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#alexander paal
pyropalle · 1 year
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Seeing them at any given time was quite a puzzle to solve for the leader of Alpha Team; Hope always needed to guess whether they’d seen each other already in the past (or the future), what they knew, what they were looking for, if there was anything (anything at all) to be done in order to correct the timeline. The rift opened by the paradoxes remained a headache to Estheim difficult to overcome, because the hints, the small discordances pointing at an chaotic alteration to their preset, were almost impossible to uncover out of free will.
Sometimes, the faces of people he didn’t know came to haunt his sleep. Lately, he’d been waking up from dreams with comrades he could no longer remember. It was like… every timeline merged in one when his mind was put on automatic.
He smiled as usual as he spotted Serah and Mog, nonetheless, the black lines under his eyes grew evident by the day.
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❝...I saw you three last month ❞, Hope fessed up to Noel, at a prudent distance from the youngest of the Farron sisters. Academia was a lively metropolis, bustling and busy. He couldn’t help but feel protective over Light’s sis and Snow’s darling. ❝...Was it a month to you, or are we having this conversation without having met last month yet? ❞
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( @divinasolis​ ) NOEL KREISS, STARTER CALL
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vintage-every-day · 7 months
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Gary Cooper in profile by Alexander Paal. He wearing a denim shirt and orange silk ascot. April 1940.
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moviesandmania · 4 months
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COUNTESS DRACULA (1971) Reviews of vaguely historical Hammer
Countess Dracula is a British horror film based on the legends surrounding the “Blood Countess” Elizabeth Báthory. It is in many ways atypical of Hammer’s canon, attempting to broaden their output from Dracula and Frankenstein sequels. Filmed in 1970, it was released in January 1971. The film was produced by Alexander Paal and directed by Peter Sasdy, both Hungarian émigrés working in…
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dustedmagazine · 2 months
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Rodrigo Amado The Bridge — Beyond The Margins (Trost)
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Sonny Rollins named The Bridge after the Williamsburg where he practiced during a three-year long retreat from public performance that he undertook in order to secure his chops. Rodrigo Amado did not engage in any sabbatical so lengthy before he put together this quartet, but its formation still reflects the pursuit of artistic growth. The amount of experience around him is so formidable that just dropping their names — Alexander Von Schlippenbach, Gerry Hemingway, Ingebrigt Håker Flaten — speaks volumes. This is what someone does when, like Rollins, they don’t just think about riding the present wave of fortune. They’re in it for the long haul.
One might apply that description to the music that Schlippenbach has played with his legendary trio, or Hemingway did in his diverse partnerships with Anthony Braxton and Reggie Workman, or that Håker Flaten has in the never-ending story that adds a new chapter every time he takes a stage with Paal Nilssen-Love. It’s music that builds upon itself, applying knowledge acquired over decades of return engagements.
One might also, in a different way, apply that description to the music on this record. Recorded in concert at Pardon Tu Tu, in Warsaw, it’s a study in the practice and payoffs of building a performance on an elongated timeline. The title tracks lasts just over 40 minutes, during which the musicians declare allegiances, explore contrasting territories and build to several escalating climaxes. As remarkable as the peaks is the way the ensemble eases away from them each time, taking the pressure down so that the music never exhausts itself. The two pieces that follow are relatively brief, not quite eight minutes each, and their compactness makes them feel like gradual resolutions of that grand main act.
But this music rewards at the micro as well as macro levels. At any given moment, Håker Flaten and Hemingway can each be heard orchestrating contrasting vectors of energy that surge and shake, but never break, the performance’s rhythmic foundation. Schlippenbach interjects both professorial reminders – “don’t forget the Monk, lads” – and door-opening actions that can turn the action around in a moment. Amado remains true to his fundamentals, drawing out muscular lines and dipping into lyrical asides. But he also draws sustenance from the forces swirling around him, blowing with spectacular intensity and poised restraint, each phrase as compelling as the developmental arc it supports.
Bill Meyer
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citizenscreen · 2 years
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“The Kordas look forward”
Alexander Korda and Merle Oberon
by Alexander Paal, 1940
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ifreakingloveroyals · 11 months
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Through the Years → Willem-Alexander of the Netherlands (1,316/∞)
9 May 2023 | King Willem-Alexander of The Netherlands and Queen Maxima of the Netherlands visit the beach at beach pavilion Paal 9 during their first day of the region visit to the five Wadden Islands in Texel, Netherlands. (Photo by Patrick van Katwijk/Getty Images)
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rotterdamvanalles · 13 days
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Het winkelcentrum aan de Hesseplaats te Ommoord, 15 september 1971.
