How to do axl rose snake dance

Guns N' Roses - "Shadow of Your Love"

Once William realized this, his life began to change. The oddly shy kid who walked around slouching and keeping his eyes down in Sunnyside High School in a white starched shirt and black slacks, in high school Jefferson turned into a rebel, semi-criminal, short-tempered fighter with a crazy look, which even the toughest guys feared. But he did not lose interest in music. He once played the piano "D'Yer Maker" Led Zeppelin , for which Stephen hit him so that he fell off the stool. Bill got hold of Elton John's sheet music and marveled at how complex the melodies were ("he plays the strangest chords in the world with ten fingers"). In the shop on his way to piano lessons, the teen was perusing rock magazines like Creem , while also discovering others like Oui , with images of beautiful women, just at the time when thoughts of classmates began to turn him on. And then he met Jeff Isbell. If Bill was just starting to learn what it means to be cool, and was looking for a way to become one himself someday, then Jeff, it seems, was born cool. He was three months younger than Bill, he had a big nose and a bony face like Ronnie Wood or Johnny Sanders, and he was thin like a real rock star, especially like his own idol Joe Perry, guitarist of Aerosmith . Jeff liked the melancholy music of Rolling Stones and Aerosmith , and liked their laid-back and casual style, like hitmen who had just escaped the gallows. It is this style that will become his own when he takes up the guitar.

- We gathered in the tent and watched the healings. We have seen how blind people begin to read, and others begin to speak different languages.

When they first met Bill, they discovered that they had many common interests in music: for example, ELO , David Bowie and other British artists whose music is rarely played on the radio in the States - Nazareth and Thin Lizzy . And another AC/DC . No, they're from Australia, aren't they? Cool... Jeff was born in Florida, but before he started school, his Native American father decided to move his family to suburban Lafayette, which in the 1970s meant there were no not a single neighbor and everywhere only back roads - in short, as Izzy later put it, they lived "in the middle of nowhere." Soon, his mother and father separated, and Jeff, his mother and brother Joe moved to a city where there was at least some kind of social life. Grandmother encouraged her grandson's musical aspirations and gave him a drum kit for his thirteenth birthday. Jeff was a drummer from God, and he had musical roots. His best friend had an older brother who hung out with a gang of hooligans. They had parties on the old farmhouse and when they got drunk they would ask a skinny, big-nosed kid to play drums for them. “It was a real adrenaline rush for me,” Izzy recalled. “The rest of my life was absolutely boring.”

Slash plays with his first band, Tidus Sloan, during his lunch break at Fairfax High. June 4, 1982 © Eksmo / Getty Images

A teenager battled boredom by escaping into the world of music and learning tricks on a skateboard. He also started growing his hair. Jeff felt that he was destined for the fate of a musician and a life far, far away from Lafayette. One day in the ninth grade, he was walking down the school hallway when he “heard books falling on the floor, then screaming, and then this guy rushed past. And he was chased by a crowd of fucking teachers ... "

The next time he saw Bill Bailey was when they were at the same desk in driving lessons and they formed a friendship. Jeff played in one and then another school band that didn’t even have names, and it seemed to him that his new crazy friend would make a good frontman. “I thought that since this guy is completely nuts, then he would make an awesome vocalist,” he admitted many years later. “We had to goad him a little, [and] things didn't go very well at first. Sometimes he just came and stood stock-still, as if he was ashamed. Or started to sing, and then left. I just left, and then I didn’t see him, for example, for three days! Some things don't change, right?

Jeff understood everything. He may not have been as gifted as Bill, but he was very good with people and from an early age could put himself in the place of another person. When we spoke to him ten years after leaving Guns N' Roses , his school memories helped me better understand the adult Axel: “He had long red hair, he was small, and he was full of shit. I think he never even got fucked in school. I don't like to bring this topic up, because it becomes disgusting. But Axel didn't have a chick at school. And now this guy is a fucking rock star, girls line up in front of him, he has money, and people love him... and he's got power. But before he was just out of this world! Nuts! Crazy!"

