Catch me outside how bout that dance


How the 'Cash Me Outside' girl became an award-nominated rapper

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Image source, Alamy

By Gena-mour Barrett

Newsbeat reporter

Danielle Bregoli of "Cash Me Outside" fame has been nominated for a Billboard Music Award - alongside Cardi B and Nicki Minaj.

The 15-year-old, who goes by the stage name Bhad Bhabie, is up for the title of top rap female artist.

Danielle gained public attention when a video of her appearance on Dr Phil, where she says the catchphrase "cash me outside, how 'bout dah?", went viral.

Her debut single These Heaux reached number 77 on the Billboard Hot 100.

'Cash Me Outside'

Danielle first appeared on US show Dr Phil in September 2016 when she was 13.

While being interviewed about stealing her mother's car, she told the crowd they could "catch [her] outside, how 'bout dah?" - essentially asking for a fight.

A few months later her popular catchphrase became a meme and viral sensation, prompting a ton of tweets, videos, and remixes all over the internet.

The video of Danielle's Dr Phil appearance is now the most-watched on the show's YouTube channel, having amassed more than 46 million views.

Off the back of her newfound fame, she released her own line of "cash me ousside" merchandise, the majority of which is currently sold out - aside from a single T-shirt.

Controversy

Despite becoming a social media star almost overnight, Danielle's rise to fame hasn't been without controversy.

The now 15-year-old was sentenced to five years probation after pleading guilty to multiple charges, including grand theft auto, possession of marijuana, and filing a false police report.

The teen was also banned for life from flying with Spirit Airlines after getting into a fight with another passenger, and has also reportedly been accused of ripping off the brand Champion with her merchandise design.

Perhaps as an ironic nod to her past, Danielle's music tour is called "BHANNED IN THE USA".

Music

Danielle's notoriously bad behaviour hasn't stopped her music career from flourishing though.

Under the stage name Bhad Bhabie, Danielle released her first single These Heaux - which not only made it onto the Billboard Hot 100 chart at number 77 but also made her the youngest female to land a debut single on the chart.

The single peaked at number one on Spotify's Viral US and Global Charts and garnered over 5 million streams.

Shortly after, she demonstrated just how big an internet meme can become when she was signed to Atlantic Records on a multi-million dollar, multi-album deal.

Billboard Music Award Nomination

Given the power of the internet today it's perhaps shocking but not wholly surprising that Danielle has been nominated for a Billboard Music Award under the top rap female artist category.

According to its guidelines, Billboard Music Awards are based on a 12-month reporting period and take into account album and digital song sales, radio airplay, steaming, touring, social engagement, and interaction with music fans.

Aside from two of her singles making the Billboard Hot 100, Danielle's Bhad Bhabie YouTube channel, which has almost 4 million subscribers and features much of her music, has amassed over 204 million views between the first four videos alone.

The stats suggest Danielle's music has been seriously popular, but some people's reactions have been less than favourable - and a little confused.

Bhad Bhabie is nominated in the category along with Nicki Minaj and Cardi B.

Nicki Minaj has had 86 songs on the Billboard Hot 100 chart, 15 of which were top 10 hits.

Cardi B has had 17 songs on the Billboard Hot 100 and her number one hit, Bodak Yellow, marked only the second time in history that a female rapper has topped the charts on her own.

The 2018 award show will be taking place on 20 May and hosted by Kelly Clarkson.

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Catch ‘Kiss Me, Kate’ on stage and take a nature break outdoors: Valley Views

CHAGRIN FALLS, Ohio – Fall in Northeast Ohio is a great time to ponder nature as it winds down its harvest season. The crisp fall air means it is also a good time to head indoors to the theater for a heart-warming live show.

The Chagrin Falls Studio Orchestra presents Cole Porter’s classic musical comedy “Kiss Me, Kate” in concert this weekend, with performances at 7:30 p.m. Friday and Saturday (Oct. 14 and 15) and 2 p.m. Sunday (Oct. 16).

The full 30-member orchestra will be on stage at Chagrin Valley Little Theatre, with featured singers/actors in the lightly staged full production. In addition, there will be a special guest appearance by Elevated Dance Company, winner of the 2022 World of Dance Competition.

“Kiss Me, Kate” tells the tale of two musical theater actors -- once-married, now divorced and forced to perform opposite each other in a Broadway-bound musical version of William Shakespeare’s “The Taming of the Shrew.”

Of course, they still love each other. It is a battle of the sexes put to music, with songs such as “Another Op’nin, Another Show,” “So In Love” and “Brush Up Your Shakespeare.” The show includes cases of mistaken identity, romantic entanglements and some gangsters thrown in for good measure.

Philip Formes and Cassie Utt perform the leading roles, with Alexandria Petsche, Tom Jones, Michael Rogan, Don Bernardo, Sydney Noelle Warren, Kim Bixenstine, Christine Katsaras, Julian Kruyne and Robb Muzzy backing them up.

Tickets are $25 for adults and $15 for students. The theater is located at 40 River St. in Chagrin Falls. Contact cvlt. org or 440-247-8955.

Hymns and treats: The United Methodist Church of Chagrin Falls invites the community to join them at 7 p.m. Oct. 21 for an evening of singing hymns in the church sanctuary, followed by apple cider and fall treats in the adjoining Harris Fellowship Hall.

Bring non-perishable food items to support the Chagrin Falls Park Community Center’s Thanksgiving meal. The church is located at 20 S. Franklin St. Contact 440-247-5848.

Take a nature break: Strengthen your mindfulness and connections to nature this fall with monthly inspired nature journaling sessions at different times and Geauga County park venues, with naturalist Renell Roebuck, beginning Oct. 24.

Record your observations in a journal and reflect on the world around you by writing, sketching and taking photos in thought-provoking ways.

Draw upon the theme of squirrels and nuts from 3 to 5:30 p.m. Oct. 23 or 9:30 a.m. to noon Oct. 24 at Sunnybrook Preserve.

Gather inspiration from a night hike in search of owls from 7 to 9:30 p. m. Nov. 20 at Observatory Park.

Observe natural patterns from 3 to 5:30 p.m. Dec. 11 or 9:30 a.m. to noon Dec. 12 at Big Creek Park’s Deep Woods Lodge.

Beginners are welcome. The fee for first-time Geauga County participants is $20, while out-of-county residents pay $24. This includes a new journal, pen and other supplies. Returning participants who registered this calendar year may attend free of charge.

