Author: bestmedeal

André Hazes stood in a centuries-long tradition. There is a direct line fromthe love-faithfulness he praised in ‘She believes in me’ to the eternalhappiness that was poetically described by Joost van den Vondel three and ahalf centuries earlier in the words: ever found in the world…” Both of thembrought an ode to unconditional love, however much their choice of wordsdiffered. Hazes would never have ventured into the image of ‘two souls,glowing forged together’, while Vondel probably would not have held out theprospect of ‘a future for both of us’. But the feelings were the same.

Exhibition

Ruud de Wild, Songbook. Travel along the most beautiful Dutch songs.Exhibition until 5 March in Huis van het Boek, The Hague. The accompanyingbook was published by Walburg Pers (€20.99). Inl: huisvanhetboek.nl

This unexpected connection between Hazes and Vondel is made plausible in theexhibition Ruud de Wild, Songbook. Travel along the most beautiful Dutchsongs in the House of the Book museum in The Hague – also known by its formername Meermanno. The visitor is promised “a journey through the most beautifulDutch songs”, which is somewhat chafing with the un-Dutch word Songbook inthe title. This use of language probably bears the traces of the radio DJ Ruudde Wild, who acts here as guest curator and namesake. But there is hardly anyfurther popularization. By means of pamphlets from earlier times, sheet musicfrom the twentieth century and many open song bundles behind glass, theexhibition shows how the popular Dutch song has developed over the centuries.How it sometimes renewed itself. And how it – more often – reverted totraditional themes. It is not for nothing that the display is notchronological, but thematic. So that all the songs about love can be foundtogether in one room. Just like all the songs about religion, parties, sailorsand six other subjects.

The material has been collected by historians Garrelt Verhoeven and Martine deBruin, who clearly know more about it than De Wild. They were also able tomake use of groundbreaking research carried out twenty years ago by the nowdeceased song expert Louis Peter Grijp. This showed that many texts that havebeen mentioned as poems in historiography for many hundreds of years wereoriginally written for singing. So they are not poems, but songs.

Grijp discovered that it was very common at the time to write lyrics toexisting melodies. There was even a word for such texts set to existing musicthat is not in the Van Dale, but does have its own Wikipedia entry:contrafacts. For example, the thirteenth-century poet Hadewijch, whose poetryhas been preserved, can now also be admired for the songs she wrote. Just likeVondel, by the way. His immortal stanzas about marital fidelity (and also, forexample, about ‘Christmas night fairer than the days’) were not intended forsolemn declamation, as the theater tradition dictates, but to serve as hymns.Conclusion: many of Vondel’s verses are also songs.

10 standout songs on Ruud de Wild, Songbook

1 Hadewijch If this new year ignites us (thirteenth century)

Little is known about the poet Hadewijch. She may have been a beguine, but shedidn’t limit herself to religious or mystical poems. Her poetry is wonderfullyversatile. See, for example, this New Year’s Eve song, whose medieval titlesimply stands for “When the New Year Begins.” A new year also means thateveryone will soon start hoping for the coming of the season of love,according to Hadewijch. And when the time has come, the many lovers will alsopresent themselves again – those who are going to suck in “the sweet love”.

Use of the minuses, that’s a game That no one does ghetonen and mach. And even though dies ceremony was not allowed then, Hine const understand dies noe and plach: How minne don’t want minne ende el From all that he bescen that thought. That magnifying glass and es not so fast So of minuses, loupe es in of minuses.

2 GA Bredero Most animals rest at night (1622)

The popular poet and playwright GA Bredero was a seventeenth-century writerwho excelled in singing about love – with or without an amorous ending. Inthis song he describes the sad fate of a young lover who wanders lonelythrough the streets at night while “mercifully my dear” peacefully sleeping.Just as peaceful as the animals mentioned in the title.

I see it drifting swish I see the bright Moon, I see I have to stay Just stand in despair! Oh dear, want to rub me With comforting admonition!

Bredero’s singing involuntarily evokes the atmosphere of Ramses Shaffy, whofollowed a similar route three and a half centuries later. But in his song “tIs stil in Amsterdam’ he left the animals unmentioned.

