Month: November 2022

En la conferencia de prensa previa al ya de por sí complicado partido, por losantecedentes de ambas selecciones y lo parejo del grupo, Berhalter intentóbajar la tensión al calificar el duelo como “solo un partido entre dos buenosequipos. Nada más”, pero luego tuvo que aclarar que el cuerpo técnico y losjugadores no estaban enterados de la acción en redes y quiso disculparse anombre del grupo: “no sabemos nada sobre lo que se posteó. Hay veces en quelas cosas no están en nuestro control. No nos enfocamos en todas esas cosas defuera. Lo único que podemos hacer es disculparnos a nombre del staff”.Imaginen la posición en la que deja este jaloneo, seguramente bienintencionado de los federativos, a quienes deberán buscar la victoria que lesdé este martes la clasificación a la ronda de octavos de Final y de pasoevitar engancharse en temas complejos, más allá del terreno the youth.

Only important football matches – especially those of the Dutch national team– still score viewing figures that resemble those of a few decades ago. So itmakes sense that the DWDD -rel does not fascinate everyone, writes RoelofBouwman.

Roelof Bouwman (1965) is a historian and journalist. He writes weeklyabout politics, history and media.

After we were treated to revelations around earlier this year The Voice withLinda de Mol’s now ex-partner in an unflattering leading role, there was newslast week about TV presenter Matthijs van Nieuwkerk.

Story about ‘culture of fear’ DWDD in 2011 already in Private

Former employees of The world goes on ( DWDD ) collapsed de Volkskrant_from the school about his ‘tyrannical behavior’. This is said to have createda ‘culture of fear’ on the shop floor of the programme. A similar story wasalready in 2011 in weekly magazine _Privately but was then completely ignoredby other media.

Now there was commotion. ‘Matthijs van Nieuwkerk,’ wrote The Telegraph ,’Hilversum seems to have divided into two camps: celebrities who denounce itand people who show understanding’. In the first camp, football analyst Renévan der Gijp set the tone (‘If you enjoy humiliating people, then you’resick’), in the second, Reverend Gremdaat, Paul Haenen’s alter ego (‘People whoare brilliant in their work are often capricious and unpleasant in everydaylife’).

Especially on social media, it became clear that there is also a third campoutside Hilversum: of people who let it be known that they rarely or neverwatch an episode of The world goes on had seen and that the commotionsurrounding the ‘fallen sun king of the VARA’ could only moderately fascinatethem.

Used to be The world goes on a ratings gun? That’s relative

Wonderful, at first sight. Because The world goes on was an immenselypopular TV program between 2005 and 2020 and Van Nieuwkerk – it was hammeredinto us again and again last week – isn’t it a viewing figure gun of historicproportions?

There are, however, a few caveats to note. DWDD peaked in 2015, with anaverage of over 1.4 million viewers. A nice score, but compared to the talkshows of Mies Bouwman and Sonja Barend, for example, which regularly attractedbetween 6 and 8.5 million viewers in the eighties, it is not impressive.

Of course, there were fewer television networks back then. But also fewerDutch people. And let’s not pretend that the Dutch are flocking to Mies and_Sonya on Tuesday_ watched, because there was no Omroep Flevoland and no24Kitchen yet.

When it comes to the reduced reach of mass media, it’s almost always aboutprint media. Newspapers and magazines are said to be ‘dead trees’, prolongingtheir hopeless existence with the help of fewer and fewer readers.

But the ratings of our television heroes have plummeted at an even fasterrate. Many programs that are now at the top of the lists of the KijkOnderzoekFoundation would have been taken off the screen a generation and a half ago asflops. Only important football matches – especially those of the Dutchnational team – still score viewing figures that resemble those of a fewdecades ago.

Television is no longer really a ‘national’ medium

Television is no longer really a ‘national’ medium. And so it is logical thatTV riots no longer automatically have a national character. Let Matthijs vanNieuwkerk not be very sad about it.

The NPO must stop hunting for viewing figures and market shares. That huntdoes not belong to public broadcasting, but to commercial broadcasting. Sosays CDA MP and former Lingo presenter Lucille Werner. According to Werner,control over programs should return to the broadcasting associations. ‘The NPOhas gained too much power’.

According to Werner, the incident with Matthijs van Nieuwkerk at De WereldDraait Door is directly related to the ‘rat race for the ratings’ within theNPO. ‘The hunt for viewing figures and market share is not the job of the NPO.It hardens because of this.’