Registration is required by phone at 440-286-9516.

Spilling the tea: Pinkies up! Help The Spice & Tea Exchange of Chagrin Falls celebrate its grand opening weekend Thursday through Saturday (Oct. 13-16) with tasty samples and special pricing.

From 4 to 5 p.m. Thursday, you can score 20 percent off of tea. Tea happy hour is 4 to 6 p.m. Friday, featuring a buy-one, get-one offer. From 1 to 3 p.m. Saturday, you can take advantage of a 20 percent discount on salts, sugars and spices.

The store is located at 41 N. Main Street in Chagrin Falls. Contact [email protected] com.

Be swayed with Afro-Latin dance: Join a Latina-born and -raised dance instructor for a 1 to 3 p.m. Saturday (Oct. 15) workshop and learn fundamental steps and combinations to authentic Afro-Latin rhythm dance.

Included are Cha Cha Cha, Rumba, Samba, Merengue and Bachata. A partner is not required.

Designed for ages 15 and older, the workshop includes music from Cuba, Brazil, Colombia and Mexico. Comfortable shoes are recommended.

The cost to attend is $35. The workshop will be held at Fairmount Center for the Arts, 8400 Fairmount Blvd. in Russell Township. To register, call 440-338-3171.

Films on demand: If you missed out on a film at last week’s 13th annual Chagrin Documentary Film Festival, you may be able to watch it online through Sunday (Oct. 16). Purchase tickets for streaming, on-demand films at chagrinfilmfest.org.

Star-studded fundraiser: Bring your thirsty self to a fundraiser for the Chagrin Valley Astronomical Society 7-10 p. m. Friday, Oct. 14 at the Crooked Pecker Brewery, 8284 East Washington St. in Bainbridge Township. The event is weather dependent, a rain date is set for the following week.

Telescopes will be set up in the side picnic area for viewing Saturn, Jupiter and other vistas. Donations are tax-deductible with advice from your tax advisor.

To post your news and events, contact Rusek at [email protected]

Read more from the Chagrin Solon Sun.

If you purchase a product or register for an account through one of the links on our site, we may receive compensation.

Dancing thinking and its development: ailev — LiveJournal

Immediately summary of this post:
-- we dance not with the body, but with the brain. The body is just a tool, but the brain works.
- the complexity of dance thinking is that one cannot do without a body at all, and other thinking (with reservations about embodied intelligence) can live purely in the brain. Well, the dancer is both the stakeholder and the material.
- dance thinking is a specialization of systems thinking, it is engineering in nature, its goal is to create a successful dance (cf. successful system). This move has the traditional benefit of fighting complexity. But here you need to take into account: in dance thinking, work with many different viewpoints can be found! There may be many different "subjections" that serve different concerns.
- before considering dance thinking (patterns of movements to music), you need to deal with bodily psychopractices (which do not pull on thinking, but without which you will dance badly).
- dance thinking is interesting only in terms of its development.
-- the results of modeling and development of dance thinking should be formalized either as some kind of activity standards (body of knowledge), or immediately in the form of some kind of training course. The easiest way to look for such modeling results today is in the curricula of the best dance schools as "the content of education" (and should not be confused with teaching methods, "how to teach". No, for now we are discussing only "what to teach" in curricula).

Dance is usually associated with the body, but if you talk to dancers (especially dance teachers who need to quickly teach someone to dance - and preferably to the level of "champions"), it turns out that the brain dances and trains, and the body gradually obeys. Specific thinking takes place in the brain: dance thoughts, like the thoughts of systems thinking, mathematics and everything else, can be conscious or not conscious, this thinking does not live in every individual dancer, but in culture (“between people”, thinking cannot be discussed in Ptolemaic model of man - even if we are talking about a solo dancer).

To talk about dance thinking, you need to highlight it somehow. And then it turns out that there are many different ways of thinking about dance, it is multi-level and multi-disciplinary. And since thinking is closely connected with communication (including dance communication, for example, paired social dances), talking about dance thinking becomes no less difficult than talking about any other thinking. Even more complex: in systems thinking, of course, you can add a body (embodied intelligence), but in dance thinking you can’t do without a body, or even several bodies.

Moreover, dance thinking is hardly distinguishable from non-thinking practices-experiences in which there is no rationality, which "just are", which are simply patterned gestalts of states-positions of the mind and states-positions of the body. See, for example, the texts "my three months of kizomba" http://ailev.livejournal.com/1312598.html and "kizomba, exotelo and basic for dancing intelligence" http://ailev.livejournal.com/1315064.html

If, when discussing systemic thinking, engineering thinking, one can somehow abstract from the "bearer of thinking" and discuss the ideal flow of thought and the content of this thought, then in dance thinking it is impossible to abstract from the carrier of thinking by principle. As Anton Klimat (this is his pseudonym, he is actually Anton Klimov, the head of the Breakwater studio, which prepares hip-hop champions - https://vk. com/klimat) said a few days ago at a training session, "the dancer needs to be especially honest [reflexive] - because if the artist immediately sees with his eye that he smeared in the wrong place, the musician immediately hears with his ear that he played something wrong, then the dancer is deprived of such an opportunity if he is in the course of the dance does not look in the mirror. At any moment, the dancer must understand what is happening with his body, be honest and truthful in his feelings - this dance is different from other arts. " The focus of dance thinking is the dancer himself and what is happening to him, the dance is inalienable from the dancer. As I already wrote about the dance - here the dancer is both the material of the target system, and the stakeholder, who has his own interests. And so it is necessary to discuss separately "thinking of the material" (psychopractices) and "thinking of the stakeholder" (mental patterns taken from culture).

"Thinking of the material", low-level perceptions and patterns of movement are connected with the body, they make it possible to realize the dancing idea of ​​the dancer-stakeholder - this is "thinking about movements", not even "thinking about dance". This is motor thinking, "about the body and its movements."

The difference between this motor/body and dance thinking is about the same as between rational thinking and its logical foundations (see, for example, http://ailev.livejournal.com/1311261.html) and systems thinking -- the second is not happens without the first, builds on it. An illogical thinker cannot be a systems thinker. Similarly, a poorly moving (or poorly imagining movement) person cannot be a dancer. But rational thinking together with logical thinking is incorporeal in this regard (although there are nuances about embodied intelligence), but voluntary motor thinking (and not already patterned by dance!) thinking is bodily. Well, it should also be noted that along the line of development of rational thinking, you can get a Nobel Prize, and along the line of development of motor thinking, you can only set a Guinness record (becoming a world champion in some kind of dance or martial arts is also about performing in the arena, see below). "psycho-practices of the animal nature", http://openmeta.livejournal.com/236318.html).