3 Valerius Merck still how strong (1626)

Adriaen Valerius was a civil servant, later alderman and patrician – but bestknown as a poet. His best-known work was the collection _Dutch Gedenck clanck_in which he recorded a large number of beggar songs – partly of his own making– for eternity. This resounding example is about the relief of Bergen op Zoomduring the Eighty Years’ War.

Merck how sterck now int werck sich already put! Who’s all ty Soo fought our freedom: See how he slaves, digs and drags with violence! For our goods and our blood and our cities.

4 Joost van den Vondel Waer became more loyal (1637)

Vondel wrote this verse for his play Gijsbrecht van Aemstel, as an ode to theconjugal love between lord of the castle Gijsbrecht and his wife Badeloch. Heput his noble words in the mouth of the Rey van Burghzaten, the choir ofcastle residents that comments on the fears Badeloch has to endure while herGijsbrecht defends the city of Amsterdam against the Kennemers and theWaterlanders.

Where did the righteous become faithful than between man and woman in the world ever found? Two souls glowing forged together or wired and connected in love and sorrow.

5 Author unknown Lord Halewijn (1838)

Lord Halewijn sang a song all who heard that wanted to be with him

And a royal child heard that She was so beautiful and so loved.

Zi stood before her father: ‘Oh, father, may I go to Halewijn?’

‘Oh no, thou daughter, no, thou not: They go, and don’t turn back!’

Thus the opening lines of a famous ballad that had already circulated in theMiddle Ages before a more or less definitive version was published in 1838.The song tells how sweet-voiced Halewijn seduces a king’s daughter into theforest with him, where she discovers that he has bloodthirsty plans for her.But she manages to behead the serial killer and returns home victorious. __

There was held a banquet The head was placed on the table.

6 JH Speenhoff The civic guard/Here come the civic guards (1903)

Anyone who can effortlessly clap along to this marching rhythm, but who hasnever really paid attention to the lyrics, might think that the poet-singer JHSpeenhoff wrote a song of praise about the then civilian militia of Rotterdam.Nothing could be further from the truth. In reality, the armored Speenhoff wasmaking fun of the militia of the time. ” Here come the shooters, here theycome”_is not the correct text – it reads: ” Here come the gunmen, they areparalyzed.” Because only with the help of a hearty gulp came “the maleputters of Rotterdam”_ in action.

Here come the guards, they are paralyzed, the male putters From Rotterdam! Oh what a glitter! What guts do they make! That comes from the bitter And the sense of duty.

7 Jean-Louis Pisuisse Man dare to live (1917)

Immortal motto of the Dutch cabaret: take matters into your own hands, don’tlet others tell you what to do and what to believe. The text was written bythe timber merchant Dirk Witte, who, according to experts, lived such abourgeois life that it seemed as if he had meant those stinging words forhimself – so bourgeois was his existence. The first version is written bymaster comedian Jean-Louis Pisuisse, and Ramses Shaffy also sang it many yearslater. Just like Wende Snijders and many others.

Life is wonderful, life is beautiful but – fly out into the sky, and don’t crawl into a cage man, dare to live! Your head in the air, your nose in the wind And don’t give a damn how anyone else thinks it! Keep a heart full of warmth and love in your chest But be a monarch on your square meter! What you seek no one else can give you! Man, dare to live!

8 Annie MG Schmidt and Harry Bannink On a Beautiful Whitsun Day (1965)

Hundreds of other songs could just as well have been in this place, becausethe oeuvre of Annie MG Schmidt (text) and Harry Bannink (music) is almostinexhaustible. What they all have in common is a typically Dutch pitch inwhich a laconic kind of lyricism combines sublimely with perspective, ironyand recognisability. Two fathers sing about how their daughters will one daybreak free from paternal authority:

She could be pregnant tomorrow it’s still possible today it could be from the wallpaper or be a French singer or someone from The Hague…

9 André Hazes She Believes in Me (1980)

Call it a life song or a love song. André Hazes himself, the best blues singerin the Netherlands, described his genre as ‘life pop’. He exchanged thetraditional accordion waltzes for the catchy pop rhythms of his generation andthus created a sound all his own. After his death, ‘She believes in me’ grewinto the title song of a much-watched documentary and a much-visited musical.In fact, this song is also a contra-fact, because Hazes wrote the lyrics tothe existing ‘She believes in me’ by American singer-songwriter Steve Gibb.

she was sleeping, I asked her last night “Wait for me” Maybe I’ll be free earlier tonight She nodded yes But she knows me (oh yeah) Now I’m standing in front of you I lingered in the pub again…

10 Maarten van Roozendaal Don’t Save Me (2000)

Your heaven is hell to me A heaven with you is hell to me.

