#anatoly kuznetsov

[jacensolodjo]

Total disclosure: Because of the book Babi Yar being republished in English on 4/18/2023, while also seeing certain posts on my dash, I was inspired to make this post.

If the USSR was a free and open utopia why were books like "Babi Yar" sent through so much censorship it would have probably been better it was never published at all?

Babi Yar aka Babyn Yar, you know, the massacre of (predominantly) Jews that was the largest singular event massacre of the Holocaust?

If the USSR cared about Jews why did they cover up and refuse to even so much as put a plaque of remembrance up for DECADES after? Oh sure 25 years after Babyn Yar they put up a placeholder plaque promising a new one. BUT they would clear away all the flowers and such from the PLACEHOLDER PLAQUE whenever foreign dignitaries finished their tour of the area. How, exactly, is that okay? How could they put effort into all of that and not even give a proper plaque of remembrance? (The answer, by the way, is this was the Soviet Union's standard MO. Western writer is visiting? Quick, hire a bunch of actors to live in this totally fake Ukrainian village to PROVE there is NO FAMINE.)

At some point you have to admit someone is in the wrong and it will always be the USSR.

(Note the book Babi Yar isn't just about the massacre but also tells the story of a young man up through the 1960s, including the Kreshchatik and 1961 disaster.)

The author himself regretted he published it with so much redacted from it due entirely to USSR censorship.

I suggest everyone take a look at the new publication of the book from this year. (Translated into English new publication I should say.) ((And yes I DO think it is well timed given the attack on the Babyn Yar memorial site last year.)) I should note, that the complete unredacted version is unvarnished truth, and thus some parts are hard to read. It is told from notes written by a boy barely into his teens and this should be kept in mind if you do read the book.

Note from the author of Babi Yar:

"Those who are interested will be able to have some idea of the conditions in which books are published in the Soviet Union, because—as I must stress again—my case was not an exception; on the contrary, it was quite ordinary and typical. Again, the version of Babi Yar distorted and deformed by the censorship was printed in millions of copies and appeared in translation in many languages. People who have read it already but who would like to know the full text need only read in this book the new sections, published here for the first time; especially since they contain the main sense of the book and are the reason why it was written."

(Please note that even though the author, Kuznetsov, was Ukrainian geographically and half Ukrainian from his mother, that he was a Russian speaker and thus used the Russian spelling of Babi Yar in addition to other words. He was well within his rights to use whichever toponym he desired. There is a HUGE difference in him using the Babi Yar form and a Western English speaker using it after knowing the preferred by actual marginalized Ukrainians form. Out of respect for Mr. Kuznetsov I use the form he used in his writing when talking about the book itself. As well as any other words from the book using the Russian spelling.)

Anatoly himself was not Jewish but he grew up right by Babyn Yar. Before and after the massacre there. The massacre also, it should be noted, did not just include Jews but ethnic Ukrainians, Russians, Rromani, the disabled (mentally or otherwise), etc., and Anatoly took great pains to make sure of this fact to anyone who read the book in its full form.

One more note from Anatoly about the book's current form: "In the summer of 1969 I escaped from the USSR with photographic films, including films containing the unabridged text of Babi Yar. I am publishing it as my first book free of all political censorship, and I am asking you to consider this edition of Babi Yar as the only authentic text. It contains the text published originally, everything that was expurgated by the censors, and what I wrote after the publication, including the final stylistic polish. Finally, this is what I wrote." (and I want to note he says PHOTOGRAPHIC FILM of the book which turned out to be a 478 page paperback so this meant he RETYPED ALL ~478 PAGES and had the presence of mind to actually PHOTOGRAPH IT knowing damn well what could happen to his manuscript otherwise. He sewed all of it into his jacket as he fled for asylum.)

(I want to say, foolishly giving people the benefit of the doubt, that when a writer is called a 'Soviet writer' that they think it is somehow all of them actually being allowed to write. When in fact 'Soviet' in front of writer only refers to the time frame they were writing. Many 'Soviet' authors often only had their work published either during the 80s -- the time of glasnost-- or after the Fall but they still get the moniker of Soviet. Or, commonly, like with Anatoly their work is so butchered by censorship as to be practically a different work altogether. It takes a certain amount of courage to publish anyway though, so Anatoly's efforts along with any other author that mirrors his experience should be held in high regard.)

A regime or system of government (since people have tried to 'well actually' about the word regime) that does not allow their people to poke fun or satirize or even tell an unflattering truth with no veiling is not really a regime/system of government one should be defending and yet. When you defend the Soviet Union, you defend their total disregard for Jews, Ukrainians, etc., while at the same time pretending to care about them (The Soviet Union was a Jewish utopia, honest! So long as you ignore all the pogroms and things like the Doctors' Plot that happened post-Holocaust because gosh darnit there were still too many damn Jews in the Soviet Union! Mother Russia, FIX! While also preventing them from going to Israel where they can actually, you know, live. Instead you just whisper about thinking of going to Israel and you got fired and became a 'leech' and yada yada some people waited a decade or more to be allowed to emigrate but hey whatever. Jewish Utopia.)

I leave with one more note from the author of Babi Yar:

"Time and again I set about the task of writing an ordinary documentary novel on the basis of my notes, but without the slightest hope that it would ever be published. Apart from that, something rather strange happened to me. I had been trying to write a straightforward novel in accordance with the rules of ‘socialist realism’—the only guide to writing which I knew and which I had been taught ever since my schooldays. But the truth of real life, which cried out from every line written in my child’s notebook, immediately lost all its vividness and became trite, flat, false and finally dishonest when it was turned into ‘artistic truth’."

And an example of something that was excised by Soviet censors, denoted by brackets paired with what made it into the first editions of the book:

"[I, Anatoli Vasilevich Kuznetsov, author of this book, was born on August 18th, 1929, in the city of Kiev. My mother was Ukrainian, my father Russian. On my identity card my nationality was given as Russian.] I grew up on the outskirts of Kiev, in the Kurenyovka district, not far from a large ravine the name of which—Babi Yar—was known then only to the local people. Like the other parts of the Kurenyovka it was our playground, the place where I spent my childhood."

(I wonder, what was so repugnant about stating he was half Ukr to cause it to be removed from the book entirely?)

[mariacallous]

do you have any book recommendations on Eastern European history / Ukrainian history and/or current events?

