This is how we roll line dance
CopperKnob - This Is How We Roll - Rachael McEnaney (USA)
Count In: 16 counts from start of track, begin on vocals Approx 66 bpm (with slow count – otherwise might show 132bpm).
Notes: There is 1 Restart on 1st wall. Do first 24 counts of the dance – replace count 8 with R cross rock, recover left into 2nd wall, you will be facing 6.00 to start again.
[1 - 8] 2 full turns to R, R nc2 basic, L side rock, L jazz box ¼ L, into weave L
1 & 2Make ¼ turn right stepping forward right (1), make ½ turn right stepping back left (&), make ½ turn right stepping forward right (2)
Easier options 1-3 (continue from 4)
Middle of road option: Make ¼ turn right stepping forward right (1), make ½ turn right stepping back left (&), make ¼ turn right stepping right to right side (2), cross left over right (&), step right to right side (3)
Easiest option: Step right to right (1), cross left over right (&), step right to right (2), cross left behind right (&), step right to right (3)‘then continue from count 4’ 12. 00 3.00
& 3 4 &Make ½ turn right stepping back left (&), make ¼ turn right stepping right to right side (3), close left to right (4), cross right over left (&) 12.00
5 & 6 &Rock left to left side (5), recover weight to right (&), cross left over right (6), make ¼ turn left stepping back right (&) 9.00
7 & 8 &Step left to left side (7), cross right over left (&), step left to left side (8), cross right behind left (&) 9.00
[9 – 16] L side, R cross rock, R side, L cross rock, L side rock, L behind-side-cross with sweep, R cross, L side
1 2 & 3Step left to left side (1), cross rock right over left (2), recover weight to left (&), step right to right side (3) 9.00
4 & 5 &Cross rock left over right (4), recover weight right (&), rock left to left side (5), recover weight to right (&) 9. 00
6 & 7Cross left behind right (6), step right to right side (&), cross left over right as you sweep right foot to front (7) 9.00
8 &Cross right over left (8), step left to left side (&) 9.00
[17 - 24] R back rock, ½ turn L, L back rock, ¼ turn R, R back rocking chair, R back, L side, R cross shuffle (into next 8)
1 2 & 3Rock back on right (1), recover weight to left (2), make ½ turn left stepping back right (&) rock back on left (3) 3.00
4 &Recover weight to right (4), make ¼ turn right stepping left to left side (&), 6.00
5 & 6 &Rock back on right (5), recover weight to left (&), rock forward on right (6), recover weight to left (&) 6.00
7 & 8Step back right (7), step left to left side (&), cross right over left (8) 6. 00
RESTART On 1st wall you will restart at this point - replace count 8 with: cross rock right over left (8), recover weight to left (&) 6.00
[25 - 32] (end of R cross shuffle), L cross shuffle with sweep, R cross shuffle, Sway L-R-L, R cross rock
& 1Step left to left side (&), cross right over left as you sweep left foot to front (1), 6.00
2 & 3Cross left over right (2), step right to right side (&), cross left over right as you sweep right foot to front (3) travel slightly fwd on cross shuffle 6.00
4 & 5Cross right over left (4), step left to left side (&), cross right over left (5) travel slightly fwd on cross shuffle 6.00
6 & 7Step left to left side swaying to left (6), rock weight to right swaying to right (&), step left slightly further to left side swaying to left (7) 6. 00
8 &Cross rock right over left (8), recover weight to left (&) 6.00
Please do not alter this step sheet in any way. If you would like to use on your website please make sure it is in its original format.
Copyright © 2014 Rachael Louise McEnaney ([email protected]) All rights reserved
Contact: www.dancewithrachael.com - [email protected] - Tel: +1 407-538-1533 - +44 7968181933
Line dances & other related music
DJ Tips, DLK Entertainment News
The question is always: Why line dances? The answer is very simple, at a private event there are folks of all ages & class. The one thing most folks know is things like the chicken dance & the electric slide. It gets folks up on the dance floor most folks don’t want to be the first on the dance floor. These songs get large groups of folks on the floor all at once. We hear from folks & other dj’s how they don’t play these songs & they know their guests. If that is true then cool but as we all know that is not a 100% of the time. If your in a club then the mix will keep the crowd alive but in a private event you never know who your guests are going to be. It is always best to have these songs on stand by just in case.