The problem is that a good dancer doesn't think about movement in an arbitrary way, but in a very specific way. And this thinking can also be taught, and taught explicitly. The difference in explicit (through intelligible explanations of the principles and then through specially selected exercises) and implicit ("on the best samples", according to the principle "do as I do", i.e. purely on mirror neurons, "like monkeys") learning is usually five once in time. If you don’t want to learn five times faster, then you don’t need to “learn through awareness”, and then you could not talk about this “thinking of the material”. From motor practices, I mentioned such a transition to intelligible learning, I know in taijiquan (section " learning taijiquan" at http://ailev.livejournal.com/1013825.html), piano (http://ailev.livejournal.com/944960.html), and from the ones I recently met - just Anton Klimat's movement training school.

Boris Mayer just told me that he discovered a "general motor processor" in a person, which is suitable for superimposing any movement patterns on him - even ballroom dancing, even any other dances, even taijiquan, even any other martial arts. But he is personally interested in taijiquan, and therefore he is not particularly involved in explicitly describing and highlighting the practices of teaching motor skills as such, the practices of thinking about your body as a moving body, the psychopractices of bodily movement as such, not yet patterned by kizomba, taijiquan or a waltz from sports dances . Anton Klimat is about the same about this level of motor skills, only in relation to hip-hop in general and wavering in particular: he clearly does not distinguish it, but understands its existence well. This gives both the acceleration of learning for their students five times compared to learning the movements immediately patterned by their movement styles - that is, the gain in speed is obtained by dividing the actual dance (taijiquan is exactly the same dance as any other in my imagination), those. culturally patterned movement and movement as such, not yet affected by patterning, but conscious and developed for the perception of this patterning - prepared for the rapid development of the actual dance (in a specific dance or sports style) movement.

The leading scheme for me in thinking about this bodily level, the boundary between thinking and just psychopractices, is the scheme of the (cyber)psyche (see the report "psyche engineering" http://openmeta.livejournal.com/238030.html, scheme in slide 13 https://www.slideshare.net/ailev/ss-58654585), and taking into account the possibility of the emergence of cyber components, http://openmeta.livejournal.com/237056.html (I myself tried to understand how I move smoothly using the graph from the accelerometer in the phone.There are gadgets for athletes like "smart racket", there will certainly be gadgets for dancers).

A good dancer thus has different points of attention on the body and other ways of controlling the body, other possibilities -- and these possibilities come to the body "through the brain", there are no other ways! Say, where does the beauty of hand movements come from?

1. Some muscles stop interfering with other muscles (isolation as the ability to contract one muscle, not large groups of muscles, which immediately gives you completely different possible trajectories of movement, as well as plasticity - the ability of a muscle not only to contract, but also to stretch, which adds significantly to the range of possible trajectories). Anton Klimat offers here some special training based on three modes of muscle work: tension (pressure sensation), stretching (burning sensation), relaxation (limp sensation). And you need to train conscious control of all three states, and in times less than a second (dancing is fast! And if under tension this “less than a second” looks like a ridiculous requirement, then try to relax some tricky muscles that control the position of the pelvis in less than a second! relax any flexor, the extensor will not be able to fully work, and vice versa). Brain training here is simple, but it takes a significant amount of time: a) to “catch” the right muscle with its “clamp” with attention, and b) learn how to relax and strain it (and other muscles will stretch it, but only when it can be relaxed).

2. Control points are tied to bones and joints, and not to the usual ordinary coordinates. For example, you can lift and rotate the shoulder, or you can lift and rotate the scapula - of course, the movement of the scapula (i.e., the movement that is perceived in the mind as controlling the scapula, not the shoulder) leads to a rise and torsion of the shoulder. But the style will be significantly different: the movements of the scapula (well, or "from the scapula", as the dancers say) will be softer, smoother, and more varied. The problem here is that it is difficult to even imagine the movement of the scapula, it is difficult to control the different muscles that pull it up. But it is very easy to imagine and control the muscles when it comes to shoulder movement. This is the first task: to retrain the brain. Another example is the movements of the pelvis (try to twist it in different planes, this is a rude "plate" - and you need to be able to somehow turn it, quickly and accurately), movements of the spine in the region of the upper ribs (usually there is nothing at all moves unless you specifically design this place - but if you want to send a wave through the body, you will need this movement).

The passage "through awareness" in this training of "bodily thinking", thinking of the "dancer as material", this education of self-perception and self-control through an explicit connection "brain-body" takes about five times less time than through unconscious repetitions of some movements. And the practices of this "bodily awareness" are approximately the same in all schools. So, “dance meditation”, work with the brain-without-the-body works well (well, or on micro-movements, when the muscles do not work at full strength, but only twitch a little, imperceptibly to the eye). The climate calls it break meditation, but it is also described for practicing piano playing, and it was also used by Mahmud Esenbaev for his training, and Cameron-Bostick likes to talk about it, who “does ballet” in the hospital. “Dancing inside the head” (or playing a musical instrument “inside the head”) and micromovements is already a common place, but this is a move towards awareness, towards psychopractice, although not yet towards some kind of civilized thinking. But when you "inside your head" pull not with your shoulder, but with a shoulder blade - at this moment culture works, the bodily thinking transferred to you works.

There are many ways to define/describe dance that are important for conscious thinking about dance. For example, all systems of external recording of movements will not be adequate as "notes" for a dancer - for a dancer moving "inside the head" with a spatula will have to somehow translate a description into another system of motor thinking, in which the movement of the shoulder, which is clearly visible from the outside, will most likely be recorded. ! Here's about these dance notations: http://ailev.livejournal.com/76767.html - there is an emphasis on performance, meaning "outside view". This is a notation for thinking about the dancer, not the movement thinking of the dancer himself. Although both can formally be attributed to dance thinking, but these are completely different manifestations of it! Moreover, this is a recording of "just movements", while the actual dance thinking works in a patterned way. In the same kizomba, all thinking revolves around exits to various sayids, and not around individual movements of the legs. Thus, you need to record patterns, not individual movements!

