When the cannons fired, the muses were not silent - they sang
Everyone who performed before the soldiers on the fronts of the Great Patriotic War with concert brigades then said the same thing: "We were there to raise the fighting spirit of the soldiers." No one had ever thought about the meaning of this sacramental phrase before system-vector psychology.
Everyone who performed before the soldiers on the fronts of the Great Patriotic War with concert brigades then said the same thing: "We were there to raise the fighting spirit of the soldiers." No one had ever thought about the meaning of this sacramental phrase before system-vector psychology.
What does it mean to "raise morale"? This means psychologically preparing the muscular army for a future battle, a future attack, that is, lifting the ban on killing. The skin-visual woman is capable of doing this. Despite the fact that for 50 thousand years it has been inspiring soldiers and hunters for labor and military exploits, not a single state in the world had such an experience that was gained during the Great Patriotic War.
It will then be said that the artists in the first days of the war organized themselves into concert brigades and went to the fronts to raise the morale of the soldiers. In fact, it was not at all like that. Artistic brigades intended for performances at the front passed the strictest control. The repertoire and the very candidacy of the performer were thoroughly studied by a commission consisting of representatives of the Committee for Arts, the Central Committee of the Union of Artists, the GPU of the Red Army, the Central House of the Red Army (CDKA) named after M. V. Frunze.
Artistic brigades worked on the most important sectors of the Soviet-German front during the decisive battles of the Great Patriotic War. “Undoubtedly, the Stalingrad front of the active army, where the main military events took place since the second half of 1942, became the main object of cultural and patronage work of both entire creative brigades and individual art masters” (Yu. G. Golub, D. B. Barinov. The fate of the Russian artistic intelligentsia). On the front line, they risked no less than the soldiers, falling under fire, bombing and surrounded by the enemy.
When high-explosive bombs suddenly began to fall into the circus, where Klavdia Ivanovna Shulzhenko sang in front of the soldiers leaving for the front, the audience was in a panic, the musicians too. And Shulzhenko continued a capella: "I was falling from my shoulders down …" After her speech, the officer asked: "Where did you get such self-control?" Claudia Ivanovna replied: "I am an artist." How can a developed skin-visual woman fear when she fulfills a predetermined purpose by nature?
On the streets of the capital, where incendiary bombs were dropped, cultural life continued. Muscovites bought and read books, visited cinemas, theaters and the conservatory. Marina Ladynina, Lyubov Orlova, Zoya Fedorova, Lyudmila Tselikovskaya are the most famous wartime actresses, whose films were watched in dugouts and hospitals, with whose names they attacked and died.
English journalist Alexander Virt, having spent the entire war in the USSR, testified that Russia is perhaps the only country where millions of people read poetry. Muscovites (and the whole country) were waiting for the morning newspapers, on the pages of which messages about military valor were printed:
We are flying, hobbling in the darkness
We crawl on the last wing
The tank is punctured, the tail is on fire, but the car is flying
On my word of honor and on one wing.
The famous poem "Wait for Me", written as a private letter in verse, inspired by his muse, the actress Valentina Serova, Simonova became the most famous work of military lyrics. In general, great changes took place in art in the first years of the war. It seemed that ideology faded into the background, and on the first - unpretentious lyrical songs "about your smile and your eyes", which until recently would have been called banal.
In the not too distant past Ruslanova was “scolded” in all the central newspapers for her “swagger”, “lack of taste” and “pre-revolutionary folk vulgarity” like “The month is shining”. The first "tour" of Lydia Andreevna took place at the front of the First World War in 1916. During this period, she, a 15-year-old orphan sent to the front by a sister of mercy, began her singing career. She sang in 1917, and sang in the Civil before the soldiers of the Red Army. There was no ideology for her folk songs. The texts were understandable to soldiers and officers, city and village: "The month was painted crimson", "On the Murom path", "Golden mountains".
The trick with Katyusha, whose first performer was Ruslanova, is reminiscent of the story of Edith Piaf. Hearing this song by chance at a rehearsal of some singer who was learning it, a few hours later Lydia Andreevna sang the "novelty of the season" from memory at a concert in the House of Unions. The once unknown "French sparrow" became famous after performing in a Parisian cafe with a "stolen song", overheard and also performed from memory.