Why just in case? In a word Family! If the Mother of the Bride wants one of these played it is always good to remember the Bride may say it is ok even after the fact she was dead set against the idea. Keep the family happy. O.k. the following is most common activity songs played at weddings & events. You might call them cheesy but they do work.
Song list from: http://www.wedj.com/dj-photo-video.nsf/weddingparty.html!OpenPage
|1||Cha-Cha Slide||DJ Casper||2000||Popular|
|3||Electric Slide||Marcia Griffiths||1990||Popular|
|4||You Shook Me All Night Long||AC/DC||1980||Rock|
|7||Brown Eyed Girl||Van Morrison||1967||Rock|
|8||Macarena||Los Del Rio||1995||Popular|
|9||Cotton Eye Joe||Rednex||1994||Country|
|10||Celebration||Kool & The Gang||1980||Disco|
|11||We Are Family||Sister Sledge||1979||Popular|
|14||Hokey Pokey||Brave Cambo||1997||Other|
|15||Shout!||Otis Day and the Knights||1967||Oldies|
|16||Teach Me How To Dougie||Cali Swag District||2010||Popular|
|17||Boot Scootin’ Boogie||Brooks & Dunn||1992||Country|
|18||Rock Your Body||Justin Timberlake||2003||Popular|
|19||I Will Survive||Gloria Gaynor||1979||Disco|
|20||Mony Mony||Billy Idol||1987||Popular|
|21||Mambo No. 5 (A Little Bit Of…)||Lou Bega||1999||Alternative|
|23||Tootsee Roll||69 Boyz||1994||Popular|
|24||Jailhouse Rock||Elvis Presley||1957||Oldies|
|25||C’mon ‘N Ride It (The Train)||Quad City DJ’s||1996||Popular|
|26||Achy Breaky Heart||Billy Ray Cyrus||1992||Country|
|27||All Shook Up||Elvis Presley||1957||Country|
|28||Last Dance||Donna Summer||1978||Disco|
|29||Twist And Shout||Isley Brothers||1962||Oldies|
|30||Its Raining Men||Weather Girls||1990||Funk|
|31||Who Let The Dogs Out?||Baha Men||2000||Popular|
|32||Walk Like An Egyptian||Bangles||1987||Rock|
|33||1 2 Step||Ciara Feat. Missy Elliott||2004||R&B|
|34||Copperhead Road||Steve Earle||1988||Popular|
|35||Beer Barrel Polka||Bobby Vinton||1991||Polka|
|36||The Loco-Motion||Grand Funk Railroad||1974||Oldies|
|37||Soul Man||Blues Brothers||1979||Rock|
|38||Pennsylvania Polka||Frank Yankovic||1944||Polka|
|40||Hot Hot Hot!!!||Cure||1987||Alternative|
|41||Hava Nagila||Me First & Gimme Gimmes||2004||Polka|
|43||Wild Wild West||Will Smith Feat. Dru Hill & Kool Mo Dee||1999||Popular|
|44||Mashed Potato Time||Dee Dee Sharp||1962||Oldies|
|45||The Ketchup Song (Hey Hah)||Las Ketchup||2002||Popular|
|46||(If You’re Not In It For Love) I’m Outta Here!||Shania Twain||1995||Country|
|48||Alley Cat||Steel Train||2003||Oldies|
Lyubimovka Festival - “I am a bourgeois playwright”
Ivan Vyrypaev at Lyubimovka-2015
The name of playwright Ivan Vyrypaev, a participant in the out-of-competition program of the festival, who yesterday for the first time and personally presented his new play “Solar Line” to a wide audience, was mentioned during Sasha Dugdale's playwright minus interlinear master class. In the hospitable and already familiar new brick basement of the Theatre.doc, to the chirping of thrushes and nightingale trills, Vyacheslav Durnenkov appropriately remembered Vyrypaev, and here is the connection. The task of a translator at all times was not easy, but the twenty-first century, with its progress and advanced technologies, exposes the poor worker of the word to more and more tests. It would be nice to have linguistic features and ornate semantic constructions, it would be nice to have rhythm and texture. But what about the plays of modern Russian playwrights, when the author's text itself (in the case of Vyrypaev or Pryazhko) is written in a language that is well known to any Russian person, and completely incomprehensible, for example, to a German, the language of a "poorly translated American television series"; or the language of the notorious social networks, without which almost no modern play can do now - the speech of active Internet users, for which Durnenkov even coined a laconic term: “oral-written”?