Also read | Minister Dijkgraaf about abuses DWDD: never received signals

By removing power within the public broadcaster from the NPO and thentransferring it back to the broadcasting associations, the broadcasters wouldknow better where they stand, thinks the CDA MP. ‘That way they know betterwhat the length and duration of a program is. With more control, more peoplecan be hired on a permanent basis, which is also good for pluralism.’ Moreattention should be paid to the appreciation of the programs among the varioustarget groups, Werner thinks.

Broadcasters are the gold of our country

The idea that has existed for some time to convert the NPO to the BBC model,so without broadcasting associations, is not a good idea, thinks Werner. ‘Thebroadcasting associations are the gold of our country. That’s so unique. Wehave so many newspapers in our country with different currents. We also havemany broadcasting associations with their own sound. Because they have toolittle say, they can’t make that sound heard properly.’

And so power must go away from the NPO. ‘It has been given too much power,broadcasting associations have to deal with the content. Not the NPO. That isalso contrary to the media law.’ However, this shift does not prevent a powerincident such as with Matthijs van Nieuwkerk, says Werner. ‘He wanted to makethe best program in the Netherlands. That’s allowed. But not about corpses.’

Also read | “Matthijs van Nieuwkerk behaves like a child who has lost histoy”

Martin van Rijn

It has now become known that former minister Martin van Rijn will lead theinvestigation into abuses at editorial offices within the NPO. That researchshould not only be an inventory, but also offer solutions for the future. Thisis what chairman Arjan Lock said on Monday on behalf of the Board ofBroadcasters (CvO), the advisory body in which all broadcasters have united.This week, the broadcasters discussed the revelations about the culture offear on talk show De Wereld Draait Door.

‘It is very good that the NPO is having an independent investigation done,’says Lock. ‘But there really needs to be a thorough investigation into whatwent wrong and why. We also advocate looking to the future. To preventsituations like this, something needs to change in the structures andhierarchical relationships within Hilversum.’

Also read | Top civil servant ignored legal advice from whistleblower NPO

According to CDA MP and former Lingo presenter Lucille Werner, control overprograms should return to the broadcasting associations. ‘The NPO has gainedtoo much power’. (ANP / Robin Utrecht)

VVD wants openness NPO about spending

The VVD thinks that the NPO is too secretive about the costs of TV programsand therefore wants the cabinet to ensure that a transparency register is setup. This must state how much money is spent per radio or TV program and onwhat exactly. The liberal party wants this to also provide more clarity aboutthe top salaries of presenters.

Next year, the cabinet will invest 856 million euros in the NPO, accountingfor three-quarters of government expenditure on media. It is unclear exactlyhow that money is spent, the Court of Audit stated in a critical report a fewyears ago. External producers in particular provide little transparency. Theprograms they make are generally viewed better, but are considerably moreexpensive than the productions of the public broadcaster itself.

The plan must also clarify how public money is spent by external producers,’so that salary constructions become as transparent as possible’. The Memberof Parliament notes that ‘rules for top salaries of presenters arecircumvented by hiring presenters through private companies’.

French multinational

Last weekend, the journalistic collective Spit published an investigation intoexternal producers of programs on public broadcasting in the opinion magazineVrij Nederland. For example, the talk show Op1 is produced by a Frenchmultinational and the EO program Het Familiediner by a subsidiary of theMediawan stock exchange fund. It remains unclear how the government moneyspent on these and other programs is spent, according to the investigativejournalists.

After Winnie the Pooh, Bambi is also going to be put in a gruesome horrorjacket, and Disney can’t help it.

Most Disney classics are based on stories that already existed. Fairy tales orbooks, given a new animation jacket. Still, the entertainment giant is doingeverything it can to keep its characters out of the public domain.

Winnie The Pooh: Blood And Honey

Partly due to Disney’s long track record, however, that is no longer always anoption. As a result, it is possible that a horror film about Winnie the Poohwill get a cinema release.

Winnie The Pooh: Blood And Honey , of which we recently shared the luridfirst trailer, will be released in American cinemas next year. It is obviousthat the makers are purely piggybacking on the popularity of Disney and theshock factor of a horror version of Pooh.