I would also add:

The Language of War by Oleksandy Mykhed

Vatnik Soup: The Ultimate Guide to Russian Disinformation by Pekka Kallioniemi

The Story of Russia by Orlando Figes

I Will Show You How It Was: The Story of Wartime Kyiv by Ilia Ponomarenko

Our Enemies Will Vanish: The Russian Invasion and Ukraine's War of Independence by Yaroslav Trofimov

Russia's War by Jade McGlynn

Nothing is True but Everything is Possible: The Surreal Heart of the New Russia by Peter Pomerantsev (as well as his This Is Not Propaganda: Adventures in the War Against Reality and How to Win an Information War: The Propagandist Who Outwitted Hitler)

The Road to Unfreedom: Russia, Europe, America by Timothy Snyder (as well as his Bloodlands: Europe Between Hitler and Stalin)

Black Wind, White Snow: The Rise of Russia's New Nationalism by Charles Clover

Adriatic: A Concert of Civilizations at the End of the Modern Age by Robert Kaplan

Mud Sweeter than Honey: Voices of Communist Albania by Margo Rejmer

The War Came To Us: Life and Death in Ukraine by Christopher Miller

Collisions: The Origins of the War in Ukraine and the New Global Instability by Michael Kimmage

Border: A Journey to the Edge of Europe by Kapka Kassabova

Red Famine: Stalin's War on Ukraine by Anne Applebaum (as well as her Iron Curtain: The Crushing of Eastern Europe)

From Peoples into Nations: A History of Eastern Europe by John Connelly

Not really Eastern Europe (more Central Asia) but Sovietistan: Travels in Turkmenistan, Kazakhstan, Tajikistan, Kyrgyzstan, and Uzbekistan by Erika Fatland

Goodbye, Eastern Europe: An Intimate History of a Divided Land by Jacob Mikanowski

Children of the Night: The Strange and Epic Story of Modern Romania by Paul Kenyon

Babi Yar: A Document in the Form of a Novel by Anatoly Kuznetsov

Free: Coming of Age at the End of History by Lea Ypi

[the-techdub]

This is Anatoly Kuznetsov, archmagos of the forge world Kholetnyy Prime in the segmentum obscurus. He's a heretek (if you couldn't tell) tech priest who has an obsession with the Necrons, after his army got absolutely trashed by attempting to loot a partially awakened tomb world.

He is my oldest (both in lore and irl) character, as he was born before the great crusade even began, he was a person of high power in his planet’s technocracy which closely mirrored that of the Martian mechanicum. And when the mechanicum found their planet he was the first to accept their religion, and was rewarded by being made archmagos of the new forge world.

This is him during the Horus heresy, I may buy a cawl model to make him as he is during M41, but idk if I want to run cawl yet.

[likeclarabow]

2024 Books Read

In a Holidaze - Christina Lauren (Jan 1)

The Long Games - Elena Armas (Jan 2)

The Seven Year Slip - Ashley Poston (Jan 3)

Something More - Jackie Kalilieh (Jan 3-Jan 4)

A Study in Drowning - Ava Reid (Jan 8-Jan 13)

Cockroach - Rawi Hage (Jan 17-Jan 24)

Confessions of an English Opium Eater - Thomas De Quincey (Jan 18-Jan 24)

The Night Circus (reread) - Erin Morgenstern (Jan 24-Jan 29)

Manfred - Lord Byron (Jan 29-Jan 31)

White Nights - Fyodor Dostoevsky (Jan 26-Feb 1)

Murder on the Links - Agatha Christie (Feb 1-Feb 5)

Fronteras Americanas: American Borders - Guillermo Verdecchia (Feb 8)

Total Chaos - Jean Claude Izzo (Feb 7-Feb 16)

I Was Their American Dream - Malaka Gharib (Feb 17-Feb 21)

Once in a Promised Land - Laila Halaby (Feb 26-Mar 1)

Babi Yar - Anatoly Kuznetsov (Feb 17-Mar 2)

Northanger Abbey (reread) - Jane Austen (Feb 27-Mar 3)

Delicious Monsters - Liselle Sambury (Mar 10-Mar 11)

The Flatshare - Beth O'Leary (Mar 12-Mar 13)

Divine Rivals - Rebecca Ross (Mar 13-Mar 14)

The Breakup Tour - Emily Wibberly + Austin Siegemund-Broka (Mar 14)

Foul Heart Huntsman - Chloe Gong (Mar 15-Mar 16)

I Hope This Doesn't Find You - Ann Liang (Mar 16-Mar 17)

Less - Andrew Sean Greer (Mar 17-Mar 18)

Night of Power - Anar Ali (Mar 20)

Winter in Sokcho - Elisa Shua Dusapin (Mar 20-Mar 22)

The Last Man - Mary Shelley (Mar 19-Mar 30)

The Mysterious Case of the Alperton Angels - Janice Hallett (Mar 30-Mar 31)

Bloodlands: Europe Between Hitler and Stalin - Timothy Snyder (Jan 10-Apr 4)

The Reappearance of Rachel Price - Holly Jackson (May 5-May 8)

Winter Garden - Kristin Hannah (May 14-May 16)

Conversations With Friends - Sally Rooney (May 17-May 28)

Biography of X - Catherine Lacey (May 30-June 9)

Her First Palestinian - Saeed Teebi (May 30-June 10)

Funny Story - Emily Henry (June 11-June 16)

November 1942 - Peter Englund (June 16-June 26)

Alone With You in the Ether - Olivie Blake (June 23-June 27)

A Man Called Ove - Fredrick Backman (June 27-June 29)

Giovanni's Room - James Baldwin (June 29-June 30)

The Girl in Question - Tess Sharpe (June 30-July 3)

The Girls I've Been (reread) - Tess Sharpe (July 4-July 5)

The Man in the High Castle - Phillip K Dick (July 6-July 12)

Ruthless Vows - Rebecca Ross (July 12-July 16)

Body Grammar - Jules Ohman (July 17-July 19)

Shanghailanders - Juli Min (July 19-July 23)

They're Going to Love You - Meg Howrey (July 24-July 26)

So Late in the Day - Claire Keegan (July 26)

That's Not My Name - Megan Lally (July 26)

The Blonde Identity - Ally Carter (July 27)

Emily Wilde's Map of the Otherlands - Heather Fawcett (July 27-July 29)

The Sittaford Mystery - Agatha Christie (July 31-Aug 2)

Beautiful World Where Are You - Sally Rooney (Aug 3-Aug 8)

Mr Salary - Sally Rooney (Aug 9)

Penance - Eliza Clark (Aug 9-Aug 10)

Convenience Store Woman - Sayaka Murata (Aug 11)

Educated - Tara Westover (Aug 12-Aug 14)