Duff McKagan, Izzy Stradlin, W. Axl Rose, Stephen Adler and Slash pose for one of the first group photos at a table at Canter's Deli. June 1985© Eksmo / Getty Images

Everything will come with time. However, the first, in the mid-seventies, not rock fans, but the Lafayette police began to pay attention to Bill. He was 15 years old, and "because I was smarter than everyone else, the cops thought I was the ringleader." Records of his accusations as a teenager remained in closed archives, but before the age of 18 he was arrested at least four times, once even in his own backyard. At the age of 16, the guy began to drink, use drugs and smoke weed when he managed to get it. By the time Bill Bailey learned the truth about his father, he was no longer just walking down a crooked path, but had long been rolling down an inclined path. Somehow, rummaging through old papers in a drawer, he discovered that the name Rose was on his mother's school certificate, and not the maiden name Lintner. Bill continued his search and found an insurance policy that also listed him as Rose. When he decided to talk to his parents about it that evening, he learned part of the truth: he was told that his real father hurt his mother and disappeared - no one knows where - and that this is not so important. "Your real father didn't raise you," Stephen told him when Bill demanded more. The teenager was at a vulnerable age, and this sudden discovery struck him to the core, shaking his self-consciousness. Suddenly, those strange dreams that he had as a child about his mother and some man made sense. Probably relieved that the tyrant Stephen Bailey was not his real father, Bill immediately changed his name (albeit unofficially) to W. Rose. But he did not want to take the full name of his father - William: after all, he left him as a baby and, perhaps, even mocked the baby. However, Bill's behavior worsened. The mood swings became so severe that the psychologist diagnosed him with intermittent psychosis, academic performance dropped to zero, and then the teenager dropped out of school altogether. He could not get a job, because in all the shops in the shopping center he was considered a pickpocket. The cops "knocked the crap out of him" and tried to get him out of town, and Stephen Bailey eventually kicked Bill out of the family home on the preposterous excuse of "too long hair." The guy moved in with his grandmother and began hanging out in Columbian Park right behind his grandmother's house with Izzy and his friends. The company consisted of David Lank, with whom they will soon go to Los Angeles together, Mike Staggs - another local musician who will also go west soon, Monica and Dana Gregory, Anna Hong, whose younger brother Shannon will become famous in the group Blind Melon . Here Axel met Gina Siler, she was seventeen, and he was twenty, and she became his first girlfriend.

Axl and Slash backstage at the Stardust Ballroom in Los Angeles. June 18, 1985 © Eksmo / Getty Images

Friends noticed that two different personalities seemed to coexist in him. Monica recalled how wonderful Bill played the piano. Dana spoke of a "strong energy" - negative enough to earn warnings from the local police. Jeff saw both sides of him: “He really fucking enjoyed fighting and destroying things. Someone looked at him the wrong way - and he is already climbing into a fight. If it wasn’t for the band, I can’t even imagine what he would have done.”

Bill needed to let his emotions out. In 1981, Jeff moved to Los Angeles and took on a new name - Izzy. And Bill followed him a year later, and the first few trips horrified him - the city seemed too big and hostile, but since nothing kept him in Lafayette, and even threatened with imprisonment, in December 1982 the guy moved to Los Angeles for good, taking Gina Siler with them. A new life was worth starting under a new name; and so W. Axel Rose was born. As Bill later explained, he chose "W. Rose because William Rose was a bastard."

If you get punched in the jaw for the song "Mandy", then what kind of power should this music have?

There is a story that Axl Rose is an anagram of oral sex , but actually A.X.L. is the name of one of Dana's groups, which Bill really wanted to get into and therefore simply assigned these letters to himself. “I had a small apartment in Huntington Beach,” Izzy recalled, “and Bill often came in and fell to sleep on the floor. He kept coming and getting lost in the city. Then, at the end of 82, he started dating this girl and rented his apartment. Then Bill stayed here forever...”

And Saul Hudson and Steven Adler, whom neither Axel nor Izzy knew then, were already waiting for them here. After moving out of the bleak neighborhood of Stoke-on-Trent, his father Tony's hometown, Saul grew up in the Laurel Canyon enclave, in a house on Lookout Mountain Road. Leaving behind the meager landscape of Stoke-on-Trent, where the coal mining industry left its mark in the form of slag piles that marred the skyline, young Saul found himself in a hippie and rocker paradise ruled by Jim Morrison, Frank Zappa, Joni Mitchell and Crosby, Stills, Nash & Young . In those frankincense days, a wooden cabin in the Canyon was everything any young couple could dream of. By the time Slash arrived in 1970, the overgrown semi-wild area had been transformed by musicians looking for cheap accommodations where they could hang out and get high, play their music under the birds of paradise trees, in the pepper and pine forests, and call yourself as a generation of love. Here Barry Friedman, Executive Producer Elektra Records , called his neighbors and asked them to simultaneously put the needle on the new Rolling Stones record, so that their music would thunder throughout the Canyon.