Here is another example of this "external", visual thinking about dance -- Optimal asymmetry and other motion parameters that characterize high-quality female dance, http://www.nature.com/articles/srep42435. The article draws a connection between the ability of women to make asymmetrical movements (which shows a high degree of development of the body and brain) and her "femininity", the perception of male as a potential partner and female as a potential competitor. Further, these results can be translated into an engineering plane: to teach dancing in such a way as to "make the right impression" (well, and generally discuss the requirements for dancing). Well, or declare the entire article nonsense: perception in dances depends more on culture, it is artificial, comes from thinking, and not from "instincts" - and if the study carried out in the article is repeated on people from the hinterland of Africa, in the US ballet school and the village urban type in the Far North of Russia, the results will be quite different.

In any case, from the level of the motor base, the "movement processor", the sensation of the body from the inside and the pattern of body movement from the outside (as well as the relationship between dance and music - working with rhythm at least, phrasing in music, weaving rhythm and form of dance movements into rhythm and form of parts of musical instruments in music - see the initial list of skills in "the most important skills of a dancer" http://ailev.livejournal.com/1324775.html) we can go to the next level of dance thinking - where there are no longer separate movements, and their pattern, i.e. dance. By and large, dance thinking will work with dance, while the body and its control will be considered developed.

There are also several different levels here, since different people are concerned about different things, everyone has their own concerns (concerns):
-- within the given dance language (patterns of movements of some kind of dance). Thinking is dogma, the canon of some kind of dance or dance family. Here, too, you can set different perspectives, build different methods of description, build a canon in different ways. For example, postulating a dance as inseparable from its music, or deriving a canon from the performance of some particular dance school (and albeit a large one - say, city parties somewhere in Luanda) at some period of time (say, in 80- years of the last century), or deriving the canon from some historical considerations, or simply referring to authorities with their "sense of correctness", or making attempts to formalize some ideas and mercilessly cutting off everything that does not fit under it. For example, discussions of "true kizomba" from this series. But further within the framework of the canon, this thinking also exists, we can talk about the degree of its development, wealth or limitation, productivity or secondary.
- outside the given dance language, in other words - the development of dance, going beyond some canon.
-- beyond the boundaries of dance as such, access to broader cultural patterns (for example, along the line of hip-hop culture, where breakdancing is only one of the components of a wider culture, and the canon is wider, as well as development is not only breakdance).
-- beyond these broader patterns, out into patterned thinking as such.

And at each of these levels, one can talk about "perception from within by a dancer", "perception by a dance partner", "perception by observers/spectators/judges/friends" -- and further attempts to satisfy the most diverse interests/concerns of all the most diverse interests , realizing that dance as a "successful system" is very difficult to make.

Here it should be noted separately that dances obviously do not belong to science, but to engineering - therefore, systems thinking is quite applicable to dances. In this regard, in dancing, the task is to create (realization, "bringing into reality") a successful dance (successful dance), which satisfies, if possible, all stakeholders - both the dancer himself from the inside, and his partner / partner (also from the inside, remember about the connection! ), and viewers, and parents, and many, many others. Remember that a successful system is included in the very first phrase of the systems engineering definition - it is a system that satisfies the expectations of the project stakeholders (see the very first phrase in the systems engineering definition: http://www. incose.org/AboutSE/WhatIsSE). Well, those familiar with systems engineering do not need to be told that the dance "here and now" is just a 4D individual (a kind of "worm in space-time"), we even especially analyze this example in the classes of systems thinking.

So I personally would finally become non-pop, non-humanitarian and non-poetic, and build further reasoning about dance thinking as about engineering thinking, and to the extent that dance implies collective forms of its existence, I would also include managerial thinking. Thus, I would talk about dance thinking and dance practices in much the same way as about the thinking and practices of programmers, or the thinking of machine learning system engineers - what is there with the requirements for the dance, what is there with the architecture, what are the modules in the dance and what components , and even what kind of placements there are in the dance. Everything is not so original, but such an approach certainly allows you to somehow take into account the plurality of stakeholders in the dance and the plurality of their interests. Including interests in poetry, pop, ease of perception, compliance with some cultural canons, etc. material", and as "stakeholders", so that the methods of traditional "iron" and software engineering are unsuitable for creating dances. However, these engineering methods are many and they work. They reduce complexity in dealing with different situations, they provide reproducible results, they enable teamwork. And they leave a huge scope for creativity, no one has yet canceled the work of the head for that same engineering thinking - it does not cancel the engineering approach to dance and the work of the head for the manifestation of creativity in dance thinking.

Thus, above "body thinking", "motor thinking" there appears a level of patterned dance thinking within the framework of some kind of dance tradition.

In a good way, I would need to develop this idea further and tell what are the dance modules, what are the interfaces, which concerns of which stakeholders are made out by which viewpoints - with examples, without "bird language", understandable to dancers and the general public . But I won't do it.

Instead, I will note that there are recognized pioneers in engineering - they propose new architectures that respond to new architectural requirements. What was previously considered impossible by a variety of stakeholders is becoming possible with these pioneers. They push the boundaries of the possible, they create the new. The rest are second-moverers, third-moverers and other rearguards and gray masses. This argument about engineering fully applies to dancing.

The main innovation of this post is a suggestion to take from engineering the methods of dealing with complexity that allow you to create successful engineering systems and apply them to dance. This will allow mass and conscious creation of successful dances. Moreover, it will allow the development of dances, making them more complex and sophisticated, but without going beyond the limits of ordinary human capabilities.

You can get great pleasure by dancing the same waltz in its dogmatic version from youth to old age. There are stakeholders who need exactly this, this is an ideal. All their thinking is slowly moving into the unconscious, leaving a pure and uncomplicated trance - either a change of partner or a change of music can bring variety. But I'm not one of those conservatives. Art, including in its social, rather than professional and performative forms, develops and grows with new languages, new styles, new thoughts, and not by carefully preserving and polishing the classics. This discussion about art fully applies to dances, exactly the same as about engineering, which is also valuable for the by no means careful preservation of some kind of bridge building as of the middle of the last century.

When it comes to dance thinking, development is important to me - creating new dances that will be successful for more and more dancers, spectators, judges, art historians, DJs, friends, families and other people affected by dance.

To do this, dancers must have their own R&D, engineering (and sometimes just scientific) research and development. There should be experiments that go beyond what is already known and tested. There must be passages into new dances, there must be finds of rich and expressive dance languages.

