How much is just dance on the switch

Interview with Sergei Popovich, WORK group XO.

— How can you explain the changes in the composition of the XO WORK?

- The circumstances. Probably, they arise when there is some kind of stagnation. I do not mean Igor Granovsky and Kostya Dovzhenko, who left their group ... There was some cyclical departure. If you rewind a little, then bassist Kolya Ignatenko and photographer Yura Tugushev came to the group in much the same way. They came just at a time when we already had certain difficulties, which we simply mothballed in order to delay time for trips and some improvements. But there was no longer a question about dense creative work. That is, she has not been since the beginning of the summer of 89th. Basically, it was difficult for Kostya and me. We started to lose respect for each other.

Kolya Ignatenko and Yura Tugushev came in the summer. Moreover, the rest of the guys could hardly imagine in what forms we could cooperate with both Yura and Kolya ... And I am very grateful to Igor and Kostya for that summer and that autumn. Because in connection with these complicated relationships, I had to learn how to work alone. Survivability, or whatever it is called.

I had thoughts in the summer about creating such a solo project. I even came up with a name - ENSEMBLE OF SAD SONGS - and decided that Kolya and I could do such a thing, in parallel with WORKING XO. Find some session drummer, maybe even connect Kostya ...

But then I realized that I couldn't sit on two frying pans with one ass. I had to choose. Kolya was very interested in the group. He came and naturally studied. The ABRIS group, from which he left, was engaged in completely different things. I don't know for worse or better, but the principle of attitude to music was completely different, Kolya had to do a titanic job this summer. And I must say that it is not ineffective. And then, like a bolt from the blue, the situation with Igor ... Although this does not mean that we kicked him out of the group ...

We managed to play one rehearsal with Kolya. On the example of the song "French Rain". We played it with keyboards, over the summer we prepared a version with Kolya: guitar-bass-guitar. .. If you take XO's WORK as an organism, then this rehearsal was like the last burst of decomposing proteins before death. For some time, we felt in ourselves a large amount of strength and potency. With such moods, we rehearsed for three days in the country. We went there and just shut up. Forty kilometers from Kyiv. It was winter and it was very cold. For three days we did three things and went to "Syrok", where for the first time Kolya showed himself very well, instantly joined the emotional chain, which is called a group. I again felt some new possibilities. "Syrok" passed very calmly. We played about twenty percent. It affected the fact that we had not performed for a long time, some new relationships, not a very good sound. And after "CHEED" Kostya said that it would be difficult for us to continue together. Kostya's solo projects, which he worked on quite successfully all summer, went too far and began to require more attention than before. It was difficult for him to combine them in one ensemble. For the first time, we had a very good conversation. It was necessary to change the form of work in the group ...

And then another story happened. These are the “eastern syndromes” who came to Kyiv for two days to relax - Vova Bovykin and Yura Khotenko. We offered Vova to take a pipe with him. All this was in January, just before recording at the studio in Moscow. I had such an attitude to all this Moscow recording - to roll a happening out of all this, to get the maximum pleasure from the recording process. And I offered Bovykin to play along...

And in Moscow, there was a happening between the three of us. According to Kostya, it was clear that he was already working out. Although he did a very good job, because in this respect Kostya is the most decent, scrupulous person, and if he promised something, he does it to the limit of his abilities. And I could no longer demand some kind of emotional inclusion, as before. I tried, but I realized that it was stupid. And I also realized that the WORK of XO can change the form of existence. First of all, I need friends, not just musicians. Playing on many channels on several instruments is not difficult. But it is impossible for one person to encrypt a group attempt at self-consciousness. After Moscow, Kolya and I came up with such a thing. WORK XO will turn into a kind of preservative. We will try to create such family and living conditions for ourselves and, in general, conditions for being in this society in order to turn into an organism living in conditions of semi-anabiosis. That is, we deliberately slow down the pace of development until the slightest conditions appear. And we realized that there should be a spiritual composition, spiritual, not musical. It can expand to a reasonable infinity. We will be happy to attract the maximum number of musicians at some concert or recording, as long as there are enough inputs on the remote control. And the hard work at the moment is four people: me, Kolya, Dima Pidlussky (drums) and Yura (information for March 90th - I.E.)

- Once you, following the principle of Louis XIV, said: "WORK XO - this is me. " Should these words be taken directly or can you explain them somehow?

- Come on. I am not reinforced concrete. And like every human being is subject to weaknesses.

You can come up with the following excuse: WORK HO is me, because I have nothing but WORK HO and family. That is, my “I” is filled to the maximum with this idea, this project, and everything else is just curiosity. At the same time, the WORK OF HO can be - me and someone else. Anyway, it's fair. Perhaps it was said quite harshly and incorrectly in relation to the guys, especially since I did not say this in their presence. Although Kostya, in our subsequent conversation, confirmed that in reality it was so, that I took responsibility for the entire course of events in the group. That is why it became difficult for us to work together. Each group has a person carrying a flag. And when this flag starts to be too noticeable, the group breaks up, the musicians leave; and the one who remained, one way or another, continues to carry the flag further. There are plenty of examples.