A fiery start to this new century: the free-spirited song of Maarten vanRoozendaal, who died much too early. Let everyone adhere to a faith of theirown choosing, says the text:

Put a rock under your pillow Burn a candle for me Slaughter a lamb But don’t save me.

This singer is not waiting for redemption from a higher power:

A GoFundMe campaign is aiming to raise funds to recover the remains of actressMegan Hilty’s family members who died in a plane crash in Washington lastmonth.

On Sept. 4, a float plane carrying 10 people crashed into Puget Sound, killingeveryone on board. Days later, Megan confirmed that her sister Lauren Hilty,brother-in-law Ross Mickel, and their son Remy, were among those dead. Laurenwas eight months pregnant with her son, Luca, at the time of the crash.

Megan and her sister, Kristen Hilty Eaton, created a GoFundMe page onWednesday to raise money to help locate the remains of Lauren, Remy, and Lucaafter they said Ross and other victims were recovered in the days followingthe crash.

“When the [National Transportation Safety Board] brought up the plane, severalvictims were recovered, and thankfully Ross was one of them – but our belovedsister and nephews were not,” the sisters wrote in a description on the page.

“Now that the NTSB has concluded its work, it is up to us to hire a privatecompany to go look for them,” they continued. “While the chances are slim,there is still a possibility we can find them, and we all agree that at theend of the day, we want to say we did everything we could to bring them home.”

RELATED: Authorities Find Wreckage of the Plane That Crashed KillingMegan Hilty ‘s Family Members

In a statement to PEOPLE, NTSB says that their “investigators continue toexamine the wreckage to determine the probable cause of the crash in oursafety investigation.”

The statement adds, “Aircraft recovery operations concluded on September 30.More than 26 personnel from five federal and local agencies participated inthe recovery operations. The ROV conducted 17 dive missions. More than 184acres of seafloor area was searched (approximately 3,500 feet by 2,300 feet).The majority of the aircraft was recovered with parts sent to the NTSBlaboratory in Washington, DC”

Earlier this month, the Island County Department of Emergency Management saidit had recovered and identified seven bodies from the crash.

Story continues

Kristen and Megan, who has starred in a number of acclaimed Broadway musicals,said a “search and recovery mission of this magnitude comes at a tremendouscost,” and they couldn’t do it “alone.”

“We have launched this campaign to help raise the money to cover these costs,and if we can raise more than what is needed, we will donate those funds tothe incredible team who have dedicated their lives to helping families likeours search for their loved ones,” they explained.

RELATED: 1 Dead and 9 Missing After Seaplane Crashes in Waters NearSeattle

“Please consider supporting us in our final efforts to bring Lauren, Remy &Luca home if you can,” the sisters added. “In any case, we speak for ourentire family when we say thank you for your love, support and generosityduring this incredibly challenging time.”

Megan and Kristen did not immediately respond to PEOPLE’s request for comment.The campaign has raised more than $29,000 as of Wednesday evening.

Also killed in the crash were Seattle attorney Gabrielle Hanna, 29; pilotJason Winters; passenger Joanne Mera; civil rights activist Sandra Williamsand her partner, retired teacher Patricia Hicks; and married couple Luke andRebecca Ludwig.

RELATED VIDEO: Megan Hilty Breaks Silence on the Death of Her Sister,Brother-in-Law and Nephew: ‘No Words’

In a post to Instagram, Megan said that Ross and Lauren are survived by theirdaughter, “who we are all holding in our hearts.”

Megan went on to acknowledge and express gratitude for the “outpouring of loveand support.”

She added: “It has been so comforting to know just how loved Lauren, Ross,Remy and Luca truly are.”

Why this particular number?

“Entire tribes think they have a hundred years to live, but it could be overtomorrow. I was once in hospital with a broken back, then it was almost over.Since then I’ve had chronic nerve pain, say a toothache times a hundred, whichmade me almost die twice.