De Hesseplaats is vernoemd naar Herman Hesse, 1877-1962, Duits-Zwitsers letterkundige. Ontving in 1946 de Nobelprijs voor letterkunde.
Het gebied waar van af 1965 een woonwijk verrees, heeft een lange voorgeschiedenis. De naam Ommoord is waarschijnlijk ontstaan uit Ouwe Moor, = oud moeras. In 1300 is er al sprake van het Ouwemoorse Meertje.
In de eerste helft van de 19e eeuw bestond het gebied ten noordoosten van Rotterdam grotendeels uit veenplassen die door het afgraven van het veen ten behoeve van turf waren ontstaan. In 1843 werden de eerste plannen gemaakt voor droogmaking, maar het duurde tot 1859 voor er bruikbare plannen op tafel kwamen. Voordat het droogmalen begon (1867), werden eerst de ringdijken en -vaarten verstevigd of opgehoogd. In 1868 kregen de huurders van de onteigende percelen de aanzegging om het veld te ruimen. Bij het opnieuw inrichten van de drooggemaakte polder wilde men alles egaliseren en een nieuw verkavelingsplan maken. Op 26 oktober 1866 legde prins Alexander, de jongste zoon van koning Willem III en koningin Sophie van Württemberg, de eerste steen voor het stoomgemaal in Kralingse Veer, het Prins Alexander gemaal. In augustus 1869 kwam het in bedrijf en drie jaar later werden de eerste stukken drooggevallen grond verhuurd.
Vanwege de grote behoefte aan woningen in de regio Rotterdam werd in 1959 het structuurplan Rotterdam-Capelle uitgebracht, de eerste ideeën gingen uit van een nieuw te bouwen woonwijk met zo'n 50.000 woningen. De wijk Ommoord werd ontworpen in de jaren zestig van de vorige eeuw volgens een steden­bouwkundig concept van Lotte Stam-Beese en kent in het middengebied veel hoogbouw, terwijl de laagbouw aan de randen hieromheen is gesitueerd. Ommoord kenmerkt zich door veel groen en een open ruimtelijke opzet. Wethouder mr. H. Bavinck sloeg op 29 december 1965 de eerste paal voor de Kellogg ERA-flat de grond in, de start voor een wijk die uiteindelijk 12.500 woningen zou gaan tellen.
De foto komt uit de collectie topografie Rotterdam en bevindt zich in het Stadsarchief Rotterdam. De informatie komt eveneens uit het Stadsarchief Rotterdam en van Wikipedia.
Bericht van 2021
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faunfestival · 1 year
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FAUN ENSEMBLE: originální dílo norských a českých umělců
Festivalový residenční projekt je jedinečnou příležitostí pro vybrané norské a české umělce vytvořit pro festival FAUN zcela nové a originální dílo. Autory kompozice jsou Andreas Røysum a Radim Hanousek. Oba do ansámblu vybrali hudebníky, se kterými dlouhodobě spolupracují. Program bude připraven a nazkoušen k festivalovému provedení v rámci brněnské FAUN residence. Provedení tohoto díla zazní vedle faunovské premiéry i v norském Oslu.
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Do FAUN Ensemble pozval Andreas Røysum tři významné představitele progresivní skandinávské scény. 
Naprosto originální saxofonistka a skladatelka Signe Emmeluth vede vlastní projekty Amoeba a Owl, skládá hudbu pro věhlasný Trondheim Jazz Orchestra a aktivně spolupracuje s takovými jmény jako Paal Nilssen-Love, Ole Morten Vågan, Han Bennink, Paul Lytton a Tony Buck.
Kontrabasista a výtvarník Christian Meaas Svendsen vede vlastní kvintet Nakama a je klíčovým hráčem v mnoha souborech, které vede skandinávská bubenická hvězda Paal Nilssen-Love.
Perkusista a skladatel Jan Martin Gismervik je pověstný svou kreativitou a hudební empatií. Působí v kapelách Monkey Plot, Torg, Oker, O, PGA.
Klarinetista, skladatel a hudební organizátor Andreas Røysum ve své hudbě mísí jazz, soudobou hudbu i znalosti ze studia indické klasické hudby, marocké súfi trance hudby a lidových hudebních stylů z Řecka, Turecka a Skotska. Kromě svých projektů - 13členného ansámblu, Marthe Lea Band, Miman nebo Nakama spolupracuje s hudebníky jako Alexander Von Schlippenbach, Mats Gustafsson, Tristan Honsinger a Paal Nilssen-Love.