Pam Manning dances with Axel on stage at the Whiskey-A-Go-Go Club. April 5, 1986© Eksmo/Getty Images

It was the childhood and life that Axl might have longed for, barefoot freedom, freedom and creativity, a home filled with music, drugs and colorful characters. Saul's father Tony Hudson, an aspiring young artist, met Ola Oliver, an African-American woman and fashion designer, in Paris. Shortly after Sol's birth, Ola left her family in Stoke and returned to Los Angeles to settle down. Then her husband and son came to her (and soon Ash, Sol's younger brother, arrived in time), and Sol began to explore this new world for him. “My first memory of Los Angeles is song “Light My Fire” by Doors that blared from the parent player all day long,” he later recalled. One of Saul's nannies was producer David Geffen, whose influential brand Guns N' Roses would one day be signed to. Tony drew the cover of Court and Spark album by singer Joni Mitchell, who lived next door and took some of Saul's childhood drawings of animals to illustrate her collection of poems. Ola's design business took off and she worked with Joni, David Bowie, period Thin White Duke and then with Ringo Starr and Carly Simon. Things were going so well that the family moved down the hill to a posh apartment on Doheny Drive off Sunset Boulevard, where Saul met everyone from Diana Ross and Stevie Wonder to John Lennon and Bill Cosby. Ola took Sol with her to concerts at Troubadour and to the TV and film venues where she worked, and he felt real magic, especially when he saw the stage with shiny musical instruments ready for the show.

Saul began to call himself Slash, a nickname given to him by actor Seymour Cassel, a family friend, because he was "forever running at the speed of light." As Tony and Ola's relationship began to unravel, Saul took long walks with his father. He found out that his parents were breaking up while they were having lunch at a burger joint. Despite the fact that the parents remained friends and lived not far from each other, Saul admitted that “the only support in his life disappeared,” and began to stay for a long time with his grandmother, Ola’s mother, who was also called Ola. “I needed to find out for myself who I was,” he recalled in his memoirs, especially when it became clear that his mother had a brief but intense affair with Bowie shortly after he signed a contract for a role in the film “The Man Who Fell to Earth," and Ola was hired as a costume designer. “I remained a good boy at heart,” Saul said, “but the world saw a problem child.”

Guns N' Roses on stage at the Los Angeles club Street Scene. September 28, 1985 © Eksmo / Getty Images

By the age of 12 he was drinking, smoking and having sex. The guy started looking for a new prop and found it in a circle of guys he met at Spokes and Stuff who were into riding BMX bikes that suddenly became incredibly popular. “All of us, except for two brothers, were from incomplete or difficult families,” Saul recalled. They traveled all over the area - Laurel Canyon, Culver City, La Brea Ranch - and especially the territory of Elementary School Laurel Elementary , where they hung out on the playground in the evenings and smoked weed. Within a year, Saul developed another bad habit, kleptomania, and stole books, comics, cassettes, art supplies... Until it all ended in an embarrassing situation when he was caught at the Tower Hotel on Sunset Boulevard with pockets full of records, which were laid out on the table in front of his mother, who had come to pick up her son. “She said almost nothing, and she didn’t need to,” he recalled. “She was sure that I couldn’t do anything wrong…”

During this turbulent period Saul made two important friends, the first of whom was Mark Kanter, whose family owned the famous restaurant Canter's Deli in West Hollywood. Kanter helped Guns N' Roses a lot in the early days of their career, often paying for flyers and buying new guitar strings when the guys were short on money. The second was a gruff blond kid named Steven Adler who showed up on the school playground one evening Laurel Elementary and then ended up in the same class as Saul at Bancroft Junior High School . According to Saul, they "immediately became inseparable" and soon the two of them were sniffing the "locker room" - a cheap form of amyl nitrite - before class, and then skipping school and smoking dope, roaming the streets of Hollywood and raving about music, about how to form a band and earn money.