During the war Ruslanova performed at the front - in the trenches and under the bombing. She gave more than 1,200 concerts, and with the money she earned from the front-line tours, she bought two Katyusha batteries, which the soldiers immediately renamed into Lidush, and sent them to the front.
Together with the Soviet troops, Lydia Ruslanova reached Berlin. One officer, seeing her on the streets of the city that had not yet been liberated, shouted: “Where are you going ?! Lie down: they will kill! " - to which Lidia Andreevna replied: "Yes, where has it been seen that the Russian Song bows to the enemy!" May 2, 1945, singing on the steps of the defeated Reichstag the famous "Valenki", the most beloved song from the soldiers' repertoire, she signed on one of its columns.
Ruslanova chose for herself her own unique folk style in a concert costume decorated with expensive fabrics, embroidery, lace and marvelous stones. Can a skin-visual woman refuse jewelry? After all, it was she who "gave the right to bite" the anal-visual jewelers and couturiers, who created jewelry and outfits at her suggestion and for her, for the skin-visual woman - the muse of the leader.
The passion for expensive, beautiful, graceful things played a cruel joke with Lydia Andreevna, forcing her to make her way from the Reichstag to the GULAG. Soon after the war, a persecution of generals from the circle of Marshal of Victory Zhukov began. Ruslanova's husband, General Vladimir Kryukov, belonged to the friends of Georgy Konstantinovich. Having lost everything during her arrest, exile, stages and long years of camps, except her voice, rehabilitated after Stalin's death, Lydia Ruslanova triumphantly began her performances in Moscow, in the Tchaikovsky Hall. And in Russia there were again the missing "Valenki".
Later, Lydia Andreevna will suffer a fate similar to Vysotsky. She - the most people's artist of the Soviet Union, no longer a young singer - will gather spectators at her concerts, touring throughout the country, and the authorities will pretend that none of this is there.
Of course, Soviet propaganda and ideology, although at the beginning of the war they let something on the brakes, were still kept within the framework of skin-visual actresses-beauties, rigidly defining the repertoire, stage image and concert outfits of Soviet stars and film stars.
Shulzhenko's elegance was also noted more than once by her front-line viewers. A beautiful concert dress and high-heeled shoes are an obligatory attribute of the visual-skin Claudia Ivanovna. On the bodies of cars, in dugouts and dugouts, through the “fire of conflagrations” and the roar of war, she seemed to appear from another, peaceful life. There have never been patriotic songs in Shulzhenko's repertoire. She sang about love - very soulful and chaste.
During the war, Klavdiya Shulzhenko performed her famous "Blue Scarf", which was called "the song of trench life", more than 500 times. It is said that he became a symbol that included the concepts of "homeland", "home", "beloved", and the fighters rose to the attack shouting "For a blue kerchief!" This song performed by Shulzhenko was replicated on videotape, gramophone records and, if its simple text were translated into other languages, it would compete with the famous "Lily Marlene".
Dr. Joseph Goebbels called the song "Lily Marlene" "decomposing troops, depressed and not in keeping with the image of a German woman" and even forbade her first performer to appear on stage, condemning the singer to oblivion and seriously threatening her with a concentration camp. Probably, the Minister of Education and Propaganda of Nazi Germany knew what he was talking about, reproaching the song with a decadent mood. It is no coincidence that coded newspaper texts were developed under his control to influence the subconscious, "psychotronic" military marches and a system of mirrors in the metro, operating on the principle of "25th frame". Poorly developed properties of the visual vector kept Dr. Goebbels (as well as his partigenossen) in great fear, forcing him to engage in mysticism and esotericism.
It is possible that the Reich propaganda minister "Lily Marlene" evoked associations with girls of easy virtue from the red light district, located in the immediate vicinity of the Hamburg seaport of São Pauli.
It may well be that for the author of the text, a young port worker from Hamburg, who ended up as a soldier on the front of the First World War and composed the most famous version of Lily Marlene back in 1915, the archetypal skin-visual girls Lily and Marlene served as inspiration muses.