— How much has the spirit of “depressive optimism” changed in the current WORLD OF HO?

- I think that has completely changed. Depressive optimism is a common condition. It is like stating a fact. At the moment, we are more interested in movement than just state. Well, then a lot of things happened. Now all the participants of the XO WORK are driven by the desire for something else besides music. It's like some kind of substance that drags us forward. And this substance is common. I think more specifically than depressive optimism. We are developing. I was recently told that the work of XO resembles some kind of fascist Reichstag. This is absolutely not true. We act on each other, and this is the most important thing.

I came up with two questions for my own interview. "What kind of music do you like?" they ask me. I answer: "The one that affects me." Or: "What is your hobby?" I answer: "My own life."

You can also explain depressive optimism through a philosophical dictionary, preferably the last year of publication. The word “existentialism” is written there. They called us that in Leningrad, then I opened the dictionary: oh, Lord, this is completely about us.

- Do you think the ORIENTAL SYNDROME block is ideal for XO?

— Yes, we need each other. And this applies not only to the commercial aspects of music. I feel the need for their help, as musicians, in our projects, and I feel the desire to help them, as a musician, in their projects. On a recent tour in Kharkov, I built a sound for them and heard a completely different SYNDROME, which I had never heard before. I felt that this music had an effect on me. And it seemed to me that I knew how to voice them. I said that if I had a studio, I would offer myself as a sound engineer. They were very optimistic about the idea. And the other day a call from Leningrad. The "syndromes" called and said that the sponsor bought Stas Namin's studio for eight days for a lot of money, and they offer me to produce this record. And now I'm going to Moscow to Stas Namin's studio to record OASTERN SYNDROME.

I think that our relationship is on the level of "you - to me, I - to you." We manage to build a kind of spiritual bridge. I highly appreciate the human qualities of both ORIENTAL SYNDROME as a whole and each musician individually.

Well, how would it be in Russian. They are good guys.

— And now the question that dear comrade M. loves to ask all of us: what are your creative plans?

- I think that at the moment, due to the amount of kaleidoscopic changes in a fairly short period of time, a person who has been watching all this cannot help but notice that the group has an unpredictable character. Moreover, we do not raise our unpredictability to the shield. It just means that we are adapting to the circumstances, bearing in mind some universal and our human values: the only thing that is unchanged. Everything else will form. Now the task of the group is to develop the maximum number of layers of art associated with our idea or the point of intersection of our ideas. These layers include graphics, scenography, video - we would still like to shoot a whole film, record an album, as whole as possible. All this is called "Dance". Not just a demonstration of various movements, but dance as our state in life. I once wrote a short story that ended with the words: "I wish I had a switch so I wouldn't have to dance anywhere." This switch is on and we'll move on. The most important thing is to define your competence: here it ends, and then curiosity begins. So we want to perfectly combine our competence, while combining our curiosity. Make a moving spiritual substance out of it. In any case, it is a form of interesting, full-fledged existence.

— What do you think, Independent?

First of all, I like the phonetics of this word. Immediately I want to write a treatise on the ways of development of consciousness in special conditions. But all this is nonsense. I am very good at phonetics. How it looks aesthetically. "Independent" - sounds somehow mysterious, in the evening. I think this word is untranslatable. Come on, I'd better list the real independent that is in the Union. This is CIVIL DEFENSE, Yura Storozhuk, COLLEGE ASSESSOR. At the same time, they can be sold to anyone - they will remain independent. In a way - DID NOT WAIT ...

— And why some?

- Too much satire in their music. That is, not all doors are open. Although the potency is huge, especially Leni Soibelman. But in the emotions that their music carries, there is too much parody, satire. This is the only breaking factor.

Next. EAST SYNDROME. This is such an independent that they are not even adapted to life. This is when people move. They move on their own. Here is the Independent. This is the substance that moves and encourages those around you to move. As soon as this substance appears, you can immediately put a seal on your forehead - "INDEPENDENT". But it still won't stick. But those who are dragged out by this substance will have a stigma on their foreheads - “Independent”. Here is the IVANOV-DOWN group. They are too diligent. This is the only drawback, since their musical competence is very high. This concerns Lesha the guitarist. He has a stamp on his forehead. I don't know if he can wash it off, leave his third eye clear. But a year ago it was KING CRIMSON of the late convocation, now it's the German wave, and in six months there will be something else. But maybe he will get closer to the fashion trend.

And here is the COLLEGE ASSESSOR. They have been to the West and, it seems, they should carry it like a flag. They don't carry. Many perceive this as indifference, but I see a purely human depression and a person who does not try to hide it. This is a real independent. They don't try in technology. They are trying something else. They always have something going on, because of something they will always move.

- Then let's try to give a few words the concept of "independent".

- This is an independent movement. This is a movement that does not depend on external factors of the music market.

Interview with Tatyana Ezhova.
Kyiv, March 1990

Abridged.

How to install a switch - Lifehacker

June 16, 2019LikbezDo it yourself

You will need no more than 30 minutes and a minimum set of tools that can be found in every home.