Pro residenční Faun Ensemble napsal Røysum skladbu „Tell“, která je inspirována norským akrobatem Tellem Teigenem, pro něhož Røysumův dědeček pracoval. Dílo zkoumá pohyb a rovnováhu skrz harmonický prostor, melodické figury a variace textur.
Radim Hanousek vybral do residenčního ansámblu hudebníky ze svého projektu Dust in the Groove, který zcela otevřeně mísí soudobou hudbu, experimentální jazz a improvizaci.
Hanousek pracuje ve své skladbě FAUN s tématem bytosti Fauna, jeho bájnými fyzickými i povahovými vlastnostmi a historickou spojitostí s řeckým Satyrem a dalšími mytologickými bytostmi. Kompozice využívá zkušeností všech residenčních hudebníků se soudobou hudbou, jazzem i improvizovanou hudbou, interpretům ponechává velkou odpovědnost za zvukovou kreativitu.
Operní sopranistka Jana Vondrů se v současné době pohybuje především na poli soudobé a experimentální hudby. Spolupracuje například s Filharmonií Brno, Brno Contemporary Orchestra, Ensemble Opera Diversa.
Akordeonistka Žaneta Vítová tvoří s Janou Vondrů pilíř tria CONTriology, působí v experimentálním duu se zpěvačkou a hlasovou performerkou Annou Matvia, spolupracuje s Pražským improvizačním orchestrem, Operou Národního divadla Brno, Operou Diversa a Hausoperou.
Trumpetista Jan Přibil hraje jak soudobou hudbu (ansámbl Lichtzwang), tak i moderní jazz (Concept Art Orchestra, Cotatcha Orchestra).
Radim Hanousek se hudebně zaměřuje na různé podoby improvizace, intermedialitu a projekty na pomezí jazzu a soudobé vážné hudby a to jako interpret (saxofonista a basklarinetista) i jako autor a pedagog. Jako improvizátor spolupracuje s mnoha umělci z celé Evropy.  Již 10 let vede vlastní projekt Dust in the Groove a je aktivním členem mezinárodních ansámblů NOCZ a Prague Music Performance Orchestra.
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FAUN ENSEMBLE
Andreas R��ysum – klarinety, flétny, kompozice
Signe Emmeluth – alt saxofon
Christian Meaas Svendsen – kontrabas
Jan Martin Gismervik – perkuse
Radim Hanousek – basklarinet, saxofon, kompozice
Jana Vondrů – zpěv
Jan Přibil – trubka
Žaneta Vítová – akordeon
Vstupenky jsou v prodeji na www.faunfestival.cz
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Projekt je realizován za podpory ― Fondy EHP a Norska
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docrotten · 16 days
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COUNTESS DRACULA (1971) – Episode 210 – Decades Of Horror 1970s
“Devil Woman! Devil! Devil!” With evil on her mind? Join your faithful Grue Crew – Doc Rotten, Bill Mulligan, and Jeff Mohr along with guest host Gregory Crosby – as they take a trip to the land of Hammer with Ingrid Pitt and Nigel Green in Countess Dracula(1971).
Decades of Horror 1970s Episode 210 – Countess Dracula (1971)
Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine
Decades of Horror 1970s is partnering with the WICKED HORROR TV CHANNEL (https://wickedhorrortv.com/) which now includes video episodes of the podcast and is available on Roku, AppleTV, Amazon FireTV, AndroidTV, and its online website across all OTT platforms, as well as mobile, tablet, and desktop.
In 17th-century Hungary, elderly widow Countess Elisabeth Nádasdy maintains her misleading youthful appearance by bathing in the blood of virgins regularly supplied to her by faithful servants.
