[000:00:00;00] the foundation can be traced to pricing, then there is no foundation in bitcoin, everyone ran, bought, it grew, everyone decided that oh, everything was gone, there, the regulator or someone else spoke, yes, there, some talking head said , like at the beginning of the year, yes, the government, the financial one in the person of elvira sakhibzarna, said that the central bank of russia has a very negative attitude towards the idea of ​​​​introducing bitcoin, and thereby provoking a collapse in the price there by 10 to 15 percent, from our ministry of finance, who saw the problem with bitcoin only as in order to pay taxes, here is our head of the central bank, she saw precisely the danger in the fact that bitcoin, this is great, by the way, we can do the same here, we need to go back for a second to the digital ruble, still say that there is no such thing everyone won’t be able to mine the digital ruble , this is probably it, this is the bridge, the currency of the central bank can only be mined by

the central bank, the question here is that the security of this platform is also ensured by the central bank? well, she should, of course, okay, mikhail, the question is, here we are warned against investing headlong into cryptocurrencies, trying to make money there, without understanding how, yes, that is , yes, i’m stating it again, it’s not like you bought it, it will definitely grow, it won’t grow, or it may still fall, and sometimes can fall by half, but just imagine, are you ready to endure, it is clear that this is not a loss, you will fix it, yes, you have there, relatively speaking, there is one bitcoin and it costs 20,000, if it is at the moment costs 10,000, this is not a loss, it’s just that you have this coin, well, i’m showing it as a coin, well, in electronic form, and on a flash drive you have it written down in your wallet, that is, until you sold it at 10, you didn’t record a loss, but it’s still not very pleasant, yes, you have this the asset costs 20,000 or 10, nevertheless, since the tenth year we have seen, well, a dozen of

exactly large cryptocurrencies, large cryptocurrencies. literally a month ago this whole story was there in the states, one of the largest, the second or third crypto exchange in the world went bankrupt while finding out that it was lending, yes, not just lending there at the expense of raised funds, their own projects, their own coins, well, to put it mildly, it creates a hole in the balance sheet, in the language of the central bank, and yet, i think that millions of new buyers of cryptocurrencies, and even bitcoins exist, just like people , despite all these stories. for multi-billion dollar losses, multi-billion dollar losses, yes, they trust, here’s their money, i remember my first impression, when i was driving a car in europe for the first time back in the nineties and i had to pass a toll road, and there was some kind of rusty, that means an atm, well, there’s a card acceptor there, well, we’re so young, that means the russians there are quite successful, so i say to him, misha, why are you putting your gold card in there, i say, you know it

’s scary, that’s the truth i . that’s how people are not afraid to send money somewhere to a stock exchange, to hong kong, to somewhere else, to a digital wallet, that’s all, as you know, that’s why the stock exchange is collapsing, the stock exchange, well, any stock exchange can collapse and most importantly, you won’t make any claims against anyone, here it’s digital ruble, you are in charge, you will tell, guys, what happened, yes to the central bank, then here you will go to someone, no one, no one, because there is no one there, there is a formula and i even wrote in one of my publications that if everything will disappear there, then... this magic formula, you will only have a formula that you can carefully write in calligraphy on a piece of paper in a frame and hang it on the wall to admire, now i want, so you asked, why are people coming? here you have to remember the pyramids, pyramids - this is a completely different thing economically, but the psychology is the same, that is, there are fairy tales for the feeling of desire not only in russian culture, but in other countries, and this

is considered to not depend... neither on the development of the economic level, nor on the education of people , from nothing, it’s like the pyramids failed like in mexico, they are also thriving in the united states, but you can’t say that they are thriving, but they haven’t gone anywhere, just the same in europe and so on, and even the number has been counted, here are the people, the number of populations that are prone to extreme there are a bunch of sports, let’s say. to independent business, this is approximately the same figure, from 4 to 6%, they are not alone, of the population, and 6% is 4%, to whom we can explain as much as we like about the harm of the pyramid, but why

the pyramids themselves? they don’t invent anything... because 4% is always at their service. that is, they don’t even need to invent anything , let’s sum it up briefly, it means that digital money is progress, it’s a step into the future, it’s just a new technology, there is money issued by the central bank and this indeed, progress within one country, there are some cryptocurrencies that are not issued by central banks, and this is an attempt to make a payment system outside the framework of the economic state. this is already your risk, your own risk, unlike the first story, and digital national currencies of large countries, here, where you have central banks and the government as the guarantor and issuer, here no one acts as the guarantor of the issuer, you don’t need to be afraid of this, you need

everything just to discern who is behind it, absolutely right, mikhail, thank you very much, it turned out to be a very interesting program, i hope that we still have to figure it out and figure it out, but we have taken the first step, thank you, thank you. hello, i’m larisa guzeeva, this is a podcast letter, my guest today is the honored artist and artistic director of the rostov tsaritsina theater, nona grishaeva. hello, but hello, are you on time? no, i’m catastrophically unable to do it in time. well, now i’m already graduating students, i had a course at gitez, yes, now it will become a little easier, well, no,