Sasha Dugdale replies sincerely, without flirting with the profession: "Vyrypaev's plays in English teeter on the edge of meaninglessness. "
Obviously, newly invented language forms require the translator to search for original keys and approaches, never before used expressive means. In the era of total communication, in the times of Facebook and Instagram, it turns out that we still have to search and search for a common language.
It is interesting what it is about local, interpersonal boundaries, about that line between “I” and “others” that runs deep inside each of us, about the relentless search for mutual understanding, about the desperate thirst for unity and, of course, about love, how eternal, unquenchable source of this thirst, Vyrypaev wrote his new play.
The playwright took as the basis for the "Sunny Line" a situation that is close and understandable, probably, to every married couple in the world: an ugly, exhausting and completely endless nocturnal kitchen scandal.
The clock is five in the morning, and there is only he and she. Behind - seven years of marriage and an unborn child, ahead - spring and the last installment for a loan, and between - an insurmountable wall, that same "sunny line", and "absolute misunderstanding of everything. " And there is no way to stop all this, there is only one single way - towards, and the result should be only one.
“A comedy that shows how a positive result can be achieved” - this is how the playwright himself defined the genre of the play. And the television language of the comedy is really very funny, because it is recognizable. The pre-dawn squabbles of Barbara and Werner in the swift, light performance of Ivan Vyrypaev (by the way, it is worth noting that it was thanks to Lyubimovka that the viewer had the opportunity to experience a unique theatrical experience - to hear the "voice" of the author, that is, to hear the play in its most primordial form, “about what was written about”) immediately scattered in a heap of quotations.
- Would you like to dance a little? Let's pretend that music is playing now.
- Come on, then immediately imagine that we are already dancing.
But the apparent lightness is just a construction behind which, in all seriousness, lies the main, haunting question. How is it possible to overcome this solar line? How to break through an impenetrable wall that dooms you, me, each of us to total and irrevocable loneliness? But the sharpest, most painful of all this barrier is felt, of course, by lovers.
- Could you just accept me for who I am?
- Could you understand me?
- Why can't you just take a step towards me?
- Why don't you take that first step yourself?
These questions, requests, accusations, demands, which are alternately, in different variations, tirelessly thrown to each other by the main characters, as hundreds and thousands of the same unfortunate people threw before them, simply have no answer. “We will never cross this solar line,” Barbara declares, “but we can’t part either ... we are glued together with some kind of karmic glue, you and I stuck together like two shells and cannot unstick ... stop being ourselves to us we won’t succeed, but we can’t cross the line towards each other, because, for this, we would need to stop being ourselves. ”
“We see two characters who cannot agree on anything and get out of some kind of clinch-conflict,” Vyacheslav Durnenkov says at the discussion of the play, “television reality, in fact, does not give an image of a way out of conflicts , but perfectly represents this chewing gum of dialogue from which there is no way out. We do not know how to complete this, how to agree on something, how to cross this solar line. Nowhere have we been given these samples.”
But in the final, Vyrypaev nevertheless gives a way out, and he is somewhat embarrassed by his seemingly simple simplicity: to become not who we are. Pretend to be different, to finally truly tell each other the most important thing.
Developing the theme of the method that the playwright has been developing in recent years, Yevgeny Kazachkov recalls the play “Summer Wasps Bite Us Even in November” presented two years ago here at Lyubimovka and offers us a completely different level and depth of understanding of the finale of “Sunny lines”: “The only living means of communication that we can use without irony is intentional detachment, genre, stereotypes: these constructions that we borrow, maybe from somewhere, they help us, in fact, to communicate and talk about serious things without feeling weird. It is very interesting to contemplate these constructions, to use them, to talk. And it seems to me that here, in this play, a new level has been reached. This is not a school of experience, we deliberately play the genre, we play some strange translation. And here, it turns out, there is also a crisis - we cannot understand each other and agree on this path. But the finale of the play says that only the over-mask and over-distance paradoxically help the characters to connect and be sincere! That is, this is already some kind of distance in the square and even in the cube, which at some cosmic level helps to achieve mutual understanding. Our desire to understand each other cannot be stopped by a wall, we are creative thinkers and complex people enough to turn even a wall into a way of communication.”