The Couple at No. 9 - Claire Douglas (Aug 15-Aug 20)

A Curse for True Love - Stephanie Garber (Aug 17-Aug 19)

London - Edward Rutherford (Aug 20-Aug 28)

The Girls - Emma Cline (Aug 28-Aug 29)

The List - Yomi Adegoke (Aug 30)

Florida - Lauren Groff (Aug 30-Aug 31)

Less is Lost - Andrew Sean Greer (Aug 31-Sept 1)

Love in the Time of Serial Killers - Alicia Thompson (Sept 1)

Zoya - Danielle Steele (Sept 1-Sept 3)

Where Are You, Echo Blue - Hayley Krischer (Sept 4-Sept 7)

Bellies - Nicola Dinan (Sept 8-Sept 15)

A Contract With God - Will Eisner (Sept 17)

The Rachel Incident - Caroline O'Donoghue (Sept 19-Sept 21)

Richard II - William Shakespeare (Sept 15-Sept 22)

Maus I - Art Spiegelman (Sept 19-Sept 24)

This Ravenous Fate - Hayley Dennings (Sept 22-Sept 25)

The Unwomanly Face of War - Svetlana Alexievich (Sept 15-Sept 25)

Foster - Claire Keegan (Sept 26)

Anne of Windy Poplars (reread) - L.M. Montgomery (Sept 21-Sept 30)

The Pairing - Casey McQuiston (Sept 26-Oct 1)

Dept of Speculation - Jenny Offill (Oct 2)

Watchman - Alan Moore (Sept 29-Oct 4)

The Getaway List - Emma Lord (Oct 3-Oct 5)

Death at Morning House - Maureen Johnson (Oct 6-Oct 8)

The God of the Woods - Liz Moore (Oct 9-Oct 13)

Boy Parts - Eliza Clark (Oct 13-Oct 14)

Vera Wong's Unsolicited Advice for Murderers (Oct 19-Oct 22)

Bliss Montage - Ling Ma (Oct 23-Oct 26)

To the Lighthouse - Virginia Woolf (Oct 18-Oct 27)

Persepolis - Marjane Satrapi (Oct 24-Oct 28)

One for My Enemy - Olivie Blake (Oct 26-Oct 31)

Graveyard Shift - M.L. Rio (Nov 1-Nov 2)

Funny Boy - Shyam Selvadurai (Oct 26-Nov 4)

Rouge - Mona Awad (Nov 2-Nov 6)

Book Lovers (reread) - Emily Henry (Nov 9-Nov 10)

Macbeth (reread) - William Shakespeare (Nov 4-Nov 13)

Monty's Men - John Buckley (Nov 4-Nov 14)

The Starless Sea (reread) - Erin Morgenstern (Nov 12-Nov 18)

Truly Madly Deeply - Alexandria Bellefleur (Nov 19-Nov 21)

Six Times We Almost Kissed (and One Time We Did) - Tess Sharpe (Nov 22-Nov 25)

The Examiner - Janice Hallett (Nov 29-Dec 1)

The Salt Grows Heavy - Cassandra Khaw (Dec 1)

Othello - William Shakespeare (Nov 23-Dec 14)

Gender Failure - Ivan E Coyote, Rae Spoon (Dec 14-Dec 15)

A Novel Love Story - Ashley Poston (Dec 13-Dec 17)

King Lear - William Shakespeare (Dec 16-Dec 18)

Done and Dusted - Lyla Sage (Dec 17-Dec 21)

Blue Sisters - Coco Mellors (Dec 23-Dec 24)

The Christmas Appeal - Janice Hallett (Dec 25)

[justforbooks]

The greatest notoriety – and critical and sales success – enjoyed by the writer DM Thomas, who has died aged 88, came with his controversial novel The White Hotel (1981), inspired by his readings of Sigmund Freud and by Anatoly Kuznetsov’s Holocaust novel Babi Yar. Thomas’s novel combined these two influences in a driving, non-naturalistic plot centred on Lisa Erdman, a fictional patient of Freud’s, who progresses through sexual obsession to being shot down by Nazis in a ravine outside Kyiv.

The sex and violence were described in lingering, some said lubricious, detail. Although the novel was variously hailed – by Graham Greene and Time magazine, among others – as a powerful new departure in fiction, and an insight into the dark heart of the 20th century, it was attacked by some as pornographic and misogynistic.

In addition, Thomas was accused (a charge also levelled at his later novel Ararat) of plagiarising his factual material from Kuznetsov: he defended himself by counter-charging the authors whose works he had plundered of wanting to “copyright genocide”. At any rate, his pastiche of Freud’s epistolatory style was convincing enough to fool the great man’s daughter Anna, who demanded: “Where did he get those letters?”

A runaway bestseller on both sides of the Atlantic, The White Hotel was pipped, to Thomas’s immense chagrin, to the 1981 Booker prize by Salman Rushdie’s Midnight’s Children.

The course of Thomas’s life and his work, in poetry and prose, was determined by his sometime tumultuous relations with women. A crisis brought on in the late 1970s by a domestic life divided between dual households, the deaths of his parents and the closure of the college in the American midwest where he was working, led him to undergo prolonged psychoanalysis and to produce his first fiction, The Flute Player (1979), written with the aim of winning a Gollancz fantasy award – which it duly did.

In 1980 he returned to his former university, Oxford, for postgraduate work arranged by his former tutor John Bayley. However, he preferred to use his freedom to write his own fiction, which, liberated by his analysis, spurted up from the wellsprings of his psyche in a seemingly unstoppable stream. He was not interested in the traditional formal structure of the novel, explaining that he was too impatient to get his characters from room to room, or continually intersperse “He said” or “She cried”. Instead of naturalism, he relied on streams of poetic prose, dream sequences and coincidences.

Thomas strove to repeat the success of The White Hotel with other novels dealing with genocide (Ararat, 1983) and Freud (Eating Pavlova, 1994); and key moments of 20th-century history including John F Kennedy’s assassination (Flying in to Love, 1992).

Always readable and often compelling, none of the later novels quite achieved the white-hot shock of The White Hotel. Bolstered financially by selling the film rights – though frustratingly for Thomas the movie was never made – he returned to his native Cornwall, settling in a large house in Truro. Long after it was written, a screenplay by Dennis Potter was broadcast on BBC Radio 4 in 2018.

Born in Redruth, into a tight-knit, working-class community around the village of Carnkie, Donald was deeply attached to his Cornish roots, particularly his family, mythologising his close relationship with his parents, Amy (nee Moyle) and Harold Thomas.