you can’t give up anything, cinema, theater, i refused, there was a period when i was invited to head the theater, and i took a break to think about what i could give up in order to do only theater and there was a period when i didn’t. .. yes, i needed to direct all my energy to the theater, and then, when the theater was already on track, and we began to take off, i returned again, began acting on television, in films, you know, i think about everything all the time, besides lyudmila gurchenko and you, even now i can’t remember anyone when at first glance, you say, this is an actress, so you were born artists and here are just two such art. maybe that’s why i play it, maybe that’s why, because you’re bursting like this, i couldn’t live any other way, you can live without your profession, no, no, this is my air, especially theater, which i can’t live without,

and when you realized that you can’t, and i’ve been on stage since childhood, yes, i know, tell me about the first time when you and your mother left the clinic, in my opinion, yes, you were about five years old, yes, i was 5 years old and we left polyblades, this is a polyroya... near the opera house, where dima kharatyan was filming in the film, there was a photo on the wall, and i was right there, i heard music, grabbed my skirt, started spinning, dancing, immediately ran up to my mother, you’ll die, she said, can i have your girl? frame, this is my first time coming out, there were no embarrassments, and you remember right that moment, yes, no, i remember , yes, i remember, and i remember, since i was 67 years old, i was already organizing solo concerts for my relatives, the programs i wrote as the first number was a song like this , fable, you entered the choreographic school, right? i entered the ballet school school at the age of 7, and to a music school, and then a theater studio, where at the age of 10 i played my first leading role on the professional stage of the odessa

operet theater. tell me, did your parents blaspheme this in you, or did you, in defiance of everyone, still go and sign up for these clubs yourself? by the way, this often happens most often, no, my parents immediately realized that there was a geek in the family and - they began to develop these abilities of mine, that’s why my mother sent me there, and there, there, and that is, they didn’t tell you this banality, get first the profession of a doctor, and then stupidity toil as much as you want, no, i know that your mother even went to moscow with you when you entered, yes, but what about, well , i was such a homely girl, well, how could they let me go alone in the nineties, and in fact, she applied to everything everywhere, like all of us - she came and when she entered the shukinsky school, she said: “mom, i will study here.” mom said, haha, yes, yes, i, mom, i’m telling you, i feel, i will study here. who did you apply to? i applied to albert grigorievich burov, yeah, and then

i ended up taking vladimir vladimovich ivanov’s course, my classmate, masha aronova, anya dubrovskaya, an amazing teacher, and why did you go straight to shchugin? mom didn't leave me. why? and because she came to the hostel, saw where the child should stay, she said, no, no, no, you won’t stay here, i say, like a mother, no, she took me back to odessa, i... entered the vocal department of the odessa music college, i studied there for a year, i whined to my mother all year that you were ruining my fate, i can’t, i want to moscow, i want, tell me, well, rent an apartment, some room from your grandmother, so that she and you don’t have money, we lived very modestly, but still, you studied in odessa this year, but unfortunate, yes, and i passed the vocal exam in acting, and the director of the music school called my mother. i asked what your girl is doing with us?

take the documents, take the child to moscow, and i came for the second time, my teacher, professor valentina petrovna nikolaenko recognized me, saw me, said, my bird flew from odessa, where did you go then in that year, can you imagine, she remembered me, 300 people in place, i said, my mother took me away , she said, give me the documents immediately for the third round, after all, i stayed, in the same hostel, yes, but what should i do and... after college, did all the theaters want you? well, just everything, not all, but three, wonderful theaters, in linkom they took me to the saterikons, to the vakhtangov theater, and i chose, of course, my native vakhtangov theater, it seemed to me that they knew me there, there would be no need to prove it, oh, no, i had to prove how and for how many years, but it seemed to me that i had you in my arms everyone wore it, from yuri yakovlev to lonovoy, it was all... later, for many years i played

only small roles, tiny, small , yes, yes, yes, for many years, i even thought about going into another theater, because they won’t give me anything here anyway, but in the end, when i managed to break through and prove, this is a very long way, three programs are not enough, but still i am incredibly grateful to vakhtangovsky for being my partners with whom... i played love were yuri vasilyevich yakovlev, vasily semyonovich lonovoy, it was absolute happiness, these are people who, despite their status, their stardom, yes, they were absolutely amazing partners, well , first of all, they are men, and you are a young girl, very pretty, who suddenly fell into their

tentacle , why shouldn’t i love you? they introduced me because the play went on for a long time, and they introduced me, i they said that yuri vasilyevich sometimes forgets the text and if anything tells him that you should learn yours, and his, i sometimes suggested it, but once i couldn’t do it, he missed one word, and uh, all the races. no, the meaning has changed, these are tsvetaeva’s poems, you know, casanova says, yuri vasilyevich, listen to the fairy tale, there lived two , he was more beautiful, he and i, i say, brother and sister, he says, i say, that means you and me, and yuri vasilyovich forgets one word, more beautiful, and the meaning completely changes, he says, listen to the fairy tale, there were two people, she him, and he her, looking at me. and what can i sing in poetry?

