeeva is a performer. this is the beauty of performance. this unique voice, which is impossible. well, even in no way it was impossible not to duplicate either uh, or to monkey around with and so i followed the trail, because when it all merged, tarkovsky, olga sergeeva, i realized that i was probably on the way. well, in general, somehow my life also took shape. i also sang in films and uh, and acted a little, and so somehow it seemed to me that i was on the right track. let's sing one more song, i 'll think about it, otherwise i'm going to go, i have to be in time. uh, since i started talking about tarkovsky, uh, well, here, at i have no way to reach out to tarkovsky, but through a poem by his father arseniy tarkovsky. i don't think it

concerns this. but your music yes, my yes, lies very dear. white whites are never happier

than when the milk grass is happy then

yes it is impossible to return there and it is impossible to tell.

never had happiness now then. then your voice sounds as if right next to you there is some kind of natural compression in this whole singing apparatus, exactly exactly this is how you listen to krivitskaya. on these huge ones you know grams pipes. something similar is experienced by a person next to you, when they hear

you, it seems that this is not even a person singing, and some are so metaphysical. eh, sound essence, she came to life yes, yes, they lived, yes, well, this, of course, is a fantastic talent. thank you and how did you blame all these titles, awards, conservatory departments, one is not guilty in the eleventh year. i got this title, and i didn’t aspire to it, and probably, unkindness, i don’t think at all that one shouldn’t aspire. but it seems to me that there is no modesty in this. how such, it seems to me that this is a wrong principle, when you wait for a cd and they will bring you everything and everything will be done to you nothing like a person. it seems to me that he should adequately relate to his talent. i didn't. i say this from my own bad

experience, which i do not want. i believe that a person who feels his talent, feels his skill, feels what he can do, he must somehow position himself in this way. well, i'm being modest all the time. eh, that's indiscreet. you know this, this is some kind of unconsciousness, or what? that's what i have never been deprived. and i guess it's somewhere. it's like, as if compensated and balanced. and these are people who came to concerts, who listen to me, who love me, who you know, so when you tell this, it seems that such a one is sitting and boasting. they love me, you know? it's not that i brag, i shout about it, that people love what i do, and this makes me very happy. in this sense, i'm a singer for the people, well, actually the singer should be for the people. and for whom else is he i in a sense you know. e. e, you can say, a child

of his people, of course, so this is even in general, er. well, it was arranged from above that it was my voice that was like that, but anyone could have it. it just happened that i am very happy. i always uh, here. eh, i thought about it and tried to sing. and by the way, if, uh, maybe someone will listen who remembers vladimir vladimirovich vinogradov if you knew him, this great sound engineer of ours, with whom i recorded all my records. and when he left. i said that i won't do it again write on the wall. i don’t want to write with him with this amazing person. do you know a story about him? well, it's just that i loved him very much, we all loved him, and history is coming out finished the disc to alexander vertinsky classic roses. i also have such a vertinsky sing program. uh, here we are leaving the gdrz, uh, it is such a summer day. eh, and suddenly he goes and says, zhenechka, you know, here, and he is huge. such a straight keith , so big, goes and says. you know, anyway. i'm not an artist. i want one vladimir vladimirovich, what are you talking about, we just finished

such a work. i think he's saying no, no, no, no, no, don't talk me into it. i am not an artist. here are the artists. they, like them , doubt all the time. they are somehow dissatisfied with what they are doing, but i am satisfied. he is an absolutely brilliant person. and uh, in fact, on the record, i replaced all my viewers at the same time, but he cried, he laughed. he blushed, blushed, got angry, made up things and talks all the time. what are you doing. you make me beat and don't let me cry. you to me don't give. they didn’t let me cry, absolutely unique person. so i had good teachers too. i think that they replaced the conservatory for me. e, 100% replaced e. rather, it has not been replaced. and just expanded, and the concept of performing arts. i learned to sing, and at the age of 22. i voiced the life of climasomdin. and you know this seriously, when

such a film process depends on you, and you are still 22 years old. eh , you can say, well, almost a child still can’t do anything, and only a folk song somehow here , more or less, and suddenly you are told to do something artistic. and you are doing. uh, you know, i had the feeling that i was a child prodigy. here i felt like a child prodigy. probably because i, uh, was such a kid at the time. in general, i recently matured, i’ll say i looked there, therefore, no, that you no , of course, i had several psychological sessions, probably, yes, probably, yes. so, when i realized that this is already a psychologist, then i realized that i can grow up with her childishness helps, applied. eh, where you need to help in time, they say and adulthood helps in general helps feelings. uh, you know mm. well, i guess it's not a secret. e, when you were a long time ago i performed in one high place and

e quite such a serious gentleman came up to me and said e a it was i'll tell you in the ninety-fifth year. he says, you know, what will be the main deficit in 20-30 years. what that feelings are feelings and that's when your feelings are very needed. i don't know if that time has come or not. i think so, in general, it has always been in short supply, and it seems to me that all people wanted to feel want to feel, because feelings are real emotions of feelings. this movement. this is the drive, this is the motivation. this is the will to live. in the end. you understand people like you, we're still not on them. if i put in even a little bit of effort. i am perfectly happy. this is to the question of the title then evgeny valeryevna to say goodbye to people. i think that they will now be inter weak. there is also the internet. the entire internet will be sifted in search of new interesting

appearances of your favorite singer, dear friends. thank you for attention. it was an anthropology podcast on the first go