He discovered sex as an adolescent during an abortive emigration to Australia with his parents after the second world war. It would remain an all-consuming obsession.

Precociously intelligent, after Redruth grammar school he followed in the footsteps of the Cornish historian AL Rowse in winning a scholarship to New College, Oxford, where he discovered literature via the teaching of Bayley and Lord David Cecil. Never orthodox in his literary tastes, he was told by a female don at his vivas : “I should read a little more about the medieval rhetoricians, Mr Thomas.” Gleefully he reported: “I never did.” Despite this deficiency, he secured a first, to his family’s intense pride.

He was already involved with a steady girlfriend, Maureen Skewes, who shared his Cornish childhood and in 1958, the year he graduated, became his first wife. But strict monogamy was not for Thomas, and his sexual explorations continued apace whenever opportunity offered.

National service at the height of the cold war was ameliorated by his selection for a course in Russian. Not a natural linguist, he passed out with sufficient knowledge of the language, his course assessment reported, to “conduct low-level interrogation”.

More importantly, he acquired a passionate enthusiasm for Russian life and literature, particularly for the poetry of Pushkin and Anna Akhmatova, both of whom he later translated, in versions whose technical limitations were more than made up for by his intuitive feel for the spirit of the poetry.

A respected poet in his own right, he produced eight books of verse before he turned to fiction, beginning with science-fiction in the influential magazine New Worlds, alongside Michael Moorcock and JG Ballard. His themes were sex, death, rebirth and the infinite world of the imagination.

Much influenced by the Cornish landscape, his poetry had a mystic, Celtic tinge. Physically, too, in his youth, he resembled his Welsh namesake, Dylan Thomas, with bulbous nose, wild curls and a cigarette moored to his lower lip, and some of his poems shared the mystically charged erotic preoccupations of the “Rimbaud of Cwmdonkin Drive”. Thomas’s own favourite Celtic bard, however, was Yeats, whom he would read aloud or recite, the lines rolling evocatively out from his barrel-shaped body.

His reputation as a poet grew through the 60s and 70s as he taught at a succession of schools and then at a teacher training college in Hereford, where his children by Maureen, Caitlin and Sean (who followed him into fiction and journalism), grew up, and where he acquired a parallel family in Denise Aldred and their son Ross, juggling his time between the two households. Following his divorce from Maureen, in 1976 he married Denise.

Feeling imprisoned by this awkward situation, he escaped by guest lecturing at various American colleges, where his homesickness was ameliorated by affairs with some of his students.

Once established as a writer, he ran creative writing courses at the Arvon and Skyros centres in various locations, and at his own home. An inspired and inspiring teacher, he acquired the status of a literary guru among certain female admirers of The White Hotel. His belief that sex, art and literature were at the very centre of life was palpable to his fans. To others less enamoured, his self-absorption was repellent. Exploring the psychotherapy he underwent led to an autobiography, Memories and Hallucinations (1989).

In 1992, Thomas was set up by the ever-mischievous Julie Burchill, who got the then-aspiring writer Louise Doughty to report the results of a one-to-one erotic writing course with Thomas in the Modern Review, and his reputation as a lady-killer solidified into myth. There was no shortage of female applicants to join his courses, or his ever-changing harem of transient lovers. However, Denise’s death from cancer in 1998 hit Thomas hard, and he wrote movingly of her final illness.

Never lost for long, and unable to endure solitude, later that year he married Victoria Field, whom he had met on a Skyros course in Greece.

His biography Alexander Solzhenitsyn: A Century in His Life (1998) was warmly received, and went on to receive the Orwell prize. He continued to publish poetry – including a verse memoir, A Child of Love and War (2021) – and prose, and ran a group of Cornish writers called the Stray Dogs, after a famous early 20th-century Russian literary cafe in St Petersburg.

Thomas had huge vitality, a charismatic presence and considerable charm and humour. Into the often stifling and prissy world of English literature, he introduced a welcome raw honesty, an imaginative widening of limiting horizons, and a distinct whiff of sulphur.

His marriage to Victoria ended in divorce, and in 2005 he married Angela Embree. She and his three children survive him.

🔔 Donald Michael Thomas, poet and novelist, born 27 January 1935; died 26 March 2023

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[ions-in-the-ether]

Anatoly Kuznetsov

[nomoreuniverse]

Anatoly Kuznetsov

[dare-g]

Maria, The Wonderful Weaver (1959)

[theranskahovs]

6 Word Stories

Vladimir

•His demons come out in dreams.

•Tattoos and bruises fight for space.

•Calloused hands trace up your thighs.

•Leather and lace and late nights.

•Hard to love, harder to leave.

•Internally- the Man vs. the God.

•He wages his wars viciously, ruthlessly.

•Messy hair in early morning light.

•"Name one hero who was happy."

Anatoly

•"He smiled, face like the sun."

•"I will crawl home to her."

•"Graves can't hold my body down."

•Neon lights and grungy back alleys.

•Falling asleep in cabs, driving home.

•Fingers twisting around knives, bleeding skin.

•"I would know him in death..."

•"...at the end of the world."

•"Reaching through the hopeless, heavy dusk."

Piotr

•Bruises not from violence, but love.

•Hand on your knee, latenight traffic.

•Rough kisses and bodies sprawled together.

•Takeout and weekends spent getting high.

•His gun becomes his constant accessory.

•Borrowing his jacket, sleeves too long.

•A fire escape overlooking New York.

•The blood won't always wash out.

Sergei

•A life of luxury and opulence.

•Rose-appliqué lingerie, always in black.

•A dog, a cat, "family life."

•A soft voice, a softer smile.

•Stargazing at four in the morning.

•"I wanna come home to you."

•"Devil's trying to hold me down."

•"Days and nights perfumed with obsession."