i say: brother and sister, he says: i say, that means you and i , i bury myself in his lap, because we are both split, like , well, the most interesting thing, that’s all, when we shot up like this, in the hall they don’t notice it, they don’t hear, they don’t understand, but it seems to them that this is how it should be, or because they are attentive, not always, not always, because i had a different case with vasil semyonovich, he just completely impressed me... mowed and he himself always told this story, and i played in the play frederic or boulevard of crimes, it was for his anniversary, he played the great french artist frederic lemaitre, i am his mistress, a young artist, a beauty, not in the verses of the play, i come and say, good evening, i have come after my evening kiss, he says good evening, my joy, good evening my sweetness, today we began to have fun, spread our wings on the boulevards, showed off our legs when leaving the carriage, i say, yes, yes, 16th century france. suddenly vasily

semyonovich tells me at one performance: we today we were having fun, spreading our wings on the boulevards, showing our legs while getting out of the trolleybus, 16th century france, getting out of the trolleybus, suddenly, both ourselves , of course, we split, vasily lonovoy, suddenly, vasily lonovoy, yes, so that suddenly someone doesn’t know, it’s oh, well, in the hall they heard it, of course, those who, here’s the porter, they’ll definitely hear, maybe it didn’t reach there on the balcony. but here the meaning doesn’t reach them, that’s what, oh, well, it’s hard for a trolleybus not to reach, 18th century france, you know, oh, well, vasily semyonovich, this is actually a separate story, i was incredibly lucky once and valentin iosifovich gaft loved my work very much, so he even signed a book for me and he invited me to st. petersburg to receive an award, he wanted to give me the figaro prize, and uh, vova and i were traveling

simonov, a wonderful artist, we were traveling with a classmate, yes, we were traveling on the train. we were traveling on the train in the next compartment, valentin iosifovich gav and vasily semyonovich lonovoi were riding, they invited vova and me into their compartment and until 5 in the morning laris we were present there is such a modern word battle in the battle of these they read poems of two great artists in turn, and volodya and i are so-so, after all, valentin iosifovich is mostly known as a man who wrote epigrams, yes, and he wrote an amazing, i know, we communicated very well with him, epigram on you i didn’t write, no, but he told me such words, every time we met, that i grew wings

, i just grew wings, i understand, and i wanted to do something, even more, and how amazing he was, he wrote, not epigrams , but just a dedication to the artists, just not, ranevskaya, oh long-suffering fayina, dear a slammed piano, there are exactly half of the sad notes in it, how many were not played, but it’s a pity, in this book it was just, well, it went through, i want to tell you, about our brother and sister, and so in general, and you know , that a lot is attributed attributed to yes, yes? so we were sitting with him at this award, seryozha bezrukov came out on stage, and he leaned into my ear and said: they attributed an epigram to me, i didn’t write it, i love him very much, and it also seems to me that he fell in love in the process, for example, actors , and refused a lot, well, he just said that this is not me, this is also very

childish and boyish, i am eternally grateful to the vakhtangov theater for providing me with such an amazing opportunity to communicate and work with... the greats, when i arrived, i had my debut, roman grigorievich viktyuk , and in the performance i don’t know you anymore, dear, partners, makovetsky, fima shifrin, lyudmila vasilievna maksakova, and i remember that i then plucked up the impudence of roman grigorievich and asked, i say, roman grigorievich, you line up your bows so carefully, this is straight separate performance, why so, why? and i remembered everything he answered me. life, he said: baby, you gave them energy for 3 hours, at the bows, take it back , an exchange of energy took place, i remind you , this is a podcast letter, nona grishaeva is my guest

, you sing great, you move professionally, you are a dramatic actress, and you are a parodist, and you are funny, you can be funny, and at the same time you are beautiful. because , well, rarely does a beautiful woman allow herself such luxury, well, to be funny, to be ridiculous, and so on, all yours showed this - wonderful parodies on channel one, i think that your most wonderful parodies are of lyudmila markovna gurchenko, you somehow felt and understood her, your acting nature is very similar, very similar, i have never made a parody of her, never, well, how is it, i think i saw it, no, it was... in the program one on one, probably one on one, and it was exactly one on one number, the night is short, a serious number, not a parody, and now you you play in a play, and now i play in a play, this is based on her - this is based on her two books, applause ilyusya stop, such

a performance for you, this is my favorite job, the hardest, physically, morally, emotionally. probably because 90% of what i say on behalf of lyudmila markovna is me , really, yes, we have so much in common, just what you say, it seems to me that she is so prosperous, but she was married, successfully, for quite a few years, well, yes, it happened, then you had a second novel, if you want, i ’m forbidden to talk about this topic, i ’ll stop, well, everyone is interested in personal life. yours is not as stormy as yours lyudmila markovna, just think, well, there are three of your famous novels, and, as they say, the first and last ones ended with courage and children. gave birth, but lyudmila markovna was still better off with this matter, yes, of course, but this long period