Bambi is also getting a horror movie

Without the well-known character, we wouldn’t even be talking about the movieright now. Yet that trick is lucrative, that’s clear. In fact, ITN Studios andJagged Edged Productions have realized that you can milk the formulaendlessly. At the beginning of next year they will give the story of Bambi anew look. A bloody horror jacket.

Why Disney Lets This Happen

The original Disney film dates from 1942, and is based on a 1923 book by theAustro-Hungarian author Felix Salten. By emphatically relying on that book,the makers of the upcoming film will probably be able to evade Disney’smerciless army of lawyers. Salten’s original work has been in the publicdomain since 2016. As long as the makers don’t use features that Disneyintroduced, such as the design of Bambi himself, they can go ahead.

“The film will be an incredibly dark retelling of the 1923 story we all knowand love,” said producer Scott Jeffrey. “Inspired by the design used in TheRitual from Netflix, Bambi becomes a vicious killing machine lurking in thewilderness. Prepare for Bambi with rabies!”

Weak trick or formula for success?

Uh, yes, intense. Rhys Frake-Waterfield will direct the horror film, whichwill begin filming sometime early next year. He was already at the helm of_Winnie The Pooh: Blood And Honey_ the project that started this absurdadventure.

For now, it’s all a matter of waiting. The team clearly understands that theyhave a formula for success, but the question is whether the films will haveany right to exist without the Disney link. Piggybacking on the recognitionfactor once will work, but will the public continue to buy tickets for thistrick?

Peter Pan

We’ll find out next year. In any case, the makers are ambitious: the thirdfilm is already on the schedule. Frake-Waterfield has also announced that heis working on a dark version of Peter Pan called Peter Pan: NeverlandNightmare. Meanwhile, Disney is doing everything it can to prevent thesekinds of projects. So far in vain.

What makes a conductor great? The difference between a 7 and a 9 can beexplained; talent, experience, score knowledge, vision. But you never quiteunderstand the jump from a 9.5 to a 10. It lies in the invisible but audiblevibrations between the musicians and the person in front of them. Wanting toget the best out of yourself for someone, breathing together, being able toplay freely.

The young Fin Klaus Mäkelä (26), who will be the new chief conductor of theConcertgebouw Orchestra from 2027, learned from his former teacher JormaPanula that you create the best starting qualification by also being amusician as a conductor. The examples of his being right are countless. Withthe Concertgebouw Orchestra alone, Bernard Haitink, Mariss Jansons and Jaapvan Zweden were violinists, Van Beinum played violin and piano – and so on.Once active as a conductor, the instrument often disappeared into the box.

But the new generation of conductors takes a different approach. At theRotterdam Philharmonic Orchestra, chief Lahav Shani is regularly behind thegrand piano. Klaus Mäkelä could also be heard as a cellist in the Muziekgebouwin Amsterdam on Saturday – surrounded by colleagues from the ConcertgebouwOrchestra.

The set-up of the ‘Café Brahms’ program was simple: chamber music by Brahms ina homely setting. Viola player Michael Gieler (organizer of the concertseries) first allowed the busy Mäkelä to “chill out as at home” on the sofa,while his colleagues played a quartet by the Finnish composer Aulis Sallinen.But home for Mäkelä is no longer just Finland, he said diplomatically, it isalso Oslo, Amsterdam and Paris – where his orchestras are located. A sense ofhome also brings him his new cello by Carlo Tononi from 1720, which he “isstill completely in love with” and who “travels with him on an extra bookedseat”.

Conductor Klaus Mäkelä plays the cello during Café Brahms in the Muziekgebouwaan ‘t IJ. Photo Emelie Schaefer

You then got to know Mäkelä and the Tononi better in Brahms’ _String sextet_in Bes. The cello was not an ideal match for Brahms; a little too subtle andvolatile, but beautifully merging with viola leader Santa Vizine and inelegant dialogues with violinist Tjeerd Top. Nowhere did Mäkelä take the leadin a dominant manner: he was one of the six among the musicians and wasparticularly notable for the melodiousness and eloquence of his solo passages.

Festive Requiem

As conductor, Mäkelä led the Concertgebouw Orchestra in Mozarts this week_Requiem_ and Sibelius’ inscrutable, fascinating Fourth Symphony. Fromdarkness to death: this is how he immediately gave his business card as alover of unorthodox programs.