[laughicate]

Savva Brodsky (1923-1982)

illustrations for Anatoly Kuznetsov's "Babi Yar" from the literary/art magazine Юность (1966)

[boxscorehockey]

2021-22 Alphabetical Directory Fwd A-M

F

Aho Sebastian Alexandrov Nikita Altybarmakian Andrei Amirov Rodion Anderson- Dolan Jared Andersson Lias Arvidsson Viktor Asplund Rasmus Atkinson Cam Backstrom Nicklas Bailey Josh Balcers Rudolfs Bankier Caedan Barkov Aleksander Barratt Evan Barre-Boulet Alex Barzal Mathew Batherson Drake Beaucage Alex Beauvillier Anthony Beckman Adam Bellows Kieffer Bemstrom Emil Beniers Matt Benn Jamie Bennett Sam Bergeron Patrice Berggren Jonatan Bertuzzi Tyler Bjorkstrand Oliver Blichfeld Joachim Boeser Brock Bokk Dominik Bolduc Zachary Boldy Matthew Bordeleau Thomas Borgstrom Henrik Boucher Tyler Bourgault Xavier Bourque Mavrik Bowers Shane Brabenec Jakub Bratt Jesper Brink Bobby Brisson Brendan Brown Connor Broz Tristan Buchnevich Pavel Bunting Michael Burakovsky Andre Buyalsky Andrei Byfield Quinton Caufield Cole Cehlarik Peter Chekhovich Ivan Chibrikov Nikita Chinakhov Yegor Chromiak Martin Chytil Filip Cirelli Anthony Coe Brandon Colangelo Sam Coleman Blake Colton Ross Compher J.T. Comtois Maxime Connor Kyle Copp Andrew Coronato Matthew Cotton David Couture Logan Couturier Sean Coyle Charlie Cozens Dylan Crosby Sidney Crouse Lawson Cuylle Will Dach Colton Dach Kirby Dadonov Evgenii Dahlen Jonathan Damiani Riley Danault Philip Dean Zach DeBrincat Alex DeBrusk Jake Dellandrea Ty Denisenko Grigori Doan Josh Domi Max Donato Ryan Dorofeyev Pavel Draisaitl Leon Drury Jack Dube Dillon Dubois Pierre- Luc Duchene Matt Duclair Anthony Dugan Jack Duke Dylan Dvorak Christian Eberle Jordan Ehlers Nikolaj Eichel Jack Eklund William Elvenes Lucas Eriksson Ek Joel Ertel Justin Evangelista Luke Fabbri Robby Fagemo Samuel Farabee Joel Farrell Sean Fedotov Ilya Fiala Kevin Finley Jack Firstov Vladislav Fix- Wolansky Trey Foerster Tyson Foote Nolan Formenton Alex Forsbacka- Karlsson Jakob Forsberg Filip Foudy Jean-Luc Foudy Liam Francis Ryan Frost Morgan Gallagher Brendan Gallant Zachary Garland Conor Gaudreau Johnny Giroux Claude Glass Cody Golyshev Anatoly Goncalves Gage Gourde Yani Granlund Mikael Greig Ridly Gritsyuk Arseny Groulx Benoit-Olivier Grundstrom Carl Guenther Dylan Guentzel Jake Gunler Noel Gurianov Denis Gusev Nikita Gushchin Danil Hagel Brandon Hall Taylor Hallander Filip Harrison Brett Hartman Ryan Hawryluk Jayce Hayes Kevin Hayton Barrett Heineman Emil Helenius Sami Henriksson Karl Henrique Adam Hertl Tomas Hintz Roope Hirose Taro Hirvonen Roni Hischier Nico Hoffman Mike Hoglander Nils Holloway Dylan Holmstrom Simon Holtz Alexander Horvat Bo Howden Brett Huberdeau Jonathan Huckins Cole Hughes Jack Hyman Zach Iaffalo Alex Jarventie Roby Jarvis Seth Jeannot Tanner Jenik Jan Jenner Boone Johansen Ryan Johnson Kent Johnson Wyatt Jost Tyson Kadri Nazem Kakko Kaapo Kaliyev Arthur Kalynuk Wyatt Kane Evander Kane Patrick Kapanen Kasperi Kapanen Oliver Kaprizov Kirill Kase Ondrej Karlsson William Katchouk Boris Kaut Martin Kayumov Artur Keller Clayton Kempe Adrian Kerfoot Alexander Khovanov Alexander Khusnutdinov Marat Kidney Riley Killorn Alex Kirk Liam Kisakov Aleksandr Klimovich Danila Knies Matthew Koivula Otto Koivunen Ville Konecny Travis Kopitar Anze Korczak Ryder Koshtov Yegor Kostin Klim Kotkaniemi Jesperi Kravtsov Vitali Krebs Peyton Kreider Chris Kubalik Dominik Kucherov Nikita Kunin Luke Kuokkanen Janne Kupari Rasmus Kuznetsov Evgeny Kyrou Jordan L’Heureux Zachary Labanc Kevin Lafreniere Alexis Laine Patrik Landeskog Gabriel Lapierre Hendrix Larkin Dylan Lauko Jakub Leason Brett Lee Anders Leschyshyn Jake Lindholm Elias Lucius Chaz Lundell Anton Lundestrom Isac Lysell Fabian MacKinnon Nathan Madden Tyler Malatesta James Malkin Evgeni Mangiapane Andrew Mantha Anthony Marchand Brad Marchenko Kirill Marchessault Jonathan Marchment Mason Marner Mitch Martino Ayrton Matthews Auston Mazur Carter Mcbain Jack McCann Jared McDavid Connor Mcleod Ryan McMichael Connor McTavish Mason Meier Timo Mercer Dawson Meyers Ben Miettinen Veeti Mikheyev Mikhail Milano Sonny Miller J.T. Mittelstadt Casey Monahan Sean Mysak Jan

[warmania]

Adobe x Keith Haring | Creativity For All from Bakehouse on Vimeo.

Client: Adobe Inc. Concept: Achtung!isobar Amsterdam Produced by: Bakehouse, Antfood Audio Studio Authorised by: Keith Haring Studio (Artestar NYC)

CREDITS

Client: Adobe Inc.

Daniel Cowles - Executive Creative Director Daniel Vargas Díaz - Creative Director Mark Valenta - Senior Creative Director Copy Pete Fishman - Senior Campaign Marketing Manager Sara O'Dea - Associate Creative Director Doug Beach - Senior Creative Director Mara Bey - Campaign Marketing Manager Farhana Rafi - Senior Marketing Manager

Agency: Isobar Amsterdam

Claire IJsbrandij - Senior Creative team instagram.com/ijsbrandij Tanya Ponomareva - Senior Creative team instagram.com/tanny.ponomareva Marc Elbers - Head of Production instagram.com/marc_elbers/ Jasper Janssen - Creative Director instagram.com/jasperjanssen/ Samyr Souen - Creative Director instagram.com/sousamsouen/ Mervyn ten Dam - Executive Creative Director instagram.com/mervynachtung/ Kika Douglas Castroviejo - Executive Creative Director instagram.com/kikadouglas/ Lorenzo Angelone - Motion Designer instagram.com/lorenzo.angelone/ Maksim Kuzin - Editor instagram.com/maksim.t.kuzin/ Annabelle Klop - Account Manager instagram.com/annabelleklop/ Maaike Stellink - Account Manager instagram.com/maaikeste