Stephen was a boy from the valley; he came to California from Cleveland at the age of seven with his mother Dianna and older brother Kenny. His biological father was Italian "gangster loser" Mike Coletti, who, according to Catholic tradition, named Kenny Joseph after his father, and Stephen Michael after himself. When Dianna left Mike, she moved with the children to her mother Lilly, who insisted that, according to Jewish tradition, children should not be named after living family members - and so Michael became Steven, and Joseph became Kenny. Despite the fact that young Stephen, known for his nonchalance, quickly recovered from the shocks, it was an unsettling period in his life that left deep emotional wounds.

Izzy is holding her Music Life award and a bottle of sake. Tokyo, 1988© Eksmo / Getty Images

Soon, in his own words, he turned into a "crazy, wild, crazy guy" who was completely out of control. When the tiny apartments and the biting winter winds of Cleveland got fed up, Dianna headed west to her older sister in Southern California. Steven chose his life path at the age of 12, when he and his mother went to an amusement park Magic Mountain : Kiss played there, and their concert made a lasting impression on him. Dianna recalled talking to Stephen in the car on the way home: “Mom,” he said. “When I grow up, I want to be a rock star.” I said, "Very nice, Stevie." And I thought that this would be the end of it...”

But in the depths of his soul, Stephen knew that this was not “nice” at all, and soon convinced his new friend Saul of this. “We skipped school almost every day,” he recalled. “Walking up and down Sunset Boulevard and other Hollywood boulevards, picking up some new kind of alcohol every day and walking back and forth, back and forth, imagining what our lives would be like when we became rock stars. I always knew that this dream would come true. We dated girls—older women, actually—who invited us to their home in Beverly Hills. They treated us to alcohol, coke and food, and for this we just had to fuck them. Sometimes a guy hit me. For a blowjob, I got a little dope and thirty or forty bucks.

- Axel didn't have a chick at school. And now this guy is a fucking rock star.

Adler had a more unpleasant experience with Hollywood pedophiles who hunted for young flesh, and in his autobiography he admitted that he was picked up by two men on Santa Monica Boulevard, brought to their apartment and mocked him ... "They didn't beat me, but they did everything else, and I felt very depressed."

But the only thing that mattered to him was the music. Stephen was the first to finally give Saul Hudson a guitar. “I lived five or six blocks from Santa Monica Boulevard, so when we were with Slash, they always came to see me,” he said. - I had two rooms - a living room and a bedroom, and I always slept in the living room. I had a guitar with a small amp in the bedroom and I was learning how to play it, and one day I just showed it to Slash. I only knew two chords and two scales, but I tried to play along with album Kiss "Alive!" - Play chords with Ace Frehley! All in all, Slash just fell in love with this guitar. I gave it to him, and a week later Saul was already writing songs. It was like he was made for the guitar. Created. And I just wanted to be a rock star, but the guitar was too hard for me...»

Axel with his future second wife, Stephanie Seymour. Stephanie later testified in court that as a result of one of the quarrels, Axel grabbed her by the throat and dragged her barefoot over broken glass© Eksmo / Getty Images

Stephenie was too hard. It didn't get any easier when he and Slash met two weird suburban guys with equally weird names Izzy and Axel.

Gina rented an apartment in West Hollywood, and Axel kept his things there and sometimes slept in when he wasn't hanging out at the Troubadour and Starwood clubs and watching with envy as local celebrities Mötley Crüe , Ratt and even David Lee Roth turns on the crowd of guys gathered here. Axl later claimed that no one spoke to him for "two years", but Gina understood what he was up to even when they parted ways and became increasingly worried about his outbursts. "He was born to be a musician, that's all," she said. The chaos of his life soon became unbearable to her. Gina moved out and Izzy moved in with Axel. If Axel was still a redneck in cowboy boots and crazy eyes, then Izzy was already in Los Angeles as his own. He looked like a star before he was one: jet-black hair, skinny legs, and when he played, the guitar hung at knee level, like Keith Richards or Joe Perry.