The Fourth turned out to be a revelation. Even before the first notesounded, you saw – typical of what followed – how Mäkelä mobilized the cellogroup with eye contact for an opening lament at its most plaintive. In anycase: how beautifully the strings hum and bronze under his gracefulleadership. Waltz fragments also benefited from that body language, whileBrucknerian tremors and ominous woodwinds gave the feeling that something wasabout to erupt and at other times the suffering motif from Wagner’s _Parsifal_echoed. In the transitions between passages there was sometimes a burr on theweld, some sighs could be even deeper. But that did not detract from the powerof the journey: a symphonic pilgrimage to the depths of the human soul, whereyou saw how much the orchestra flourishes under Mäkelä.

Mozarts Requiem was then an alienating experience – as if something of lighthad to follow after the darkness of Sibelius. The Nederlands Kamerkoor,prepared by Peter Dijkstra, shone 32 strong in all voice groups; to drool overas a choir lover so well (Lacrimosa, Hostias). In the solo line-up, sopranoSabine Devieilhe and tenor Julian Prégardien, both unearthly good singers,opened the gates to Paradise. But the tempi that Mäkelä chose were soextremely high in almost all parts that there was no question of purificationor introspection. Athletic virtuosity and discipline prevailed here: as ifevery note had to be filled with its own energy. Infernal tongues of firesounded like feasting cherubs. Thus arose one Requiem full of energy andvitality, but (still) without guilt, penance or sorrow.

How silly, she thought. When Janne Eraker (41) came to the Netherlands twentyyears ago to study Modern & Jazz at what was then still called the RotterdamDance Academy (now Codarts University of the Arts Rotterdam), the Norwegianhad to master mandatory tap dance steps. What could be fun about that? But herteacher turned out to be well versed in all steps and techniques and Erakergot a taste for it.

She learned how to draw two sounds from one leg movement, how to create aswinging rhythm by touching and not touching the floor with your metal soles,and how a toe-heel-toe-heel forward differs from a toe-heel-toe-heelbackwards. And also how to fly a bit by spreading your arms and shifting yourweight properly. ‘Tap means that you always and everywhere know exactly whichleg you are standing on and where your body weight is moving. You have to makesure your knees don’t lock. You can’t cheat with your balance,’ she says viaZoom from Oslo, to which she returned after further education in New York.

Next week the Norwegian will perform with her tap dance improvisation trio OneSmall Step in Rotterdam, with guest bassist Bruno Ferro Xavier da Silva, andin Amsterdam, with guest tap dancers Peter Kuit and Marije Nie. She presentsher first album Gol Variations , which was recorded entirely on the basis ofimprovisations. Because, yes, Eraker’s tap dance sounds great on CD and vinyl.After years of study and experimentation, she has become a dancingpercussionist. ‘I use my dance background to become a better musician. I liketo really move and feel the taps all over my body.”

Tap dancer Janne Eraker in ‘Rhythm is a Dancer’ (2019)Sculpture Martine Petra

She learned in America that tap dance can also be music, from minimal to jazzand from slow to swing. ‘As a black art form, tap is strongly linked to therichness of jazz culture.’ Eraker was taught by senior specialist HeatherCornell, founder of the renowned Manhattan Tap, among others.

It sometimes makes her sad that people tap dance, except at the Singing inthe rain romanticism of film star Fred Astaire, especially reminiscent of the’rather square’ Irish folk dance, in which the lower part of the body rages atlightning speed while the torso remains imperturbably straight. MichaelFlatley made it a world hit in seven minutes in 1994, when he was allowed topresent the intermission number of the Eurovision song contest organized byIreland. Although the American has since retired – his legs made him a multi-millionaire – his Lord of the Dance and Riverdance are still touring theworld. Last week Lord of The Dance was still in the New Luxor, in the springRiverdance will come to Ahoy with an anniversary show.

Not that Eraker has anything against folk dance, on the contrary. As the childof a Norwegian pastor, she often accompanied her German mother, a gynecologistwho filled her spare time with folk dance training in the Balkans. ‘Forexample, I was occasionally allowed to participate in Bulgarian folk dances.’

What she especially dislikes is the spectacle content of these kinds ofperformances. “They turn it into competitive entertainment. It revolves aroundthe hardest and fastest tricks with a lot flash steps. Lots of records, lotsof noise.’