Vyrypaev himself speaks of super-detachment, only not in connection with the text of the play itself, but in connection with the theater in general: “When you write a play, especially when you have been doing it for many years in a row, you begin to understand the mechanism, suddenly you begin to understand that a play is just some given form. This is the stream of life that you suddenly fold! He stopped, and he concluded this life in a certain form, gave it a certain mechanism, like notes. Or like poetry op! and now it sounds like this. It is alive inside, it is dynamic, but it is frozen a little, for appearances, like a table, like an object. Now, what if we push the boundaries and see that "now" is also a play. I also say the text, so this is also a created work. Now why do I know this? How can I know? So I'm behind this play. That is, I go out. And the most important task of the theater is to show it “for”, that is, you open the borders all the time, the prospects are even wider. First you saw like this, and now like this. And you get even more of yourself. That is, if “now” is a play, then I am not quite Ivan Vyrypaev, I am the one who understands that now it is Ivan Vyrypaev, then I am still “for”, and if I still understand that the one who understands ... and so on. And now I am even more "I", and this "I" can go on and on. And this is a very interesting, deep thing, you comprehend the structure of the universe, how it works in general. And this notorious “awareness” appears, which everyone is talking about, and which has already turned into a common place. But it is not a mystical teaching, it is the reality that you are looking at. And this, I think, is important in the design. That's why genre art is so important, because there are boundaries, frames, and you see them."
Suddenly, the discussion itself suddenly "reaches a new level", turning into a full-fledged philosophical conversation with the playwright. Vyrypaev speaks of dramaturgy and theater, no more, no less, as a teaching, as a practice. And the topic of language also takes on a completely new perspective. Now this is not even a question about the difficulties of translation, it is a question about the very existence of the modern Russian language:
“There is no new Russian language. After "Moscow-Petushka" I do not know the language, it does not develop in its pure form. I once said that I wanted to write a novel. He wrote one line - "The pharmacy smelled of poison." This is a perfect line, this is Russian literature. The second one I haven't thought of yet. This living language does not exist, it does not develop. Why? That's a very difficult question. I really love Platonov, Olesha and Gogol, these are three outstanding writers for me. With Platonov, the phrase itself, in addition to the fact that it informs about the place of action, is also constructed in such a way that many additional meanings come from it, etymological, philosophical ... In the West, Platonov is not appreciated. Because it is absolutely impossible to fully translate it into English, there are so many sub-meanings in the phrase, the sounds themselves, that even if you understand what he, Platonov, is about, you still won’t understand anything. It seems to me that culture itself in the postmodern era has exhausted its development in form, it only constructs these forms, it submits them. We don't have an internal code. Maybe I'm wrong, but I don't see a single example of the Russian language. Now in the Russian language there is no internal development. It's all over, the meanings are over. A good writer today is one who knows how to make sense, juggle these meanings, a good film is the Coen Brothers, Guy Ritchie, some kind of "Birdman", which will give meaning in a sense in which there is still, inside, work with some then forms. Guy Ritchie Agents of A.N.C.L. - this is art, this is the pinnacle. You look at it like you are looking at a real Chinese vase, you look at how it is made. There is no meaning, there is no content, you see the boundaries of the form and how they move apart! You become aware of yourself as a beholder and develop.”