Axel finally managed to perform in the club Gazzarri's with the band Rapidfire who couldn't get their career off the ground. From this concert began a slow movement along the chain of events that connected the members of Guns N' Roses . When Rapidfire started to fall apart, Axel started playing with Izzy and in turn tried to form a band with a young guitarist who called himself Tracey Ganz. Tracy was one of the best on the Strip, he was good at Randy Rhoads' petty style and dirty rock and roll, and he was already getting something. He recommended Izzy to one of his high school friends, Chris Webber. Chris and Tracey went to high school together Fairfax High , where Tracy had a group called Pyrrhus and two other students, Saul Hudson and Stephen Adler, had a group called Road Crew .

One evening, Izzy and Chris met in the parking lot of the Rainbow club and talked for several hours, and the next day they started playing together. So at the end of 1983, four of the five future members of Guns N' Roses gathered. It took another two years for the band to form as one, as the musicians drifted apart and reconvened to try new things in the laid-back atmosphere of the Strip.

Axel with Mick Jagger performing "Salt of the Earth" during the Rolling Stones concert in Atlanta (December 1989). The song for the duet was suggested by Guns N' Roses manager Alan Niven, whom Axel later kicked out of the show.© Eksmo / Getty Images

Slash and Steven's band Road Crew had almost the same name. At first Steven only had a set of pots and pans to bang on, and then his grandmother bought him a drum kit and an old beat-up car, and then they were on the same level as most of the other guys. And Slash, with curly hair flowing down his face and a low-hanging guitar, was already drawing admiring and envious glances due to his natural abilities. It seemed that he learned to play the minute he first picked up the guitar. He could play anything from guitar part Rufus to Rolling Stones , from Stevie Wonder to Led Zeppelin , but he, like Izzy, was passionately fond of Aerosmith , and this hobby will still play a very important role.

Axel Rose seemed like a very serious candidate to Izzy and Chris when he showed them his baritone and crushing scream on material inspired by Aerosmith's 1982 Rock in a Hard Place album . However, Axel's wild unpredictability was already obvious then. Chris and Izzy even named their group A.X.L. honored him and painted its name in huge letters on a wall in the Strip area, but he continued to leave rehearsals without warning. “Axel was so full of energy that he was just shaking when he went out to sing,” recalled Chris.

— You don't wear those shoes to shows, do you?

But he soon returned. Friends changed the name of the group to Rose and then to the more atmospheric Hollywood Rose and by the middle of 1984 had already acquired a demo tape, where in the song "My Way, Your Way" you can hear the beginnings of one of their greatest songs, which will be included in the album "Appetite for Destruction" called "Anything Goes » . The band played a few gigs, and then Izzy went to London , a band that was famous on the Strip. It had only one permanent member in the form of the great vocalist Nadir D'Priest, and the rest came and went, including future celebrities Nikki Sixx of Mötley Crüe , Blackie Lawless of W. A.S.P. , Fred Corey of Cinderella and many more. Participation in the group London , despite its short duration, has become a kind of rite of passage. When Izzy realized his mistake and left, he discovered that Axl had been lured - or was about to be lured - by Tracy Guns to his new group L.A. Guns , but Axel backed out and reassembled Rose with Izzy. The life of all these newborn groups in the Strip was like an eternal midnight. No one lingered anywhere for long, and everything seemed real until it ceased to be so.

Guns N' Roses - "Anything Goes"

somewhere at the bottom of the list of 12 groups, they decided to join them. A few days later a mutual friend Lisey Grey, who was himself a guitarist in the band London at the time, introduced Steven to Izzy and shortly afterwards Axel kicked out Chris Webber and Steven arranged to bring Slash to rehearsal Rose to the infamous punk space called Fortress . They began to play together, but soon Izzy left, and a short but strong friendship began between Slash and Axel, as a result of which Axel began to spend the night at Ola's house until he found new hospitable hosts.

Hollywood Rose managed to play a few gigs until Slash left after a terrible performance at Troubadour when Axl lashed out at a guy in the crowd. Tracey Gunz still managed to get Rose at L.A. Guns . Axel only strengthened his connection with Slash by sleeping with his temporary girlfriend Yvonne, after which he showed up to a friend at work at Tower Video and decided to find out like a man. As a conciliatory gesture, Axl ended up getting a job for a friend...

Meanwhile, Slash was auditioning for several new bands, including Poison from Pennsylvania. They embodied glam style, wore high hair with white-lightened hair, brightly painted eyes and, as Slash recalled, the first thing they asked him was: “You don’t wear these shoes to performances, do you?”