Half a year ago I found the social dance "kizomba" and found that it is largely inexhaustible -- research and development, formulating new requirements and building new kizomba architectures. Or no longer kizomba? It does not matter what words to call and what classification will then be built post factum. But it is important where and how the dance is developing, how the "dance engineers" communicate, how the research is organized.

The dance industry is like the mass production of dance -- it happens at parties. Thousands and thousands of dances are produced there. Yes, sometimes something new is also produced there, a party at the same time and an "exhibition of the achievements of the dance economy." But more often than not, new things are produced purposefully in the course of research and development, and this happens mainly in dance schools. Of course, schools are different. Most dance schools are just educational institutions: their teachers take master classes in various other schools and then pass on knowledge to students, preserving the canon. But there are dance schools focused on research. An example of such a dance school in Moscow is AfroFusion (http://afrofusion.ru/). For example, here is one of their research products: Kizomba Fusion -- https://youtu.be/whNe6zgPrV0. This is not the only result of the research. AfroFusion teachers lead a community https://vk.com/kizombamoscow, where a lot of materials on Fusion Kizomba have been published over the past few months - and most often today this is the junction of kizomba and dubstep (I myself, by the way, noticed that the frontier of kizomba is creeping towards dubstep back in November -- http://ailev.livejournal.com/1310496.html, http://ailev.livejournal.com/1311543.html. But AfroFusion noticed this earlier - in addition to several kizomba programs (very different: traditional, classical, fusion, urban kiz, tarraxa and even tarrax'osteo) there is also a dubstep group led by the same Anton Klimat. And this group is attended not only by ordinary students like me, but also by teachers. Well, the dubstep itself in this group is tailored to the interests of kizomba, this is also part of the research - but Anton's research in terms of the development of hip-hop in its fusion with other dances, the development of dance thinking of illusory styles.

AfroFusion teachers also lead the Yu community, where they publish their "projects" on the study of dance novelties (for example, there was a series of publications on urban tarraxa), biographies of figures in the kizomba world and other things that cannot be called "research and development", but what demonstrates some level of reflexivity in work. The same can be said about Thierry Déa's studio in St. Petersburg, they put on a rebit there: https://vk.com/video175030_456239031 - although I wouldn't say that we are talking about some kind of "creating a new one", but it's a disaster Start. Experiments go with movements, with music, the results are laid out on video (here is Dnepropetrovsk - https://youtu. be/lpNcbuIZQ3g, here is Krasnodar - https://youtu.be/fcb0TXThmMU, here is Kaliningrad - https://www .youtube.com/channel/UCCP-WhRAISTmE6ZSsgmkFgw, and this is not the whole list). I would draw attention to the fact that this is not so much about "advertising videos" and demonstrations of various "shows" (which can be extremely negatively perceived by fans of social dances, there is an opinion that "teaching kizomba" and "shows" incompatible with kizomba itself!). I would pay attention to the fact that there is some kind of research activity, some kind of development, some kind of advancement of the boundaries of dance, attempts to take some step in the development of dance thinking.

GP Shchedrovitsky wrote a book "Pedagogy and Logic", where he clearly showed that if there is no combined research and educational activities, then education cannot be of high quality. This I mean that if we are talking about "research schools", then the education in them will be of high quality, there is a chance to teach dance thinking, to make this thinking conscious. And if it's "just a school" that takes dance thinking in its unreflected form and tries to transfer it unconsciously to its students - I'm sorry, but such a school will only release good dancers into life by chance.

There is also a real university science of dance, and there is a lot of it on the Internet in a variety of languages. There, higher dance education is close, and even academic degrees in dance and their study. But usually this is far from life, it is a "theory", not life. For life, some Portuguese professor (not a university professor, but just a "teacher"! This is not English, everyone confuses the translation here!) Like mestre Petchu (http://www.mestrepetchukilandu.com/biografia.html, here is an example of him work -- he explains the basic movements of tarraxinha -- https://youtu.be/aHbjn_JQLa0) is often more influential than a major university graduating dancers with a real high school diploma.

Well, you can’t say in a nutshell about dance thinking itself, volumes have already been written about it (as well as about systems thinking, computational thinking and any other thinking, as well as “just thinking”). But I will repeat the main idea of ​​this post: it is worthless to try to describe it, to develop it, if we are not talking about education. For I adhere to a constructivist interpretation: if you understand what the essence of dance thinking is, then be ready to demonstrate it in the educational process, i.e. take a student (and even yourself) and show how your version gives a successful dance with less effort, in less time than other methods. Well, or with a comparable time, it gives a more successful dance than the dances obtained by other variants of dance thinking, or even "beyond thinking". This applies to all thinking. If you figured out how to think well, then write a textbook and do exercises for it - create a training course for good thinking. Without this, any talk about thinking is meaningless.

This means that dance thinking can be found in the curricula of the best dance schools. And then you can try to overcome the complexity, relying on systemic and engineering thinking about dance.

UPDATE: Facebook discussion -- https://www.facebook.com/ailevenchuk/posts/10209485959599942
Track concern (wow!) with the text of the first few lines of the post from Valery Veryaskin (https://www.facebook.com /valery.veryaskin) -- https://www.dropbox.com/s/t3av2yybeezx3rj/concerns.mp3?dl=0
Anton Klimat's review -- https://vk.com/wall7236650_5234
Huge discussion of various dancers -- https://www.facebook.com/alexandra.vilvovskaya/posts/10154668226083705 (and a lot of my clarifying comments)
Discussion with emphasis on the "interpretation" of both dances and neural networks and a systematic approach: https://www.facebook.com/alexander.girshon/posts/1640359375980662
Discussion, including about "alchemy and chemistry" in dance, as well as the possibility of an engineering approach https://www.facebook.com/groups/fulldayideokinesis/permalink/1838725396157102/
Discussion in the KIZOMBA community (alas, only a small part of the post was published there - but the discussion about "muscle memory" and dancing did take place): https://vk. com/wall-24773547_9174
Review in the VK community "Live dancing ": https://vk.com/wall-17215818_2180
Viewpoints performance (based on this text and Valery Veryaskin's phonogram) -- work of the 5th year student of the Department of Modern Choreography of KhSAC, class of teacher Falkov I.N. (this is Kharkov) -- https://www.facebook.com/events/375517116176741/?active_tab=discussion&__xt__=33.%7B%22logging_data%22%3A%7B%22profile_id%22%3A375517116176741%2C%22event_type%22% 3A%22clicked_view_event_posts%22%2C%22impression_info%22%3A%22eyJmIjp7Iml0ZW1fY2

The clock struck eight when I stepped onto the creaky parquet in the hallway. How I missed the quietness of my apartment! I just wanted to fall apart on a shabby sofa, and lie there until the morning ... But instead, I trudged to the computer. While the old unit, inherited from the dinosaurs, turned on, I made myself coffee. Today you will need more than one mug. Article for the night, and inspiration from gulkin's nose. They also threaten to make layoffs at work. You can not delay, otherwise the dismissal cannot be avoided. And it would not be bad to update the blog, otherwise the last subscribers will soon scatter. Eh…

I worked in the editorial office of a magazine that was in demand in our district, and in the city in general. The editor - Fedot Stepanovich - always put only the best into print.