She herself is part of a medium-sized German tap dance group, the SebastianWeber Dance Company, which creates theatrical dance performances on themessuch as the beast in man or modern folklore. Eraker is also making progress asa choreographer. She made a solo performance for herself, Rhythm is a Dancer(2019), in which she unravels the basics of tap dance steps in order toreassemble them in a contradictory way. And she has created an experimentalsolo for tap dancer Helen Duffy, a cross between a film noir and Japanesehorror. In Tap Noir , who is coming to the Motel Mozaïek festival in thespring, she creates suspense with a mountain of dazzling light from threestroboscopes. “You hear her drumbeats as you see Helen hanging alone in theair.”

She may be the only professional tap dancer in all of Norway, an exporter ofmodern jazz pop par excellence, Eraker has no regrets that she returned toOslo in 2017 with husband (visual artist Michiel Jansen) and daughter (thensix months old) . Since 2012, Norway has been supporting the top freelanceperforming artists with a fantastic system: The Alliance for Actors andDancers currently ensures income for 54 dancers and 54 actors, even when theyare not on stage. ‘You are selected on the basis of the amount of work, no onejudges about quality. You have to provide a mega schedule full of contracts,posters and program booklets as proof. But once you are employed by thisalliance, you will also continue to be paid for days on which you do notperform but invest in your profession, for example through travel,experimentation and research. Ten years ago, following the example of Sweden,they started with ten dancers and ten actors, now there are almost six timesas many. I can now build a sustainable professional career as a tap dancerwithout falling far in income every time I don’t have a job.’

“Remember my name, fame!” These are the words that made singer and actressIrene Cara, who died last weekend at the age of 63, world famous in one fellswoop. Her music career stalled on that 1980 song and hit _Flash dance … WhatA Feeling. _But both hits were so big that her name will be remembered inmusic history.

Cara was close to being nothing more than a dancer in Fame. When producershear her voice, it is immediately clear that the female lead of the iconicmusical film can only go to one person: Irene Cara. The makers are so surethat they rewrite the film for her. So she eventually gets the role of CocoHernandez and sings the songs Fame and Out Here On My Own in the movie.

Resulting in great success. The number Fame , written by Michael Gore andDean Pitchford, becomes a big hit that has a long life. If two years after therelease of the film in 1982, a series is made that serves as a sequel, it willbe Fame also used for that soundtrack. And again the song rockets into thecharts of Europe.

Both Fame if Out Here On My Own are nominated for an Oscar for BestSoundtrack Song in 1981. It is the first time in the history of the filmawards that two songs from the same film by the same artist receive anomination. In the end, Cara wins the figurine with Fame.

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Flash dance… What A Feeling

After the success of Fame Cara focuses more on her acting career. Sheappears in such films as Sisters, sisters and Kill ’em Softly.

In 1983 Cara reached the peak of her musical career. She is then approached bydirector Adrien Lyne to co-write the soundtrack for the film _Flash dance._Cara is shown the final scene of the film and asked if she would like to singthe song, which still has no lyrics. “I said I would only do it if I couldalso co-write the song. They agreed and the rest is history,” she says in aninterview in 2018.

Cara enters the studio with producer Giorgio Moroder (best known for his workwith Donna Summer) and songwriter Keith Forsey. The number will be on paperwithin about four hours.

In the end, Cara doesn’t just meddle with the text of Flash dance … What AFeeling, but also with the melody. “I sang the melody the way I thought itshould sound. Giorgio is a fantastic composer, but he’s not a singer. Singershave to interpret the music with their own way of singing. And then sometimesyou have to adjust the melody a bit.”

The song became a number 1 hit in many parts of the world, including theUnited States. In 1983, Cara again won the Oscar for best soundtrack song.Years later it is Flash dance … What A Feeling still popular: the song hasamassed around 400 million streams on Spotify in various versions.

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Problems with record company

Unfortunately, Cara does not really enjoy her success. While the whole worldon _Flash dance … What A Feeling _dances, Cara is involved in a bitter battlewith her record company. “Outwardly things couldn’t seem to get any better,but at the same time I was busy suing my record company. Everything wasfalling apart and I had to pretend everything was going well.”

RSO Records, where Cara was signed at the time, is in dire straits when Caraachieves success. Many artists leave the label, but the singer gets no helpfrom her management or a lawyer. Cara on that in 2018: “I scored two of thebiggest hits of the decade and I didn’t get a dime.”