Then Axl brought Izzy to L. A. Guns ... Slash and Steven returned to Road Crew ... Slash moved from Road Crew to Black Sheep ...

In 1985, that's just how it was on the Strip: bands got together, bands broke up , you leave one and collect another, and somewhere along the way something must happen that will open the whole world in front of you, as if you have finally found the right key. At least, that's how they imagined everything, hanging out here and there and pretending that they knew what they were doing. By spring, Axel was already working with Tracey Ganz and drummer Rob Gardner. They re-teamed with Izzy and a flyer appeared saying "Rock and Roll Only - L.A. Guns and Hollywood Rose represent Guns N' Roses . 26 March. Club Troubadour Doug Weston.

There were twelve people at the concert, four of whom paid two dollars for entry.

Read the continuation in the book “The Last Giants. The Complete History of Guns N' Roses.

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The female image in the choreography of Kasyan Goleizovsky

Katerina Kudryavtseva, 03/18/2016 at 19:35 , number of views: 8924

Tags: articles, ballet, Kasyan Goleizovsky, Maya Plisetskaya

There is an entry in his diary: ". .. For some reason, the snake never makes high jumps, but rushes in a straight line or down." There are also lines about snake "voices", reminiscent of sharp blows and similar in sound to "chorkh". Or about snakes, to which frogs rush straight into their mouths, not finding another way to salvation, “pumping” these snakes with air and inflating them like a balloon ...

It is hard to imagine that these recordings were made not by a serpentologist or an amateur naturalist, but by the choreographer Kasyan Goleizovsky. And it is even more difficult to think that all these facts and observations were collected by him not just for the sake of curiosity and erudition, but precisely for the choreographer's work. All this served as the basis from which his creative ideas could later be born, filled with real naturalness and everyday plot - whether it concerned some drawings, ornamental patterns, true stories or legends, melodies or individual sounds, plasticity of movements of human or non-human bodies …

The themes of snakes and roses are among the main ones in Goleizovsky's folk heritage, in his Central Asian and Eastern plasticity in general, which he knew very well, considered unusually expressive and which he turned to in his desire to modernize classical choreography. Goleizovsky has two large ballets made entirely on Central Asian, specifically Tajik, folk art material - Du Gul (1941) and Leyli and Majnun (1964). “Du Gul” is the first full-length folklore performance by the choreographer, which became the first ballet in the history of Tajikistan, and “Leyli and Majnun” is the first ballet based on Tajik material in the history of the Bolshoi Theater, the last major work of the master.

The special expressiveness of the dance plasticity, the filigree work of the whole body in Goleizovsky's "Tajik" ballets is largely due to the national motifs that formed the basis of the musical themes of these performances. National Tajik music is very complex in its metro-rhythmic constructions, it has up to 180 different rhythms - “zarbs”. This, according to the choreographer himself, is "a symphony for which the timbres of a European symphony orchestra are not enough." Tajik dances, built on the frequent change and inconsistency of these rhythms, Goleizovsky called "the dance of the whole body", when "every part of it dances. "

This elaboration and endless variety of folk melodies and movement plastics Goleizovsky especially emphasized in his stage productions - in the themes of a snake and a rose. As Ekaterina Maksimova and Vladimir Vasiliev wrote in his essay “About Kasyan Yaroslavich”: “Here you will not find exactly fixed endings, pos. Everything lives here: arms, shoulders, body, fingers… Everything flows, intertwines, continuously develops.” In some ways, it was with the plasticity of a snake that Goleizovsky compared the hands of Pamir dancers when he said that they "are as if they had no bones."

Both ballets by Goleizovsky are filled with a variety of dances, and elements of serpentine plasticity are found in many of them. But this theme becomes culminating in "Du Gul", where the "Snake Dance" ("Mori Pechon") is performed by one of the two main characters. The origins of this dance, according to one version, are Iranian, according to another, Indian: the dance is performed to the accompaniment of a groaning and crying instrument - naya (a type of flute) and doiras and kairaks quietly accompanying it; to this music, a snake charmer in India shows his number.

“The melody of the dance is extraordinarily beautiful,” Goleizovsky wrote in the staging scheme for this performance. – Even the European ear is fascinated by it. This dance ends on a perfect fading, and the dancer touches the ground with her back and the back of her head and makes this complex movement, shuddering and kneeling, and the position of her legs does not change.