The best. Yes. It means not me. For some reason, lately my writing has not been impressive at all. Even myself. Honestly, not surprised. It looks like I've lost the spark, like there was nothing to write about. It's funny somehow: I live in a metropolis, where something happens every day, but I look as if into a void. Other people's problems ceased to excite, everyone here is a drop in the ocean. So my news is gray, alien, distant and unnecessary, in general, to no one.

What did I write about? As I then still thought, about the important. About eternal, to some extent. I noticed that the people around were so closed that they seemed to stop seeing each other, let alone feel and understand. Everyone at some point withdraws into himself and loses the key to the door he entered. Locks up the heart. Puts on a mask. Indifferent. And silently walks along the gray stones of the pavement...

I just wanted to be heard... I thought I would become the key to the world on this side of the mask. I will help those in need with my word, I will teach people to listen and hear, I will save the world... But it seems that something went wrong. And now... Now I don't even know how to save myself. So in response I get the cry of tearing paper and the famous last warning from the lips of Fedot Stepanych. Last chance. Tomorrow I will not come with a sensation - that's it. Well... It looks like it's time to forget about your reasoning for a while and plunge into the world of human intrigues. Write what will be read. What is expected of me. No not like this. What do you expect from an article in our magazine.

What are the stone jungles talking about these days? What is the wind of change carrying along their paved paths? The most discussed topic was a series of strange deaths, however, as is usually the case. For a long time now, criminals taken into custody have been dying one after another. The most different: from simple pickpockets to almost murderers, adults and still teenagers of fourteen years. Most of them haven't even been sentenced yet. And they all have the same diagnosis - poisoning. What is still a mystery. This happened with some frequency in different parts of the city, but most often in our police department. And, by pure chance, none other than my older brother, officer Yuri Diskarin, worked there.

How I could use his help now... But no. My brother and I don't get along. And they never got along. It just so happened ... Probably, we are just too different. Yurik is secretive, distrustful. He never told me anything, he preferred to do everything himself, and I felt that he did not need me at all. I must have been a little jealous of my brother. He is successful, just the pride of the family, and I grab the last chance to stay at work.

...Grasping for the last chance to stay at work. Although ... You can try to find out about the high-profile case first hand, so to speak. This, for sure, would interest Fedot Stepanych, but he would have to turn to his brother for help. Yeah ... And once again become a loser in the eyes of a whole family. Hell no! Even for the sake of work, I will not ask for the help of this person!

Well, nothing. I prepared, collected materials, now I will write and saved! I manage myself. If only I could make it before morning...

HAPPY!!!

The sound took me by surprise. It was a signal that the factory was over, from the old watch in the corridor. The matter is fixable. I got up, went to the clock, opened the lid and reached for the key with a familiar gesture. Only the key was missing. What's the strange thing? In my house, I valued order, but such incidents simply unsettled ... What should I do now, look for this lost key? Looks like I'll have to...

Casting a sad glance at the computer, I began to remember where I could put this old piece of iron. So I have already climbed several shelves, looked into the boxes and ...

What is this? There was an envelope in the dresser. And, if I was ready to see the key to the winding mechanism among the socks, with my absent-mindedness, then there’s no strange message at all. Although, maybe I'm too naive? Oh, I don't like it all...

Naturally, I opened the envelope and immediately recognized Yurik's handwriting.

"I'm not sure I wasn't followed. Check your mail. I never forgot your birthday!
Yu.»

What's the joke? I knew that it was necessary to take away the keys from him when he moved in! Wait, there's something on the back...

"KeyHole4u..."

I scanned the hastily written lines again. The text seemed devoid of meaning and meant nothing to me.

What is he? For henbane, it seems, it’s not the season ... Just in case, I checked the calendar and made sure that my birthday is not today and not even in the coming days. The only thing that made sense was to check your email.

What am I doing with my time? Before my hand could close the text editor, a window popped up asking if I really wanted to do it. Here, even it mocks...

One letter actually arrived in the mail. So, why is Yurik doing this: invading my house with a strange note and tweeting on the Internet at the same time? After all, isn't it easier to call? Of course, I would not jump with delight when something would make our little star descend to mere mortals, but why reinvent the wheel?

So I thought as I sipped my cold coffee while waiting for the text to load. Finally, the following lines loomed before my eyes:

“Hello, Egor.

I know you'll be surprised by my letter, but I wouldn't bother you if it wasn't really serious. I wanted to call, but my new phone didn't have your number. My number hasn't changed, if you're interested...

Let's get down to business. We need to talk. But the conversation must be face to face. Come today at nine at the intersection of Pskovskaya and Myasnaya, there, in the courtyard of house 26, I will be waiting for you.

It's about a series of prisoner deaths. Correction, about a series of murders... I thought it might interest you, I'll explain everything when we meet, if, of course, you show up... your fault. But I ask you to believe me one single time. You are my last key to hope. I expect you to read this letter and come.

Your brother Yuri Diskarin

Hmm…

Everything is more and more wonderful, as the heroine of a famous fairy tale used to say…

I re-read the message several times to make sure that I really stopped understanding anything. Except, perhaps, for the fact that some kind of mystery lies in this whole affair, and Yurka for me now is the key to all answers. Besides, since he himself calls me to talk, I will not fail to interview the lead investigator . .. Unless, of course, this is a stupid attempt at a joke ... But it is unlikely that he would write to me for fun.

And what, now it's raining again, right?.. But he came home! Okay, I’ll figure it out quickly, and I’ll have another six hours for the article ... I glanced at the clock, belatedly remembering that this was pointless. Another advertising message comes to the phone, helpfully suggesting that I need to go out if I want to be in time for a meeting. Having extinguished the monitor that had just woken up and abruptly grabbed my raincoat, which had not yet dried out after a day's walk, I jumped out into the entrance.