Returning again to the title theme of "Solar Line", a young playwright from St. Petersburg, Asya Voloshina, asks the author a bold question: "Is it impossible not to need? Do not need to destroy the wall? Vyrypaev responds with almost the text of John Lennon's song Imagine, but only with a detached, and no longer so naive-romantic position of our time: “How? They have the same Internet as we do. They found out in Africa that there are social services in Germany that can provide refugees with some kind of guarantee, and everyone got on ships and sailed. How would they know twenty or thirty years ago in Africa, in the jungle, that benefits are provided in Germany? We cannot live in another world. We can not. The world has become one. We have no other choice. We will not be able to live separately, it is simply excluded, it is not worth even talking about it anymore. Now it is impossible to live like this: I live alone, and you live there. All the hungry will now go where the rich and well-fed are. The world will be connected, there is no this wall. They (the heroes of the play) cannot live in the same apartment, they say: since ten in the morning we cannot solve this problem, but we cannot disperse either, there is nowhere to disperse. Establishing communication and contact is inevitable. Ten years ago it was still a rhetorical question: let's all be friends, guys. And now it's a question of civilization. We just won't survive, that's all. And it is clear that political views, some concepts do not work, it is impossible to establish a dialogue with the help of concepts, it is also impossible with the help of religion. It doesn't work."
“What works?” - Vyacheslav Durnenkov replies.
“So the answer is in this play. What works is that there is something universal inside of us. We need to find what is truly universal in all of us. It cannot be Allah or Jesus, because if I say that in me the universal is Allah, and you say that Jesus is, we have a conflict. And if we go further, for Allah and for Jesus, and find life, living life within us. If we learn more and more about this life within us, then it is she who is able to unite us.”
In conclusion, Ivan Vyrypaev jokes: “I am a bourgeois playwright. My viewer is a philistine, bourgeois public, I do not want to offend anyone, I myself belong to it. You have something to explain to me, you already know everything. I hope it will be a box office product, of course. I think in products.
And to loud laughter, the final roar of applause adds: “Thank you guys. It's great that there is Lyubimovka, my heart rejoices that there is such a hall, that there is an opportunity to talk. Thank you very much!"
Photo report on the official page of the festival on Facebook
Photo: Natalya Bazova
"Summer - Time - Time - Time - Time - Time - Time time" fun"
| Summer - how much warmth, sun, smiles, fun! No wonder they say "summer is a small life. " Each of us strives to fill it with bright events and emotions. |
And at the end of June, in the "City of Masters" association (headed by Olga Olegovna Ivanova), master classes were held for children from the school camp of gymnasium No. 1 under the general title "Summer is a great time!".Children's work
Association "City of Masters" (headed by Ivanova Olga Olegovna) welcomes guests again. This time, the “City” was visited by children from the school camp of Lyceum No. 3.
At the beginning of the meeting, Olga Olegovna showed the children crafts made from various materials that adorn the shelves and walls of a cozy little office. Then the girls and boys were asked to try on the role of a guide.More
Acquaintance with the world of stones municipal area.
Girls and boys had the opportunity to get acquainted with various types of arts and crafts. But in more detail, the guys were able to immerse themselves in the world of stones.Read more
We hurry to the forest for miracles
and wash in a cold forest stream. So the guys from the school camps, under the guidance of a teacher of additional education Ivanova Olga Olegovna, visited the forest kingdom. Girls and boys remembered the animals inhabiting our forests, shared stories about wild animals that they themselves saw while driving along a forest road. Analyzing various situations, we found out why it is impossible to pick up a fallen chick, kick fly agarics and pick lilies of the valley.
The guys also found time to make creative work. They were asked to make a small panel depicting animals: red foxes, wolves, moose and brown bears. The guys deftly performed each stage of the work: they prepared the surface, glued, mixed paints, applied them layer by layer to get an imitation of tree bark.The work turned out amazing. With a good mood, handmade souvenirs, the guys left the walls of the House of Creativity.
link to the master class - We go to the forest for miracles - YouTube
Russia is the motherland, our home, where we live together with you!
On June 12 Russia Day is celebrated in our country. This is the youngest public holiday.
This holiday received its official name only in 2002 and became known as the Day of Russia - a holiday of unity of all Russians in the name of the prosperity of our Motherland. For each of us, the word "Russia" is filled with its own special meaning. But above all, this is our Motherland, our “small motherland”. This is the place where a person was born and raised, where his family lives. This is always the closest, most expensive place that evokes the most tender and touching feelings in people.
On this day, in the city Park of Culture and Leisure, mass events were organized for Galicians and guests of the city, including master classes for the younger generation dedicated to the Day of Russia.
