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РУЗА за ЗАЩИТУ ЖИВОТНЫХ

РУЗА за ЗАЩИТУ ЖИВОТНЫХ

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Paul Henreid. Paul Georg Julius Freiherr von Hernreid Ritter von Wasel-Waldingau (10 January 1908 – 29 March 1992) was an Austrian-born American actor and film director. He is best remembered for two roles: Victor Laszlo in Casablanca and Jerry Durrance in Now, Voyager, both released in 1942. Henreid born in the city of Triest, then part of the Austro-Hungarian Empire (now Trieste, Italy). He trained for the theatre in Vienna, over his family's objections, and debuted there on the stage under the direction of Max Reinhardt. He began his film career acting in German films in the 1930s. He was strongly anti-Nazi, so much so that he was designated an official enemy of the Third Reich. He played Prince Albert in the play Victoria Regina in 1937. With the outbreak of World War II, Henreid risked deportation or internment as an enemy alien, but was allowed to remain and work in England's film industry. He had a supporting role in Goodbye, Mr. Chips (1939) and third billing as a German espionage agent in the thriller Night Train to Munich (1940). After a successful New York theater run in Flight to the West, Henreid was put under contract by RKO in 1941. The studio changed his name from von Hernried to the simpler and less overtly Germanic Henreid. That year, Henreid became a citizen of the United States. His first film for the studio was Joan of Paris, which came out in 1942. Shortly after his arrival, Henreid appeared in two key films in his career. In Now, Voyager he played the romantic lead opposite Bette Davis, and shared with her one of cinema's best-known scenes, in which he lights two cigarettes at the same time and hands one to her. Henreid's next role was as Victor Laszlo, a heroic anti-German resistance leader on the run, in Casablanca with Humphrey Bogart and Ingrid Bergman. He made regular film appearances throughout the 1940s, but was blacklisted after protesting against the actions of the House Committee on Un-American Activities. His film credits include Between Two Worlds (1944), The Spanish Main (1945), Of Human Bondage (1946), Deception (1946), Song of Love (1947), Thief of Damascus (1952), Siren of Bagdad (1953), and Four Horsemen of the Apocalypse (1961). In the early 1950s, he began directing for both film and television. His television directorial credits include Alfred Hitchcock Presents, Maverick, Bonanza and The Big Valley. In 1964, Henreid directed Dead Ringer, which starred Bette Davis. Henreid died on 29 March 1992 at the age of 84 of pneumonia in Santa Monica after suffering a stroke.

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Театральная студия НГЛУ ЛГУН. Только действующие члены студии. Здесь будет расписание репетиций, разные организационные моменты и все в этом духе. Тем, кто хочет заниматься - вам сюда: https://vk.com/lgun_next_gen

Театральная студия НГЛУ "ЛГУН"

>>>.....Citizen Cope.....>>>. Группа хорошей и качественной музыки
на вкус
Something is great about this one. The phrase buzzed around in my head, mixing with the endorphins that cracked and snapped about their different relays, telling me that I liked this music. This music is good. The beer in your hand is good.* You are loving this, aren't you? Aren't you?
Singer/Song Writer, Citizen Cope recently headlined in Towson's Recher Theatre, a large dimly lit room washed in blood red drapes. Two bars, bouncers at the door who think they're funny, an entrance covered in music posters: enough ambiance to make you dream of owning rooms filled with nothing but silk pillows and feathery boas. Brilliance -- all of it.
His music is simple to the point of being stripped down, as if bearing it all was the only way to get our attention. The Spartan band behind him was made up of a drummer, a bassist, two keyboardists, and Cope on guitar. A mix of hip-hop, folk, and blues his songs are mostly beats - mix bass drum, high hat, snare, clap track and repeat - buffed smooth by a haggard, road-weary voice. Uncommon chords for texture and keyboards for lift.
I was there in the middle of a crowd that hung on Mr. Cope's every word. You have probably been in a situation like this one before. If you have seen a favorite artist live, you know the procedure. Stand elbow to elbow with lovers in varied states of decay - high school to golden years - and you reach clumsily into your bag of lyrics, struggling to throw them out in time with everybody else. Nevertheless, you dance, sway back and forth and put your chin to your chest to feel that beat and buzz in your rib cage. Somebody screams, You're melting my face! Artist finishes up a song and you try to guess what's coming next. You are loving this, aren't you?
But even as I enjoyed myself like everyone else, the experience unsettled me. Cope is an intensely powerful lyricist. Without useless contemplation or pretension, you sense a plain type of grief laced in his words. A grief at once deeply personal, but one that managed to untether me from the scene, causing me to think about what I was listening to. His song topics range from a laundry list of tragedy in Let the Drummer Kick That to exploration of danger of American jingoism in Bullet and a Target. One of my favorites, his song Penitentiary taps into fears for a culture growing more trapped by fear and war: Well I'm waiting on a time when people walk free to see/From the penitentiary in our mind/When there's no need to bleed/For your father/Or your son.
One Rolling Stone critic called him a modern day bluesman who paints a plaintive portrait of the human condition. Another, not-so-friendly critic from music and culture website, SoundtheSirens said: I'm sure there's some soulful guy with a guitar who can write better songs sitting in some coffee shop somewhere who deserves the exposure more than he does. This may be warranted, I just happen to disagree.
As a balding-twenty-something tapped his toe to the beat of Sideways against my heal, I was reminded of a perplexing moment a few months prior. I had created a Citizen Cope station on an Internet radio website called Pandora. If you have not used Pandora before, its program takes an artist that you give it and plays the music of similar artists based on style and genre.Normally, Pandora is right on, accurate as anyone could hope for. But the artists that Pandora surrounded Cope with -- Damien Rice, Jack Johnson, Ryan Adams, Howie Day, Beck -- sound nothing like him, perhaps Beck being the closest. I won't say that no one sounds like Citizen Cope -- that cannot be justified. However, one has serious trouble placing him in any sort of context. This frustrates me, because I need musical landmarks,

>>>.....Citizen Cope.....>>>