Now it feels like I’m in bonus time. The sun is shining and Our Lord exists,but if you wear dark sunglasses, you won’t see it. When you see the bigpicture, you can let go today. That’s exactly what this song is about.”

And what does it say about your life?

“Because of the accident with my back, I was rejected and I miss a lung. Inaddition to pain, I also have a short-term memory of a maximum of a week. Inthe Netherlands this is seen as a handicap, but it gives me a special form offreedom. I’m very aware What value do I give to my day Do I give all my timeto work for money or do I choose something else?

I opted for the latter and am now committed to working as a developmentworker. My wife and I live in Poland and help refugees. In Poland I buy a newpair of shoes for a homeless person for ten euros. That makes such adifference to someone. My wife and I run a foundation and live on donations.In Poland a euro is serious money, in the Netherlands I can’t do anything withit. It’s not always easy, but we can make a difference.

My wife is a therapist and sees dozens of people a week. We have more workthan we have time. We can be very flexible and see who bleeds the hardest andwe offer help there. And then you sometimes have a week less to eat, but thenso be it. I hear the most harrowing stories from people I speak to and thenit’s quite an advantage that I don’t know anything about it after a week.”

“It also applies to people in need: they fight with who they are, where theircountry is, what they have to do now. I recognize that feeling and am happythat I can listen and help. I know what it feels like to have nothing. I thinkyou only feel freedom when you’ve really lost everything I now enjoy a thirdsandwich I have a shower For years I have wandered through Europe.

If you continue to cling to today and how it should and will be, it will onlybe paralyzing. I prefer to look at life in a different way and at death in acheerful way. When I die, I go to Our Lord and I have a perfect body again.Everything will be fine, so let loose today, dude.”

Where do you prefer to listen to music?

“In bed, when I go to sleep. I can only sleep with music on. It distracts mymind. Very vague music sometimes too, old gospel songs in Russian and Polish,or East German techno. With earphones in so my wife I also wake up when themusic stops, then I put on something else and go back to sleep.

Because of a stress disorder I always have a busy head, but as soon as I hearmusic I calm down. It takes me to another world for a moment. I do want tolisten to music that matters, with lyrics about the meaning of life or a viewof the world. Not something like Hazes, I think that’s Grimm’s fairy tales inmusic form.”

How many lists do you have on Spotify?

“Not one. I just start whatever I feel like at the time.”

What is your guilty pleasure?

“Patenbrigade: Wolff. Ha! Those songs are really not about anything at all.They are so far from reality that it almost returns to normal. The name comesfrom an East German group of friends. Hard and crazy. It is almost mystical, acountry that has existed and now no longer exists as such, but is still sotangible. I find that interesting. That madness is wonderful.”

True crime has never been so popular, but it also has a dark side. A newNetflix series about serial killer Jeffrey Dahmer has been criticized forplaying the truth. The line between entertaining and respecting victims isthin, Belgian true crime experts confirm.

Paul NotelteirsOctober 20, 202203:00

“I’m not telling anyone what to watch or not, but if you’re really interestedin the victims, my family and I are angry.” In a message on his Twitteraccount, Eric Perry argues against the new Netflix hit at the end of September_Monster: The Jeffrey Dahmer Story_. The series tells the true story of anAmerican murderer who murdered 13 men between 1978 and 1991.

One of his victims is Errol Lindsey, Perry’s cousin. He died in a horrificmanner that is portrayed quite frankly in the series. Perry finds it unheardof for his family trauma to be recuperated in an exciting series and joins along line of outraged relatives of victims. They believe that the makers ofthe series deviate from the facts too often and regret that they were notcontacted beforehand.

Their anger is widely picked up by the press, but actually they don’t have tosurprise them. In recent years, the broad interest in true crime has increasedrapidly. In addition to the classic documentaries about famous killers likeCharles Manson or Ted Bundy, fans of the genre can enjoy countless fictionseries and a wide variety of podcasts. The makers offer enthusiasts atemporary trip to a sinister world that appeals to the imagination, althoughvictims and relatives often have difficulty with this because the escapade ofthe masses is their daily reality.