The "Dance of the Snake", which required the highest mastery of the dancer's hands, was in tune with another dance - the "Dance of the Rose".

Kasyan Yaroslavich touched upon the theme of the rose in the harem scene (1939) in The Fountain of Bakhchisarai. But he reflected it more seriously in his "Tajik" ballets, placing it at the center of the action. This theme is already in the name of the first ballet: “du gul” in Tajik means “two roses”.

Rose theme - double bottom. Here is the usual comparison of a woman with one of the most beautiful flowers in the world, and a deeper philosophical thought about the transience of life. The “Rose Dance” (“Gul-uyin”) in “Du Gul” is performed by the second main character of the ballet, in “Leyli and Majnun” it is danced by Leyli, and here it is called “Dance of Despair”.

Goleizovsky based these stage dances on an old dance, the poetic content of which the choreographer himself expressed as follows: “The earth will give birth to a rose. A modest, inconspicuous bud, warmed by a sunbeam, turns into a beautiful, lush and fragrant flower. Suddenly, an (imaginary) knight appears. He picks a flower, smells it and ... throws it. The knight is removed, and the rose, losing its petals and withering, dies.

“Over the years of travel in Central Asia,” wrote Goleizovsky, “as a result of meetings, acquaintances with literary and pictorial images, conversations with old-timers and connoisseurs of the art of the East and Central Asia, through the practical study of dance and dance materials, I came to the final conclusion that this dance is a product of truly folk art and an exhibit of distant antiquity. I got to see him for the first time at 1908 in Tehran when I was fifteen years old. I was shocked. I learned this dance on the spot. Later, Goleizovsky unexpectedly saw him again with slight changes in the performance of the famous harem dancer of the Bukhara Emir Alim Khan - Karkigi Khanum. Her mother, an even older woman, the Bukhara dancer Mikhal-khanum, also showed the choreographer another version of this dance, called "Pyanj guli sad barg" ("five hundred-petalled roses"). The dance was performed by one dancer on a smooth Khorasan carpet with an image of a large rose in the center and four smaller roses along the edges, where four more women danced, simultaneously playing national instruments - childerma, rubobs, gijaks or dutors.

In "Du Gul" "Dance of the Rose" was performed by a dancer with a doira in her hands practically at one point - on a box surrounded by artists playing the roles of Basmachi. Goleizovsky's compositional and artistic solution of this scene was in tune with the ancient theme of the rose - the slender figure of the girl in the middle of the stage resembled a flexible stem, and the doiras, raised at head level in the hands of the Basmachi sitting around, looked like round fluttering petals.

In “Layli and Majnun”, Leyli, grieving for her beloved, performs the “Dance of Despair”, being in the center of the carpet, in the corners of which slaves are sitting. This center of the carpet is like the epicenter of action, like a point of concentrated pain, which was expressed in the plasticity of the arms, body, and head.

The final pose of the last duet of Leyli and Kais Majnun is plastically reminiscent of the rose as the epicenter of flowering and the epicenter of pain. This pose - a lonely, closed lump-bud in an empty space - was called by ballet experts the "wrenching point" of the performance, which contained sorrow and greatness.

The expressive plasticity of the body and especially the hands, reflecting the nuances of snake movements and the flutter of petals, plasticity based on folk traditions and seen through the imagination of Goleizovsky, made it possible to revive the style of ancient dance cultures and make it the property of a wide audience. Perhaps Goleizovsky was able to feel and understand this unusually soft oriental plasticity of his hands so well, because he himself had plasticity unusual in nature. Many said that his hands had a natural expressiveness: his fingers surprisingly emotionally complemented what was said, and Goleizovsky's speech was perceived not only by ear, but also visually. The speech of the famous Indian dancer was also called plastic Uday Shankara , with whom Anna Pavlova danced more than once . His hands during the conversation reflected the whole range of emotions and moods.

Sergei Balasanyan , who created the music for the ballet "Leyli and Majnun", later said that the plasticity and expressiveness of the hands in the dances of the peoples of the East initially had a certain influence on Goleizovsky's work: "The melodiousness, free breathing, the unusual plasticity of his choreographic compositions of small and large forms were born as a result of the synthesis of the dances of the East and the classics.

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