Teachers of additional education of the House of Creativity (Volkova N.V. and Kirillova T.V.) did not stand aside. The children took part in the master classes with great desire. The children enjoyed making souvenirs for loved ones and brooches with Russian symbols. Each of them proudly took away their products, attached a brooch.
Reports (interaction with school camps)Event "Safe Summer"
- Article about the event -https://www.youtube.com/watch? v=HKxP5xw6hJs - video
June 9 in the workshop "Skillful Hands" was held a master class on making Japanese paper doll Shiori ningyo.Read more
On June 7, the competition program “On the Seas, On the Waves” was held in the Park of Culture and Leisure
Why did we choose the marine theme?
Because the sea is a symbol of light, space and freedom.Read more
| Summer has come, and with it the long-awaited holidays. |
On June 2, the entertainment event “Hurrah! We're on vacation." A cheerful warm-up to popular music created a good mood.
Then the guys divided into two teams and the competition began.
Boys and girls from the choreographic ensemble "Iskorka" (headed by Mikhailovskaya L.V.)
guessed riddles with interest, performed various tasks for quick wits and logic, answered quiz questions and participated in competitions and relay races. Friendship won.
At the end of the entertainment program, the guys enjoyed playing the outdoor games "Fishing Rod", "The Third Extra" and everyone was looking forward to the start of their favorite game "Squirrels, Nuts, Cones". Everyone was interested and fun.
| Children's Day |
On All Children's Day let cheerful laughter sound,
The sun shines brightly after you, there will be no troubles. June 1 - Children's Day - a holiday of happy childhood.
This is not only one of the most joyful holidays for children, but also a reminder to adults that children need their constant care and protection and that adults are responsible for them. The kids are looking forward to the start of summer.
After all, this is not just the arrival of warmth and an opportunity for a great vacation, this is a real holiday, as the long-awaited summer holidays have come. Children's Day. Read more0003
Sinovova Natalya Vladimirovna and Felberg Olga Nikolaevna
| Day 9- June 16 - Goodbye camp! |
So the last day of the camp shift of the RVO in the detachment "Friendly guys" has come.
On this day, the traffic police inspector Alexey Nikolaevich Vinogradov came to the guys. As part of the Social Campaign #SummerSafety, he held a conversation on the rules of the road for cyclists and pedestrians.
The leaders of the detachment Sineva Natalya Vladimirovna and Felberg Olga Nikolaevna organized and conducted a relay game "Treasure Search" for the guys.More Photo report of the day
| Day 8-15 June |
About an amazing cat, kindness and mercy
The librarian of the Intersettlement Library named after M.V. Maxim Gorky Smirnova Galina Yurievna. Read more
| Day 7- June 11 |
Many different nations live on the territory of our state.
All of them have their own traditions and customs. But we all have one thing in common - love for the Motherland and concern for its prosperity.
And in order to love and care, you need to know your country well and everything connected with it.
June 11, on the eve of the main holiday of the country, RUSSIA DAY, was dedicated to this. Read more
Day 6 - June 10
Another interesting and exciting day called "The sun, air and water are our best friends" was held in the RVO detachment "Friendly guys".
Hot sunny morning. Guys” visited the beach of Galich Lake. The beach area is very beautiful, green, filled with clean, fresh air and warm sand. Here you could run and jump, play ball. The girls built sand castles, sunbathed, relaxed, played pioneer ball. It was fun, everyone was in a good mood.
We had a great time!
| Day 5 - June 9, |
We don't get bored in the camp: we dance, we have fun! And dancing is even better!” Read more
| Day 4 - 8 June, |
Excursion to the Balchug "Plains of the Native Territory"
My Russia - these are Galich, Tuman, Longing with Berez,
66 And the wind that from the lake gave, brought a lily into my hands.
Here is Baltschug in blooming apple trees, as if in white clouds,
Standing over the city and clouds like a roof holding on their hands..... More details
| Day 3 - June 7 |
Happiness, sun, friendship - that's what children need!
On June 7th in the unit "FRIENDLY GUYS"
a competition of drawings on asphalt "Let there always be sunshine!" was held. More