Recognizable

Chris De Vleeschauwer (60) can identify with the frustrations expressed by therelatives of Dahmer’s victims. In 1996 his brother Peter, a gendarmerie, waskidnapped and killed. The perpetrator was never caught and that opened thedoor to speculation. The story was not only talked about in the local villagepub for years, but also in the mass media.

A few years ago, the popular podcast The People ‘s Jury in an episode aboutthe murder of De Vleeschauwer. In the episodes, the hosts often discuss theirown lives, after which they go through murder cases and speculate about apossible culprit. The light-hearted tone is typical of _The People ‘s Jury_and contributes to the podcast’s success, although it’s questionable whetherit’s appropriate to sip bubbles while discussing the greatest tragedy of aperson’s life.

“It is indeed very non-committal, you can hardly call it investigativejournalism,” says De Vleeschauwer. “I didn’t discover the episode about mybrother until two years later and found it superficial and beside the point.They read newspaper articles and made their own interpretations, but becauseof that they confused things with each other.” The man absolutely does nottarget the podcast, but is mainly disappointed because the popularity of truecrime does not mean that makers dig deeper and rarely bring new things tolight.

Yet true crime can also do more than entertain or move. In the United States,the podcast spent serial such extensive attention to the murder of Hae MinLee, after which the case was re-examined and the charges against her friendAdnan Syed dropped. He was allowed to leave prison after 23 years.

Unsolved Cases

Closer to home, director Stijn Coninx notices that fact-based fictionsometimes also helps to draw attention to unresolved issues. In 2018 hebrought Do not shoot out, a film about the Gang of Nivelles. At that time,the investigation was at a standstill and new investigators were appointedafter the release. This does not mean that all victims and their relativeswere immediately enthusiastic about the plans for a film.

“You always have to make a decision. For example, I would never make a filmabout Dutroux, unless victims or relatives really begged for it,” says Coninx.In case of Do not shoot the question arose for a fiction project by DavidVan de Steen, who lost his parents in 1985 during a robbery that the Gangcarried out in the Delhaize in Aalst. Coninx, in collaboration with the city,organized an information moment to explain his plans and also spokeextensively with those involved. This won him the trust of many people,although that does not mean that it made it easier to shoot the film.

Michael Beach as Detective Murphy, Colby French as Detective Kennedy and EvanPeters as Jeffrey Dahmer in episode 105.Image COURTESY OF NETFLIX

Anyone who works with a true story also risks legal repercussions if somethingis not portrayed completely accurately or just too explicitly. As a result,Coninx received constant legal advice. “In addition, there is the risk of realviolence. I know someone who wrote a book about the Gang and is afraid topublish it because he experienced an attempt on his life before. The fear isjustified.”

In this way, true crime is not only a reason for moral discussions about theboundary between entertainment and respect, but also a reason to talk aboutartistic freedom. While the relatives of Dahmer’s victims respondrespectfully, there is no guarantee that makers of other true crime storieswill not face lawsuits or violence. “That’s why fiction is such an interestinggenre, because by definition it’s untrue. Although you can look for a grayzone within that medium where you get inspiration from true facts.”

movie reviewsOur film editors will guide you through the current range. Whatmust you see and why? From today in the cinema: the superhero film BlackAdam the Dutch Oscar entry narcosis the ‘polder-romkom’ Matter ofPatience the comedy drama mrs. Harris Goes To Paris and the poignant Toriet Lokita from Belgium. Are they worth it?

Ragged computer effects rule the superhero mess

Black Adam

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Action

It wants the DC Extended Universe, with iconic fighting machines such asSuperman, Batman and Aquaman, but cannot compete with competitor Marvel (thatof Black Panther and Captain America). Maybe Dwayne Johnson – still betterknown to many as ex-wrestler The Rock – can finally provide the superherostable with a solid load of moviegoers. He plays the title character who risesfrom the ashes after 5000 years in a tomb. He is a guardian angel for manyresidents of the fictional Kahndaq, but the invulnerable Black Adam is alsosomewhat destructive, so the Justice Society, including Pierce Brosnan asDoctor Fate, is used to keep him in line. The result is a mess, mainly becauseof the rushed computer effects. You can’t shake the feeling that the actorswere 90 percent in an empty studio. Unfortunately, that also applies to theDutch Marwan Kenzari in a nice supporting role. -Gudo Tienhooven