Production: Bakehouse

Dima Maseykin - Film director/Chief Illustrator instagram.com/daltonizm_/ Alya Lugovaya - Head of Production instagram.com/aleyaska/ Kostya Korobkin - Head of Production instagram.com/duffus/ Sophya Katulska - Executive Producer instagram.com/sollveig_k/ Mitya Katkin - Executive Creative Producer instagram.com/mityakatkin/ Nino Vasilkovskaya - Line Producer instagram.com/do_filtra/

Liza Chernyak - Illustrator instagram.com/cher_liza/ Nikita Selivanov - Illustrator instagram.com/kitos_04/ Aset Kairambayev - Illustrator instagram.com/nakedmazafaker/ Roman Novak - Illustrator instagram.com/nvk_foxhide/ Egor Afonin - Illustrator behance.net/egorafonin/

Pavel Nikiforov - Lead Animator Anastasiya Melikhova - Animator Vera Pozdeyeva - Animator Vadim Ivanov - Animator Egor Keon - Animator Lyudmila Skotnikova - Сolour-in artist Nadezhda Pshenichnikova - Сolour-in artist Alisa Andreyeva - Сolour-in artist Tatyana Petrova - Сolour-in artist Alina Khabarova - Сolour-in artist Darya Gavrilova - Сolour-in artist Ekaterina Tikhonova - Сolour-in artist Yury Tomilov - Digital-compositor Alexey Sazhin - Digital-compositor Alexander Kuznetsov (2A Pictures) - Digital-compositor Andrey Kiselev (2A Pictures) - Digital-compositor Oleg Koverchenko (2A Pictures) - Digital-compositor

Anton Reva - Сollage director instagram.com/savemymind/ Anatoly Shabalin - Сollage artist instagram.com/shabalin_anatoly/ Galina Kazimi - Сollage artist instagram.com/renard_oui/ Sasha Churganov - Сollage artist instagram.com/po.sox/

Vlad Yakunin - Senior editor Kirill Khandurin - Senior editor Nikita Potapov - Motion designer

Shepard Fairey - Guest Artist instagram.com/obeygiant/ Kate Moross - Guest Artist instagram.com/katemoross/ Nikita Kibirev - Guest Artist instagram.com/nikibirev/ Anatoly Vladimirovich instagram.com/subwwaymoscoww/ Zhenya Artemyev instagram.com/zhenyaartemjev/ Katya Oktyabr instagram.com/octbrkate/ Yana Bolotenkova instagram.com/bolotenkova.yana Oleg Guta instagram.com/gutaart/ Ilya Kutoboy instagram.com/kutoboy/ Sergey Kolesov instagram.com/peleng_square/

Brushes Page: creativecloud.adobe.com/discover/article/keith-haring

Making of film: vimeo.com/bakehouse/btsadobeandkeithharing

Campaign hashtag: #creativityforall

Tags: @Adobe Inc. Achtung!isobar Amsterdam achtung.nl/ facebook.com/136407646401784/ instagram.com/weareachtung

[densifangirl1]

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Repost: @dg251170 PROMO VIDEO for #ncisla season 12 episode 18 „A Tale of Two Igors” on May 23 (season finale) Deeks is kidnapped by an associate of Kirkin’s (Ravil Isyanov) in need of his help and NCIS investigates the shooting of a militarized dolphin equipped with a Russian microchip. Also, Beale makes Nell an interesting offer and Hetty returns, on the 12th season finale of NCIS: LOS ANGELES, Sunday, May 23 (9:00-10:00 PM, ET/PT) on the CBS Television Network. GUEST CAST: Gerald McRaney (Retired Navy Admiral Hollace Kilbride) Sandi Todorovic (Igor Kuznetsov) Sisa Grey (Dr. Jennifer Tuala) Denys Toliarenko (Taras) Luke Sholl (Henry) Michael Klesic (Igor Lebedev) Ravil Isyanov (Anatoli Kirkin) WRITTEN BY: Kyle Harimoto and R. Scott Gemmill DIRECTED BY: John P. Kousakis https://www.instagram.com/p/CO9d6nYDscC/?igshid=3lih17xhd1ji

[ruminativerabbi]

Babyn Yar

The Russian missile that hit Babyn Yar in Kyiv last week brought the war home to me personally in a way that I hadn’t anticipated. Was it an accident? It’s hard to imagine what the Russians could possibly have hoped to accomplish by bombing the most sacred of all Shoah sites in Ukraine and one of the most important ones in all Europe. Was it somehow related to Vladimir Putin’s regular—and supremely grotesque—willingness to reference the Ukrainian leadership, very much including its Jewish president, as a gang of neo-Nazi thugs? But even if it was, what exactly was the message here? Was it that the Russian Army liberated Ukraine from the Nazis once and is planning to justify its occupation and (I’m assuming) eventually annexation of Ukraine by selling it to the world as a justifiable, even laudable, effort to accomplish the twenty-first century version of that same thing? It’s hard to imagine that that could be it—not because Vladimir Putin is not cynical and malevolent enough to self-justify along such lines, but because it’s hard to imagine him imagining anyone hearing that without laughing—and yet what part of the events of the last few weeks wouldn’t have reasonably been labelled “hard to imagine” just a month or two ago? So maybe this too!

We grow up incrementally, step by step, stage by stage. No one goes to sleep as a child and wakes up as an adult. I’ve written in this space about my own coming-of-age experience reading Vasily Grossman and Ilya Ehrenburg’s The Black Book of Russian Jewry page by page when the ten- and eleven-year-old me found himself alone in our synagogue library for a few minutes. But that book was only the gateway to other books, some of which became so much a part of my growth to adulthood that I can remember them after all these years as though I just read them recently. André Schwarz Bart’s The Last of the Just was the foundation upon which rested my sense of my place in the world for years and years. So, of course, was Elie Wiesel’s Night. But Anatoly Kuznetsov’s  Babi Yar: A Document in the Form of a Novel was perhaps the most profound of all in terms of its effect on my sense of what it means to be a Jew…and also what it means to be a human being. (See below.) The slightly fictionalized true story of the murder of almost 34,000 Jews in Kyiv in the course of just two days in the fall of 1941, the book was beyond terrifying and disorienting to me. I grew up in a neighborhood of survivors and had friends whose parents had lived through the camps. But, of course, there simply was no one—or no one I ever met—who lived through Babi Yar. The unimaginable massacres in that place, but also in Ponary Forest (where about 70,000 Jews from Vilna were murdered in the summer of 1941) or Rumbula Forest (where 25,000 Jews from Riga were murdered in November and December 1941)—these dark European forests  were the terrible landscape of my nightmares as a boy, a dreamscape I still wander from time to time even now and which will always be part of me. As all readers know, the camps are central to my sense of self, even today. But I never dream about them.