Only at the car I hesitated a little. Isn't it too easy for me to fit in? Just a couple of minutes ago, I was sure that for the sake of my brother I would not lift an eyebrow, and for my own sake I would not mess with him. What did this message do to me?

It filled me with a sense of self-importance. Finally, something depended on me, on me alone! Probably, I was driven by the desire to prove that I was worth something . .. But I didn’t want to admit such motives. From this, an incomprehensible annoyance settled in my head, but I stubbornly explained it only by the spent time taken away from writing the article.

Stopping at the appointed place, I looked at my watch. Another full five minutes ... It was possible to leave later, although ... as if it would give me something. Around no one like Yuri.

An unpleasant, vile fog reigned in the street. I hid from him in the car.

The sun has long since set behind the clouds, and the city has lit its fires. Lanterns, not stars. I sometimes thought about how this noisy world lacked stars. Each of them is unique, even though there are billions of them in the darkness of the sky. It's the same with people, isn't it? But we almost purposely forget about that, therefore we hide from condemning burning looks from the depths of the immense.

And just now the thought flashed through my head: how often do I myself think about others? It would seem that constantly . ..

I digressed from philosophical reflections to look at the time. Five minutes. There was no one even humanoid in sight, the yard was empty.

Ten... I'm checking my phone, mail. Not a line about being late.

Twenty! No, it's not serious anymore! I shouldn't have come... Nervously dialing a number, preparing a scathing speech. In response, only long beeps are heard. Okay... Let's wait... You never know. He's got a job too... Trying to calm down seems to be working until I remember that damned article never started! Where the hell are these fools?!

"I'm waiting another fifteen minutes and I'm leaving" - I angrily type a message and press "Send" furiously.

Time is running out and the message hasn't even been read! Twenty-five minutes... thirty... Still silence. There is no point in waiting any longer.

To clear my conscience, I call again. A melodious female voice is heard from the receiver:

- The device of the called subscriber is turned off or is out of coverage area . .. - the lady says, slowly repeating the phrase in English.

- Damn you!.. - irritably hissing, I throw the phone on the next seat. - So... Okay... I warned you, I waited... waited longer than promised. Now you can go home with a clear conscience.

Looking at the road, I was surprised to find that I was not so much angry as nervous. It pissed me off even more…

***

There was less and less time left for work, and I continued to pace the apartment. Usually such a calm creak of the floorboards now mocked my poor hearing with all its might. It was by no means the article that occupied my thoughts, despite the fact that they would not forgive me if I screwed up such material...

Minutes passed slowly. I felt them even without the usual ticking of the clock. OK. I will be frank with myself, because my strength is no more, and then to work! All this is strange! What exactly? That I couldn't get through. Yura does not turn off the phone and diligently monitors its charge, he should always be in touch, should I, as a brother, know about this. Also this line from that note, it is no coincidence that it is the very first ...

So... don't panic. What the hell is this blockhead in general so businesslike settled in my head?! Anything happens. Everything! Article. Only an article.

By an effort of will, I managed to sit down in front of the monitor and even write a couple of lines before I again plunged into thought. And yet... what could have happened?..

***

The days raced by like clockwork, but not mine. I never found the key, and I haven’t tried, to be honest, since that evening. They froze, showing half past nine, as if that day had not yet passed. I didn't show up for work the next morning. I don’t believe it myself... how could I put everything on the altar for the sake of a person whom I was mortally envious of, whose disappearance I dreamed of... the one whom I had known all my life and with whom I was still connected invisibly?!..

And the apartment! Oh... if the old me had seen what my temple of comfort had turned into. .. however, he would have shot himself right away, leaving behind only the gloomy aesthetics of a broken creator... All the tables were cluttered with dirty mugs and fast food packages. The entire floor is full of shoe marks. Here and there were meticulously compiled lists of those with whom my brother could communicate, where he could go, who could wish him harm...

But none of that mattered anymore...

“- Yegor Diskarin? - I heard a calm male voice from my phone this morning.

- Yes. I answered nervously.

- The police are bothering you - my heart threatened to break my chest. It must be from stress and lack of sleep ... And in the meantime, in my head: "If only they could find ...".

- Your brother was found today at noon, - a slight pause, as if to realize what was said, - He is dead. The circumstances of death are being investigated. - just as calmly, as if nothing had happened, the man on the other end of the wire continues. - We offer our condolences. Today you should come to the department ... "

Followed by instructions and occasional questions to which I answered something like “yes”, “no” and “understood”. Be afraid of your desires. Found...

I spent the next half day in the same department. Some papers, some formalities, a funeral... And a conversation.

From that conversation, I learned something that struck me. Yura was suspect. They said that he killed the prisoners by slipping poison into their food or something like that. There was not much evidence, so they only planned to arrest him, but now the main version of my brother's death is suicide during an attempt to escape from justice. What heresy… But at that moment I could not object anything. Exactly like believing even a single word.

And now I'm back in my home again. Devastated, with only one thought in his head: “he is no more”…

What are words? A set of letters, a set of sounds, nothing more. .. But some become keys. This key with three heavy teeth will open one of the most terrible doors: the door of despair and pain. Maybe I should have phrased it a little more bluntly? But as? What would it change? There is only one key, no matter how you decorate it, and there is only one door, and you are standing on the threshold. You can't go back. And the castle succumbed. Started...

I look around the apartment with a detached look, slowly falling into a rage.

- Damn! - comes out of the chest. How long have I not uttered this word, - Damn! - I repeat louder, clasping my hands sharply. My whole army of mugs is flying down to the sound of glass. A blanket of scribbled sheets covers them from above.

- Dunce! Brat! Freak! I scream, not remembering myself.

- Look... Look what you've done, you bastard! I lost everything because of you! Inspiration! Work! Dreams! How can I pay my bills now? I've wasted so much time on you, damn it, even the key to the clock. .. - the silence hurt my ears, so I continued to throw empty phrases, trying to throw out everything that had accumulated inside me. My voice broke, growled and wheezed, turned into hysterical laughter, and I didn’t even understand why I was so angry ... At myself?