Directed by: Jaume Collet-Serra. Starring: Dwayne Johnson, Pierce Brosnan andMarwan Kenzari

Dwayne Johnson in Black Adam. © AP

Dutch Oscar entry flirts with kitsch, but always remains sincere

narcosis

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Drama

Grief often takes place in silence. Yet many films tend to tackle the painfulprocess of trial and error with an excess of words. narcosis captures itmainly with visual language. A brave choice by screenwriters Laura van Dijkand Martijn de Jong (the latter was also in the director’s chair), alsobecause kitsch can strike at any moment. Especially when it is decided toprovide the main character with a paranormal gift.

Merel, played superbly controlled by Thekla Reuten, is fortunately not afloating woman and narcosis – on perhaps one fluttering curtain too many –not a floating film. After the death of her husband, who does not return froma dangerous diving expedition, she frantically tries to suppress the pain. Butthe whirlwind of memories rages mercilessly on. She forgets that her offspring(two of the most impressive Dutch child actors in a long time) also live in aserious state of confusion.

In Merel’s garden there is a telephone booth where her daughter pretends tokeep having conversations with Dad. When she asks her brother and mother to dothe same, a melodramatic dragon of a scene is lurking. That even this momentfeels tasteful and finds the right tone is stunning. -Gudo Tienhooven

Directed by: Martijn de Jong. Starring: Thekla Reuten, Fedja van Huêt, SeppRitsema and Lola van Zoggel

PS movie October 20, 2022 Narcosis © –

Just a bit more than the average ‘polder-romkom’

Matter of Patience

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Romantic comedy

A chef from Amsterdam reluctantly returns to her native soil in the southbecause of money issues. There she discovers that the Limburg village, somaligned by her, and her childhood sweetheart may be worth gold after all. Ofcourse you can’t escape a comparison with the recent Heart in the RightPlace , which contrasted urban life with that in the province. Fortunately,the makers and the cast do a better job here. Although this work also followsa well-known pattern. Barbara Sloesen ( Heavily In Love! ) has become anintegral part of our romkom landscape. She is like your approachable girl nextdoor who leads a slightly more exciting love life and meets strikinglyattractive gentlemen. Sometimes that is a Jim Bakkum, in this case it islovers Manuel Broekman and the sympathetic ‘newcomer’ Frans Dam. -MarickeNieuwdorp

Directed by: Ruud Schuurman. Starring: Barbara Sloesen, Manuel Broekman,Melissa Drost and Peggy Vrijens

Barbara Sloesen in Matter of Patience. © Dutch Film Works

Irresistible picture book reality

mrs. Harris Goes To Paris

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Comedy/Drama

Out of Paris mrs. Harris Goes To Paris there’s something almost annoyinglyidyllic about it. The colors are just too beautiful, all the drunkards areactually innocent little men with alpinops and if you have forgotten where youare: the Eiffel Tower is visible in every shot, or right around the corner.But it’s easy to succumb to that picture-book reality, especially thanks tothe charming Lesley Manville as a London cleaning lady who travels to theFrench capital in the 1950s for her dream wish: to score a Christian Diordress. It’s all as thin as rag, but there’s something irresistibly cuddlyabout escapism about it. -Gudo Tienhooven

Directed by: Anthony Fabian. Starring: Lesley Manville, Isabelle Huppert andJason Isaacs

Lambert Wilson and Lesley Manville in Mrs. Harris Goes To Paris. © DavidLukacs

Belgian Dardenne brothers back in top form

Tori et Lokita

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Drama

With their Golden Palm winning films rosetta and L ‘Enfant the BelgianDardenne brothers became masters of committed, natural (and not exactlyuplifting) drama. Especially with those titles you can hardly believe that atight scenario was the basis, so lifelike are the sketched worlds. Of Tori etLokita they finally live up to that reputation after years. We follow twoteenagers who fled from Africa (amazingly strong and also uneducated actorswith an irresistible chemistry) who, despite all the harrowing exploitationthey encounter in Flanders, try to keep their youthful optimism. Against yourbetter judgement, because the feeling that this will end badly, you can tastefrom the first second. moralizing? Maybe a little. Heartbreaking? Absolute!-Gudo Tienhooven

Suddenly Patricia Kopatchinskaya rolls out of the picture and her hotel roomturns upside down: her phone has fallen to the floor. “It was because of thebanana,” explains the Moldovan star violinist, during a video call from herhotel room in Oslo. She shows the structure on which she had installed hertelephone: a round storage can with a ripe banana on top. In Kopatchinskaya(1977), who is one of the most extraordinary musicians of our time because ofher ingenuity, daring and joy of playing, such an incident quickly seems likea metaphor.