When Cara proceeds to sue the record executive, she becomes a persona nongrata in the music industry. Other record labels are warned, because Carawould be difficult to work with. As a result, she does not get the chance tobuild on her success and a new album is not released until 1987. She does actwith more regularity, but there are no really big successes there either.

Although it has remained with a few hits for Cara, she has two timelessclassics to her name. The singer, who rolled into the entertainment industryat a very young age through her parents, was especially happy for them withwhat she has achieved. “It was their dream for me and I fulfilled it.”

No era un oficio cómodo y la competencia de las perlas artificiales redujopronto sus beneficios, pero Saad habla con nostalgia de aquellos años, cuandono había ni aire acondicionado, ni rascacielos ni clientes con camisetas dedecenas de selecciones de fútbol preguntando “¿cuánto cuesta ?” and distintosidiomas en su tienda del zoco.

Detallede los collares que Saad Ismail Al Jassim vende en su tienda del zoco Wakif,en Doha.Jaime Villanueva

– ¿Cuántas ostras hay que abrir para encontrar una perla?

– Cada ostra es una opportunidad. A veces coges 1,000 y no hay ninguna. Otrasveces sacas 12 y la mitad de ellas tens perlas. La paciencia era lo másimportante en este trabajo.

Dice “era” porque ya no quedan buscadores de perlas en Qatar. “Tenemospetróleo y gas y la gente gana mucho dinero con eso. El país ha cambiado muchodemasiado rapido. Todos los países cambian. Pero yo sigo siendo el mismo.Podría bucear ahora en cualquier sitio”, asegura.

And realidad, Saad ha tenido muchas vidas. Además de buscador de perlas, fueculturista y oficial del departamento de Defensa catarí. En su tienda del zocoWakif de Doha exhibe viejos retratos de cuando tenía músculos sobre losmúsculos, y en una pequeña televisión muestra en bucle a su clientela vídeosde cuando buceaba y cuando caminaba sobre cristales o le rompían piedras en elpecho –también tuvo su etapa de faquir– . “Si me pagas, aún podría hacerlo”,bromea. En 1958 ganó un concurso de culturismo en Qatar que ya patrocinabaShell –en 1940 se descubrieron los primeros yacimientos de petróleo, y en1971, año de la independencia, los de gas– y en su largo y variopintocurrículum también figuran unos años como empleado the una compañíapetrolifera.

Gales is different. El nacionalismo galés existe y ha crecido también en losúltimos años, pero su sistema autonómico es mucho más débil que el escocés ysu sistema legal está en su mayor parte engarzado a la ley inglesa. La inmensamayoría de las leyes aprobadas por el Parlamento de Westminster afectan aInglaterra y Gales, cosa que a menudo no ocurre con Escocia o Irlanda delNorte.

En fútbol, ​​ningún equipo escocés o norirlandés juega la Premier League, perosí lo hacen (o lo pueden hacer si están al nivel requerido) cinco equiposgaleses (Swansea, Cardiff City, Newport County, Wrexham y Merthyr Town) porquese integraron en la competición inglesa antes de que existiera la galesa o porrazones de proximidad en una época en la que ir del Sur al Norte de Gales eramás difícil que atravesar Inglaterra.

Algún lector que haya sido capaz de llegar hasta aquí quizás se estépreguntando por qué el Reino Unido tiene cuatro equipos cuando la FIFA soloacepta una selección nacional en representación de cada Estado. La respuestaes la Historia: los británicos no solo inventaron las reglas del fútbolmoderno en 1863 sino que durante años fueron casi los únicos que jugaron aeste deporte. El fútbol no empezó a hacerse global (o al menos europeo) hastafinales del siglo XIX y para cuando se creó la FIFA en 1904 sus impulsorespensaron que no podrían sobrevivir sin la fuerza de los británicos ya estos noles interesaba integrarse en un organismo mundial que implicara fundir en unasola sus federaciones nacionales y eliminar a sus propias seleccionesnacionales en beneficio de un único equipo británico.

“Un delantero centro capaz de aguantar el balón de espaldas te da algunaopción diferente, pero no creo que sea la panacea”, dijo ayer Danny Röhl,segundo entrenador de Alemania, cuando le preguntaron por qué el úinico_nueve_ puro de la plantilla no es titular en lugar de Müller. “Los técnicosdebemos pensar en el todo, no solo en las partes”.