However, fortunately, Joseph Goebbels did not know that in addition to the ideological upsurge in the struggle, there is another, ancient way, inspiring soldiers to conquer or liberate. Actually, it is the songs of sweet-voiced skin-visual sirens about the one that "near the barracks, in the light of a lantern …", and are able to remove all prohibitions on murder from the muscle army, releasing their true animal essence, leading the soldiers into a state of "rage".
“These muses are a very powerful remedy,” said one of the military doctors, surprised at the soldiers' quick recovery, their passionate desire to watch and listen to the performances of the artists in hospitals.
An actress or singer, by her behavior on stage and by sending pheromones to the audience, is able to easily control a “flock of male muscular individuals”, introducing them into the necessary state, according to the director's task, from monotony to rage and vice versa.
Who knows, maybe these very natural properties of skin-visual women were noticed and used in the right place and at the right time by the wise "olfactory chief director of the pack" in ancient times. Girls' dancing and singing by the fire on the eve of the battle or after it either raised the internal state of the muscles to the scale of "rage", sending an army ready to give their lives for liberation into the attack, or pacified it, balancing it and plunging it into "monotony".
Olfactory through smells received information available to him alone and, continuing to be in the shadow of the "first person" of the prehistoric community - the leader with the urethral vector, he was able to influence him, helping the urethral to control, divide and rule correctly.
The owner of the "zero nerve", becoming an advisor to the urethral leader, for whom "his own life is nothing, and the life of the pack is everything," caring with him about the survival of the people entrusted to him, first of all, naturally worried about preserving his own body, while knowing full well that this is possible only through preserving the integrity of the group.
Naturally, they fell in love with skin-visual beauties, dreamed of them. “The first company dreamed of you tonight, but the fourth company could not sleep,” was sung in one of the songs of the Great Patriotic War.
During the Second World War, the activity of front-line concert brigades and individual performers reaches its peak not only on this side. In 1944, Marlene Dietrich leaves America and goes to warring Europe. Her goal is to find Jean Gabin, who joined the army of Charles de Gaulle. Dietrich gives concerts in support of the soldiers of the allied forces, inspiring them to victory, and here again the same "Lily Marlene" sounds, only in different languages. The actress exposed herself to serious danger, the Nazis did not forget about her refusal to accept their ideology and return to Germany. For her head the Nazis promised an impressive reward.
For her courage and services to France, Marlene Dietrich was awarded the Order of the Legion of Honor, having received it from the hands of Charles de Gaulle. And from the American government she was awarded the highest award - the Medal of Freedom.
After a concert at the Reichstag and the Brandenburg Gate, Georgy Zhukov removed the order from his chest and presented it to Lydia Ruslanova, and later signed an order to award her with the Order of the Patriotic War of the 1st degree. Zhukov was not forgiven for such self-righteousness, and Ruslanova at the same time.
They, skin-visual, became goddesses of cinema, stage, musical Olympus, and in life they were even more distant, like unattainable twinkling stars, spreading their alluring pheromones throughout the Universe. And even now, when all of them - Ruslanova, Shulzhenko, Marlene Dietrich, and Marilyn Monroe - have long passed away, they are remembered, imitated, films are made about them and legends are made.
Others are taking their place. In the modern post-war world, the tradition of raising the morale of fighters has been transferred to other events. For example, to participate in the Olympics as guests and creative performers, when, along with athletes, there are singers, ballet dancers, actresses in the delegation, whose task - to inspire and encourage - has not changed at all over the past 50 thousand years.
Brave Alla Pugacheva was one of the first to come to Pripyat after the Chernobyl tragedy to maintain morale and inspire. And she sang in front of the soldiers who eliminated the consequences of the accident.
On Victory Day, one cannot but recall the skin-visual woman in her natural state of "war" - a faithful friend, comrade in arms, an actress and circus performer, a dancer and a singer, who calls the muscular army to death in major, but peacefully lulls him in minor what motive - "Lily Marlene", "Blue handkerchief" or "Clouds in blue".