But it was in the fall of 1973 that Babi Yar came to represent something else to me entirely. It was in the fall semester of my senior year in college. I was busy trying to gain admittance to JTS, but I was also taking my Russian seriously (just in case!) and it was in that context that I met Yevgeny Yevtushenko, at the time the best-known Russian poet in the West. How that came about is easy to explain: I met him easily because one of my teachers at Queens College, Albert C. Todd, was his American translator and invited him to visit our school and, semi-amazingly, he agreed to come. (It was a good gamble on his part too—years later, Yevtushenko himself became a CUNY distinguished professor at Queens.) Places were limited, but I was one of the first to sign up and got a ticket. I admired his writing, and particularly the poems I had read under Professor Todd’s tutelage. I eager to see what the man was like. But I had no idea how profound an encounter it was going to be.

The man began by reading one or two poems in Russian—translations had been handed out in advance at the door so you could read along while he spoke—and taking questions. (He spoke English well, it turned out.) But then he said he wished to read to us the poem that he described as his own literary Rubicon, a poem that could either have led to his ruin or to his ever-lasting fame but back from which he knew in advance there would be no turning. And the poem was, of course, “Babi Yar.”

In those days, the massacre at Babi Yar was famously commemorated yearly by the Soviet government without any reference to the fact that the victims were Jews. (Many thousands of others were murdered at Babi Yar as well, which provided the Russians with a kind of fig leaf covering their anti-Semitism. But it was the massacre of Kievan Jewry that was why Babi Yar was famous, or rather infamous, and that much was known to all.) He began by setting the scene. It was back in 1961, he explained, that the editors of the Lituraturnaya Gazyeta (then as now one of the leading Russian literary magazines) hinted to him that they would be prepared to publish his poem about the Nazi massacre, a piece of work that had to that point only circulated privately. They were clearly well aware that the poem was also about the Soviet government’s anti-Semitic persecution of its Jewish citizens and its revisionist refusal to acknowledge the site as a Jewish memorial. But they were ready to print the poem if he was willing. It was a huge gamble. This was the bad old days in the USSR, a time when people disappeared into the Gulag for far less. Yevtushenko said he considered his options. He knew the offer could not have come out of the blue and must have been pre-approved, possibly even by Brezhnev himself. Or was it a trap? Or a test? There was no way to know. Terrible things could have ensued. But there was also the possibility of advancing the USSR in a positive, liberal direction through his assent to publish. And so he agreed that they could print his poem in their next issue.

It was a huge success. No less a personality than Dmitri Shostakovich—probably the greatest Russian composer of his day—set the poem to music, then used that setting as the first movement of his Thirteenth Symphony. And the opening line of the poem, which reads “No monument stands over Babi Yar / a drop sheer as a crude gravestone” so galvanized public opinion in the Soviet Union that, finally, a memorial was established in that place that formally and unambiguously acknowledged Babi Yar as a site of Jewish martyrdom of almost unimaginable proportions.

I was beyond enthralled. Here was a man with no Jewish blood in him at all, who understood that anti-Semitism was as much, possibly even more, about the anti-Semite as about the Jew. And when he explained that the Shoah had become the benchmark for Western morality, I was enthralled. I felt as though he were speaking to me personally when he said, almost as though this were a commonplace thought, that identifying with the dead at Babi Yar is in our day the prerequisite for thinking of yourself as a human being, as a fully human being. The end of the poem, he read slowly in Russian while I followed along in translation. “I am each old man here shot dead,” the man read out. “I am every child. Nothing in me shall ever forget! The Internationale, let it thunder when the last anti-Semite on earth is buried forever. / In me, there is no Jewish blood. / But in their callous hatred, all anti-Semites must now hate me as a Jew. / For that reason, I am a true Russian.”

Maybe you had to be there. People applauded. I myself was stunned: this was the first time I truly understood that, even more than it defined my Jewishness, the Shoah defined (and still defines) my humanity, my human-ness. It was a threshold experience for me, the kind of experience you step through and feel changed. The notion that my whole adolescent obsession with the Shoah was as much about being a part of humanity as it was about being a member of the Jewish people—that was transformational for me.

Yevtushenko died in 2017 in, of all places, Tulsa, Oklahoma. He won a million prizes. He was awarded several honorary doctorates and was made an honorary citizen of many different cities. He had an asteroid named after him! (How cool is that?) But for me he was the guide who ushered me out of the prison I had constructed for myself and helped me understand that my emotional and intellectual involvement in the history of the Shoah was as tied to my human-ness as it was to my Jewishness. And he did that not by psychoanalyzing me or dissecting my psyche, but merely by reading a poem aloud in an overheated lecture hall and managing to speak directly to me as he did so.

The story of the Russian invasion of Ukraine is still unfolding, its final dénouement still unknown. But the defiling the sacred space of Babi Yar moves the Russians’ aggression against Ukraine, at least for me, from the global to the personal. The Red Army was key in defeating the Nazis and rescuing the remnant of European Jewry still alive in 1945. Attacking Babi Yar, even if just symbolically, suggests to me that the Russians have turned their backs on their own history and have chosen to emulate not their own forebears but those forebears’ most vicious enemies.

[dan36gallagher]

clube russo Zenit de São Petersburgo, alvo do meio-campista do Everton Idrissa Gueye

O clube russo Zenit de São Petersburgo mira o meio-campista Everton Idrissa Gueye'. O jogador está no plantel há muito tempo e é um bom jogador para a equipe.n O jogador é um jogador muito bom e tem um bom entendimento com o treinador. Ele é um jogador que pode ser usado em qualquer posição, e também é um bom zagueiro.

Vale notar que o jogador tem muita experiência e é muito bom em jogar no meio-campo.

O clube já contratou muitos jogadores, como:

- Kuzmanovskiy, que é um meio-campista que pode jogar no centro e também pode jogar na esquerda.Nikitin, que também pode ser usado como lateral esquerdo. O time também assinou um número de jogadores que podem ser úteis no futuro. Entre eles, estão:n-t -t Kostya, que já joga no clube há vários anos.

