Word: nikolais
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...frankly propaganda. It exhibits, with great self-satisfaction, Soviet methods of dealing with the problem of the wolfish ragamuffins who infested Moscow after the War. Corralled by the police, the wild boys are set to work in a juvenile Commune, superintended by a tactful and vigorous social worker (Nikolai Batalov). From time to time they are obstreperous but gradually they become addicted to honesty and industry. The star pupil of what Batalov calls the "Children's Commune" is a stubby youth named Mustapha (Tzyvan Kyrla), with the figure of a baboon, the face of a gargoyle and the courage...
...which rammed and sank their yacht Kikachiaka ("Sea Gull''), a converted submarine-chaser. They were on their way from Annapolis to the Admiral's South Carolina home. The children with the Admiral were: three girls, Nina, 15, Ludmila, 20, Tonia, 13; and two boys, Feodor, 14, Nikolai, 22. All were quickly picked up except Nina who was found swimming after a half hour's search. Two other adopted daughters are Mrs. William Moritz of New York and Mrs. Alexander Lastchencoff of Detroit. Admiral McCully, a bachelor of independent income, adopted the seven when he was special...
Cleveland dressed up to match new Severance Hall, built for the Orchestra and dedicated last winter (TIME, Feb. 16). Conductor Nikolai Sokolov indulged none of his predilections for new, unproven music. For him the occasion deserved Strauss, Franck, Beethoven, Brahms...
...most irrepressible characters were not disposed to maintain their tour on such a great-man-&-great-lady basis. As is their custom, they cavorted and japed in the most public places. Only at the Red Square in Moscow, where they gazed upon the mummy of Vladimir Ilyich Ulyanov (Nikolai Lenin), was Dramatist-Publicist Shaw as dignified as his impressive appearance. Over the corpse he commented: "A pure intellectual type. This is the true aristocracy." Other parts of the Shaw-Astor itinerary...
...Nikolai Sokoloff of the Cleveland Orchestra with whom she worked out scenarios to several symphonic works. They amounted, in essence, to informal ballets in which the dancing was of the free interpretative kind, full of exaggerated, supposedly primitive poses and vigorous prancing. Audiences have received them in a state of self-conscious hush. Irene Lewisohn and her stage versions of music appeared to have found highest recognition when Mrs. Elizabeth Sprague Coolidge invited her to give the opening program at the Festival of Chamber Music at the Library of Congress in Washington last week. Mrs. Coolidge's Chamber Music...