Yes... I was jealous of my brother in black! The pride of the family, a great future, office authority, lofty goals, a dream job - everything I wanted to hear about myself, I heard about Yurashi! I remained his little brother, always second, always underestimated. It was an axiom that everything was easy for him. But for some reason it did not occur to me that we were actually brothers. Our conditions were the same. And I seemed to be blind, I did not see what he had to go through. And what did I do when I got tired of being a shadow? Exactly. He erected that very wall, the wall of indifference. I didn't care. And there is one more drop in the ocean. It was not Yura who closed himself off from me, but I from him. And what did it lead to? “He is no more,” and I can’t even say with certainty that I’m not the brother of the killer! And all because I don't know! I don’t know how he lived all these years, I don’t know what was going on in his soul, I don’t know if he called me to stop the rumors in the bud, or to repent of what he had done even a little to his own creature, albeit such a vile one, how I . .. And I will probably never know, my key to this secret is forever lost ... What a blockhead I am ... What are all my arguments about feelings, words, stars, but all about the same keys worth now! How could I have changed the world when I myself could not find those vices for which I reproached mankind?! That's why my articles weren't being read. When changing the world, start with yourself, otherwise everything is empty words. Gray, alien, distant and unnecessary, in general, no one ... Such words will not become keys ... Keys ... I return to them over and over again. Oh, this world is really crazy about them! We have the keys to everything, they are even where we don’t think to find them, because they have entered our lives so deeply that everything now rests on them alone, and we don’t even notice. Yes, and life itself is like a constant picking of locks! But even that is not important. The important thing is that there is no key leading from There. This is what gives meaning to all other keys. No matter how hard I try, I won't start Yurik's time again like the old clock. But who knows from what doors, I would have taken him away, if only I was there ... It's a pity, I realized it too late ...

- I'll never sit down to write again... - I said to myself, almost delirious, barely recognizing my own hoarse voice. After that, I fell asleep and didn’t think about anything anymore.

***

I spent the next day almost without getting up. Only in the evening I somehow tried to eliminate the consequences of my yesterday's insanity ... But the attempt was nipped in the bud, as soon as the very note that I found among the socks caught my eye ... Surprisingly, all the time while I was busy looking for my brother, I almost did not remember her, as a thing that does not carry any meaning in itself. But there were so many questions connected with it! I re-read it. As expected, nothing new appeared ... And yet ... Why was she needed?

I immersed myself in memories of the day when I lost the key to the watch, which was so silent for the last week… It seems that since that time I have not turned on the computer… How is it, my old man?

The heritage of the ancestors, as expected, grumbled and buzzed at my long absence, but in the end they had mercy and opened my e-mail page for me. Yurik's letter has not disappeared anywhere. I didn't reread it. One thing is a note with unclear text, and another is an invitation to a meeting that was not destined to take place ...

"Check your mail..." echoed in my ears. The sudden realization made me jump. What if... That weird text on the back is nothing but a login? But my hands are unstoppable...

Hastily logging out of my account, I entered the characters into the appropriate box. But you need a password... Password... Another stupid thought... "I never forgot your birthday!" I enter.

Only one digit changed on the monitor, but I didn't believe it. This eternity could not last for one miserable minute.

- It worked… - I said, looking into this luminous box in a frenzy. Another account. And only one letter.

The entire apartment fell into absolute silence as I read what was written here.

“Egor, I knew that you would solve my message! Help out, brother! I need you, we all need you!

For several months now I have been busy with the death of several criminals in custody. These are not just deaths, Yegor, these are murders. I'm sure I got very close to the solution. I have two prime suspects. But there's a problem. Both of them are my work colleagues. And I don't know if any of them acted alone or in concert. In other words, I don't know who in the police force I can trust with regards to this case.

Also, I notice that I am being watched. Apparently, the attacker feels that I got too close, and will soon try to eliminate me. Well, that's what I use to pinpoint the culprit. How? I told one of us about our upcoming meeting. If I guessed right, and he's not a criminal, then you don't have to read this, I'll tell you everything myself. But, if I made a mistake, and you are still reading this, then most likely I am already dead ...

Brother, now only you can solve this case. And only you can I trust him. To this letter I will attach documents in which my evidence is collected, there you will find the details of the plan, all the names, all the evidence. Publish them in your journal, let everyone know, and then the villains will have nowhere to go! I hope for you. I know you won't let me down..."0133

For some reason, my heart skipped a beat. Brother... I won't let you down!

***

Never say never. For the next few days, I did not let go of the keyboard. I know, I promised myself, for writing, no, no, but the last, last time! For Yurik! This will be my best article...

And it really became the best. Where did I get it from? Just my blog would not be enough for such an important mission. So I had to visit Fedot Stepanovich. I almost begged him on my knees to read my work. But he still read it. Read it and put it on the first page!

A few days later I had to go to our police station again. There, of course, there are again formalities, thanks, apologies ... But they did not interest me. He was arrested. I wanted to talk to him. With a killer. I wanted to look into his eyes. For help in solving the case, I was even allowed to do so.

I was taken to a special room. He sat opposite me and froze with his cold gaze. But there was nothing in the eyes... He was... Empty. However, the first one spoke.

- Because I saw how souls died, - he answered my question before I could ask him, - Every criminal who was brought here did not set foot on this path from a good life. The world has treated them cruelly. It's wild, but for some, crime is still a way to survive. Not for everyone... But I didn't talk to everyone. Do you know why? Because they don't listen, you know? And when I talked to them in this very room, they just wanted to be heard ... And I listened to them, watching how the eyes on the contrary go out, and how hopelessness penetrates into the very heart. They had not yet been sentenced, but they no longer believed that something could be changed. Outcasts of humanity. They could only hide in themselves and wait for the end. Then I gave them the key to freedom. An ampoule with poison, as the end of all torment. You won't understand, must be...

- And now, being in their place, would you like the same? I asked quietly. My interlocutor was silent. And I continued, - Do you know why? Because there is no key from there. And while you're alive, you can still fix it...

We talked with him for a while, and then I went outside. It was already getting dark and the lights were on. The downpour threw fragments of stars right under my feet, and they flared for a moment with earthly human light, breaking on the wet asphalt. I silently walked along the gray stones of the pavement, finally throwing off my indifferent mask. Raindrops on my cheeks from something became salty. His image stood before my eyes. Indifference. The way I saw him once on Bolotnaya Square - not seeing, not hearing, impregnable. The source of human vices. I wanted to run away from him, and I even ran, as if it could help. God! Who would have known that it hurts so much to open your heart to the world! The dialogue with the murderer still sounded in his thoughts, and his brother's voice echoed in his soul.


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