  Directed by: Peter Sasdy
Writing Credits: Jeremy Paul (screenplay); (story by) Alexander Paal & Peter Sasdy; Gabriel Ronay (based on an idea by); Valentine Penrose (book) (uncredited)
Costume Design by: Raymond Hughes
Makeup Department:
Pat McDermott (hairdressing supervisor) (as Pat McDermot)
Tom Smith (make-up supervisor)
Special Effects by: Bert Luxford (special effects)
Choreography: Myrtill Nádasi (as Mia Nardi)
Selected Cast:
Ingrid Pitt as Countess Elisabeth
Olive Gregg as Countess Elisabeth Nádasdy (voice) (uncredited)
Nigel Green as Captain Dobi
Sandor Elès as Imre Toth
Maurice Denham as Master Fabio
Patience Collier as Julie
Peter Jeffrey as Captain Balogh
Lesley-Anne Down as Ilona
Leon Lissek as Sergeant of Bailiffs
Jessie Evans as Rosa
Andria Lawrence as Ziza (as Andrea Lawrence)
Susan Brodrick as Teri
Ian Trigger as Clown
Nike Arrighi as Gypsy Girl
Peter May as Janco
John Moore as Priest
Joan Haythorne as Second Cook
Marianne Stone as Kitchen Maid
Charles Farrell as The Seller
Sally Adcock as Bertha
Anne Stallybrass as Pregnant Woman
Hülya Babus as Belly Dancer (as Hulya Babus)
Lesley Anderson as Gypsy Dancer
Biddy Hearne as Gypsy Dancer
Diana Sawday as Gypsy Dancer
Albert Wilkinson as Circus Midget
Ismed Hassan as Circus Midget
Grue Believer Celebration Shenanigans continues with this review of Countess Dracula (1971), selected by special guest host and Decades of Horror fan Gregory Crosby. In this episode, the Grue Crew tackles another Hammer film from the Seventies featuring the stunning and talented Ingrid Pitt in the title role. While the film has no fangs and has little to do with Dracula, it borrows heavily from the legends of Countess Bathory who is said to have bathed in the blood of virgins to restore her youth. Countess Dracula is far more serious and mature than many of Hammer’s offerings throughout the decade and is well worth a revisit. Check out the Grue-Crew discussion to discover why.
At the time of this writing, Countess Dracula is available to stream from Classic Horror Movie Channel, Wicked Horror TV Channel, Shudder, AMC+, and Tubi. The film is available on physical media in Blu-ray format from Synapse Films.
Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror two-week rotation with The Classic Era and the 1980s. In two weeks, the next episode, chosen by guest host Dirk Rogers, will be Trog (1970). Directed by Freddie Francis; produced by Herman Cohen; written by Aben Kandel; starring Joan Crawford & Michael Gough; and with dinosaur scenes by Willis H. O’Brien and Ray Harryhausen? It’s gotta be great, right? Right? 
We want to hear from you – the coolest, grooviest fans: comment on the site or email the Decades of Horror 1970s podcast hosts at [email protected].
Check out this episode!
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screamscenepodcast · 3 years
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Submitted for your approval are THREE CASES OF MURDER (1955, Toye, Eady, More O'Ferrall, Welles), an anthology film from Britain featuring Alan Badel and Orson Welles. Some segments are better than others, but all are restrained in that British sort of way... are they thrilling enough to be horror?
Context setting 00:00; First segment synopsis 32:04 and discussion 37:45; Second segment synopsis 45:33 and discussion 52:08; Third segment synopsis 1:03:13 and discussion 1:07:42; Ranking 1:14:47
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pyropalle · 1 year
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Specks of light flickered between the cracks of the curtain. Invaders. Sunrays were invaders of Hope’s office every morning, making room by force through the spaces left unattended in the window. He groaned, a deep thing rumbling in his throat, a weak protest against the very nature of waking up every day. At times, in moments were nothing seemed so odd anymore, Hope liked to think he could at least stay in bed for the rest of the day.
Today he clearly couldn’t.
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He moved lazily, a single green eye catching a glimpse of the holographic clock on top of the nightstand. He ignored it. He instead preferred to hide in the warm crook of somebody’s neck, breathe in her scent, caress gently the portions of exposed hips beneath the sheets. He kissed tenderly, squeezed sweetly, rubbed himself looking for the excuse of sex (an excuse, indeed, to just avoid getting up just yet), knowing very well it wouldn’t work.
Hope sighed defeatedly, placing a kiss in Light’s forehead. ❝Damned monday mornings.❞
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( @ephemeralityx​ ) LIGHTNING FARRON, STARTER CALL.
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vintage1981 · 3 years
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Mark Kermode Reviews Hammer Horror Countess Dracula and Ingrid Pitt | BFI Player
Countess Dracula is a 1971 British Hammer horror film based on the legends surrounding the "Blood Countess" Elizabeth Báthory.
The film was produced by Alexander Paal and directed by Peter Sasdy, both Hungarian émigrés working in England. The original music score was composed by Harry Robertson. Countess Dracula was also released on a double bill with Vampire Circus.
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hollywoodlady · 4 years
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Laurence Olivier photographed by Alexander Paal, 1940.
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lupinoschums · 6 years
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Louis Hayward and Ida Lupino sitting at their oak dining room table in their Brentwood, California home. Their China collection is visible in the background. (Photo by Alexander Paal/Condé Nast via Getty Images) Louis Hayward; Ida Lupino;
May 01 1940
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Glamour of Hollywood, April 1940
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wintersportsergonis · 4 years
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Alexander, Paal & Hans -  Lenzerheide 15 Km Mass Start: 28/09/2019
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