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1. Prepare the necessary tools and materials

To install a new or replace an old switch, you will need:

• switch;
• knife;
• voltage indicator;
• flat and Phillips screwdrivers.

2. Turn off the electricity

All work on the electrical wiring should be carried out in a de-energized room.

To do this, turn off the main switch on the electrical panel in the apartment or on the landing. Move the handles of the machines down: the icons should change from red to green or from one to zero.

Flip the switch in the apartment and make sure that there is really no voltage in the network.

3. Disassemble the old switch

If you do not change the switch, but install a new one, go to the next step.

The disassembly procedure is slightly different for old and modern units. For Soviet-style products, the procedure is as follows:

• Unscrew the screws on the decorative panel with a screwdriver.
• Carefully pry up the cover and remove it.
• Loosen the fixing spacer screws and remove the mechanism from the wall.
• Do not disconnect the wires yet.

In modern switches, the decorative panel is mounted on latches or screws that are hidden under the keys. Therefore proceed differently:

• Carefully pry the keys with a flat screwdriver and remove them.
• Loosen the screws or bend the tabs on the edges of the switch and remove the decorative cover.
• Loosen the spacers and remove the fixing screws on the metal frame, if present.
• Without disconnecting the wires, remove the switch from the wall.

3. Count the wires

The number of strands can be judged by the number of keys, but sometimes there are exceptions. Therefore, it is better to make sure that the required number of wires is laid in the wall. This will determine which switch you can install.

Take a close look at the mechanism. Count how many cores are connected to it, and find out if there are any unused wires in the wall. There can be from two to four in total.

• Two wires - suitable for a single-gang switch. It is possible to control one or all lamps of a single luminaire.
• Three wires - suitable for a two-gang switch. It is possible to control two groups of lamps of one chandelier or two separate lamps.
• Three wires - also three wires are needed for walk-through switches. It is possible to control one or all lamps of a single luminaire from two different locations.
• Four wires - suitable for a three-gang switch. It is possible to control three groups of lamps of one chandelier or three separate lamps.

4. Turn on the electricity

This is necessary to accurately identify the incoming phase wire at the switch.

To activate the current, move the handles of the automatic switches in the electrical panel to the upper position. The indicator icons will change from green to red or from zero to one.

5. Determine the phase

Take a voltage tester and touch each of the wires coming to the switch one by one. On one of them, the indicator LED should light up - this will be the phase wire. Remember its color or mark it with a marker or a piece of electrical tape.

6. Turn off the electricity

Go to the electrical panel and turn off the main machine by moving its knobs down, as described in the second paragraph.

7. Remove the old switch

If you do not change the device, but install a new one, go to the next step.

It remains only to loosen the clamping screws of the contacts with a screwdriver in order to pull out the wires and remove the old switch.

8. Strip the wires

For reliable contact with the cable cores, it is necessary to remove 5–10 mm of insulation with a knife. Strip wires lengthwise, not across. Be careful not to inadvertently damage them.

9. Connect the new switch

Difficult at first glance, the task is quite simple and consists in connecting the wires correctly according to the diagram. There are differences for single-key, multi-key and walk-through switches, but the principle is the same.

It is necessary to connect the phase wire, which we marked in the fifth paragraph, to the corresponding contact of the switch. It is usually denoted by the letter L, less often by the number 1 or the symbol of an arrow pointing into the movement.

Outgoing phases or, as they are also called, control wires are connected to the rest of the contacts. They are designated by the symbols L1, L2, L3 or simply 1, 2, 3. In some cases, arrows pointing outward from the switch are used as markings.

Most often, the incoming and outgoing phases are located on opposite sides of the device. However, there is a design when all contacts are on the same side.

How to connect a single pushbutton switch

• Insert the stripped wire strands into the terminal clamps. On a single-key switch, they may not be marked, since this is not important here.
• Tighten the clamping screws well for a secure fit and good contact.

How to connect a multi-gang switch

1 / 0

Wiring diagram for a two-gang switch

2 / 0

Wiring diagram for a three-gang switch

• L.
• Insert the remaining wires into the remaining terminals marked L1, L2, L3 (1, 2, 3 or outgoing arrows).
• Tighten the clamp screws firmly to secure the wires.

How to connect a feedthrough switch

• Install the phase wire marked in the fifth paragraph into the terminal marked L or an incoming arrow.
• Insert the rest of the wires into the terminals with the outgoing arrow symbols or the numbers 1 and 2.
• Tighten all clamping screws with a screwdriver to secure.
• Repeat the procedure for the second switch.

10. Attach the switch to the wall

• Fold the wires into an accordion shape and place the switch in the junction box.
• Align the mechanism and secure it by tightening the spacer screws.
• Fix the switch with fixing screws to the metal bar, if any.
• Snap the decorative cover into place.
• Put on the keys and lock them in place with your finger.

11. Turn on the electricity

Turn on the power by turning on the switch in the electrical panel. If everything is done correctly, the installed switch will work properly.

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