Kovalenko, que joga na ala esquerda.Além disso, o time contratou muitos jogadores que estão prontos para jogar em qualquer posição. Um deles é Vasiliev, que já estava no time há muito tempo. Outro jogador que está pronto para jogar no meio-campo é Mikhailov.Aqui está uma lista dos jogadores que já entraram para o clube:

1. Vyacheslav Kovalenkov 2.tMikhail Pavlovich 3.tVladimir Kuzmin 4.tAlexei Kuznetsov 5.tSergei Kuzmich 6.tYevgeni Malkin 7.tIvan Kuzmenko 8.tDmitry Kuzin 9. Valeri Kuzman10.tMaksim Kuzmerovn11.tAleksandr Kuznenkon12.tKostya Kuzmarovn13.tOleg Kuznyukn14.tEvgeny Kuzovn15.Andrei Kudryavtsevn16.Andrey Kuzarenkon17. Sevdik Kuzina 18. Alexander Kuzikov 19. Egor Kuzlov 20. Lukas Kuzmytskyi 21. Boris Kuzich 22. Pavel Kuzhukov 23. Nikolai Kuzkin 24. Anatoly Kuzemsky 25. Tatyana Kuzmichenko n26. Alyaksandr Kulygin n27. Nicolai Kulyk n28. Roman Kuzmelin n29. Ruslan Kuzmos n30. Timofey Kuzak n31. Shakhriyar Kuzykh n32. Zhanna Kuzemchik n33. Artur Kuzmiak n34. Alik Kulyuk n35. Rostislav Kuznar n36. Elmar Kuziev n37. Marko Kuzic n38. Petar Kulynyk n39. Petr Kuzcenko n40. Gennadiy Kuzev

41. Denis Kuzyaev

42.tFilip Kuzia

43.tFedor Kuziy

44.tIlia Kuzimich

45.tDimitri Kuzhev

46.tOlga Kuzmarev

47.tMarina Kuzova

48.tAnton Kuzneva

49.tLeonid Kuzmezov

50.{ Natalya Kuznova

51. Emil Kuznichenko

52. Xavier Kuznov

53. Pyotr azscore Kuzubov

54. Maxim Kulyanov

55. Fyodor Kuzhnitskiy

56. Victor Kulyash

57. Lyubomir Kuzmatov

58

[lesterplatt]

Adobe x Keith Haring | Creativity For All from Sophya Katulska (Huzbasic) on Vimeo.

Client: Adobe Inc. Concept: Achtung!isobar Amsterdam Produced by: Bakehouse, Antfood Audio Studio Authorised by: Keith Haring Studio (Artestar NYC)

CREDITS

Client: Adobe Inc.

Daniel Cowles - Executive Creative Director Daniel Vargas Díaz - Creative Director Mark Valenta - Senior Creative Director Copy Pete Fishman - Senior Campaign Marketing Manager Sara O'Dea - Associate Creative Director Doug Beach - Senior Creative Director Mara Bey - Campaign Marketing Manager Farhana Rafi - Senior Marketing Manager

Agency: Isobar Amsterdam

Claire IJsbrandij - Senior Creative team instagram.com/ijsbrandij Tanya Ponomareva - Senior Creative team instagram.com/tanny.ponomareva Marc Elbers - Head of Production instagram.com/marc_elbers/ Jasper Janssen - Creative Director instagram.com/jasperjanssen/ Samyr Souen - Creative Director instagram.com/sousamsouen/ Mervyn ten Dam - Executive Creative Director instagram.com/mervynachtung/ Kika Douglas Castroviejo - Executive Creative Director instagram.com/kikadouglas/ Lorenzo Angelone - Motion Designer instagram.com/lorenzo.angelone/ Maksim Kuzin - Editor instagram.com/maksim.t.kuzin/ Annabelle Klop - Account Manager instagram.com/annabelleklop/ Maaike Stellink - Account Manager instagram.com/maaikeste

Production: Bakehouse

Dima Maseykin - Film director/Chief Illustrator instagram.com/daltonizm_/ Alya Lugovaya - Head of Production instagram.com/aleyaska/ Kostya Korobkin - Head of Production instagram.com/duffus/ Sophya Katulska - Executive Producer instagram.com/sollveig_k/ Mitya Katkin - Executive Creative Producer instagram.com/mityakatkin/

Liza Chernyak - Illustrator instagram.com/cher_liza/ Nikita Selivanov - Illustrator instagram.com/kitos_04/ Aset Kairambayev - Illustrator instagram.com/nakedmazafaker/ Roman Novak - Illustrator instagram.com/nvk_foxhide/ Egor Afonin - Illustrator behance.net/egorafonin/

Pavel Nikiforov - Lead Animator Anastasiya Melikhova - Animator Vera Pozdeyeva - Animator Vadim Ivanov - Animator Egor Keon - Animator Lyudmila Skotnikova - Сolour-in artist Nadezhda Pshenichnikova - Сolour-in artist Alisa Andreyeva - Сolour-in artist Tatyana Petrova - Сolour-in artist Alina Khabarova - Сolour-in artist Darya Gavrilova - Сolour-in artist Ekaterina Tikhonova - Сolour-in artist Yury Tomilov - Digital-compositor Alexey Sazhin - Digital-compositor Alexander Kuznetsov (2A Pictures) - Digital-compositor Andrey Kiselev (2A Pictures) - Digital-compositor Oleg Koverchenko (2A Pictures) - Digital-compositor

Anton Reva - Сollage director instagram.com/savemymind/ Anatoly Shabalin - Сollage artist instagram.com/shabalin_anatoly/ Galina Kazimi - Сollage artist instagram.com/renard_oui/ Sasha Churganov - Сollage artist instagram.com/po.sox/

Vlad Yakunin - Senior editor Kirill Khandurin - Senior editor Nikita Potapov - Motion designer

Shepard Fairey - Guest Artist instagram.com/obeygiant/ Kate Moross - Guest Artist instagram.com/katemoross/ Nikita Kibirev - Guest Artist instagram.com/nikibirev/ Anatoly Vladimirovich instagram.com/subwwaymoscoww/ Zhenya Artemyev instagram.com/zhenyaartemjev/ Katya Oktyabr instagram.com/octbrkate/ Yana Bolotenkova instagram.com/bolotenkova.yana Oleg Guta instagram.com/gutaart/ Ilya Kutoboy instagram.com/kutoboy/ Sergey Kolesov instagram.com/peleng_square/

Brushes Page: creativecloud.adobe.com/discover/article/keith-haring

Making of film: vimeo.com/bakehouse/btsadobeandkeithharing

Campaign hashtag: #creativityforall

Tags: @Adobe Inc. Achtung!isobar Amsterdam achtung.nl/ facebook.com/136407646401784/ instagram.com/weareachtung