This weekend Kopatchinskaja – also known as ‘PatKop’ – can be admired in fullin De Doelen in Rotterdam, where a mini-festival around her person is takingplace. She performs with Camerata Bern, the ensemble with which she has beenworking closely as an ‘artistic partner’ for years. “It’s very special toshare the stage with friends,” says Kopatchinskaja, who speaks asenthusiastically and compellingly as she plays. “They understand me, we speakthe same language. With me they have become wild animals.”

The program includes Schuberts Der Tod und das Mädchen and Schoenbergs_Pierrot Lunaire_ , which Kopatchinskaya himself sings. Her latest projectwill premiere on Sunday evening, a multimedia performance around Haydns_Sieben letzten Worte_. On Saturday, Kopatchinskaja and Camerata Bern willgive a public masterclass to students from various Dutch conservatories. Also,the film they made of Kurt Schwitters’ Ursonata displayed.

Music from the eighteenth, nineteenth and twentieth centuries: that may not bewhat you expect from Kopatchinskaya. She has a reputation as a passionatechampion of contemporary music, with countless premieres to her name. “Imaginea scientist repeating the same experiment every day – that’s boring, isn’t it?It is human nature to want to discover new things”, says Kopatchinskaja. Inher view, new music is not something for once a month – an exception that youthen make very complicated about – but something for every day.

Free spirit

She cites an example from the concerts she plays in Oslo in the dayssurrounding the interview, including with the Oslo Philharmonic Orchestraunder conductor Klaus Mäkelä, the future chief of the Concertgebouw Orchestra:„Last night violinist Pekka Kuusisto and I performed duets. I had composed anew duet for us, which we played live for the first time, without anypreparation. That was possible, because Pekka reads music as if he werereading the newspaper. We need musicians like that, with such a free spirit,who are not afraid to try something new every time.”

Specialization therefore kills her: „Nonsense, it is important that wemusicians do everything. Old music and new music.” Preferably side by side, ason her recent CD about the American composer George Antheil, whose work sheeffectively combined with that of the modernists John Cage and Morton Feldmanand with Beethoven.

In Beethoven’s Scherzo Violin Sonata No. 7 makes her violin sound “ugly” inan unorthodox but delightful way.

I had composed a new duet that we played live for the first time, without> preparation

Kopatchinskaya: „’Subito forte’ – it’s just in the score! That is Beethoven’sblack humor, he opens the window, hears the noise outside and slams the windowshut again. Incidentally, it was still a bit of work, because the soundengineer initially chose a neater take. After I heard the first mix, I calledhim up and said: no, you have to use that dirty take!”

Also read the review of the album on which Kopatchinskaja makes Beethovensound ‘ugly’

Do not expect a ‘normal’ performance of Schuberts in Rotterdam Der Tod unddas Mädchen. Not only did Kopatchinskaja arrange the string quartet forstring orchestra, she also interweaves various other pieces of music betweenthe movements, for example by the modern master György Kurtág.

tendonitis

The song on which Schubert based his quartet of the same name is alsofeatured, sung by Kopatchinskaja herself, in the liberal ‘Sprechgesang’ styleshe has mastered for Schoenberg’s Pierrot Lunaire to be able to perform.When she couldn’t play the violin for months because of a tendonitis in herarm, she threw herself into that score, with astonishing results: “It works,precisely because I’m not a trained singer,” she says.

It shows the greedy artistry of Kopatchinskaya, who draws her own plan anddoes not like ingrained habits. The time when she performed the great romanticviolin concertos as a virtuoso soloist is behind her, she says: „I had to playthe concerts of Glazunov and Dvorak to gain access to the big stage. Now I’mold enough to do what really matters. Every second on stage counts. We are nota mausoleum, but a living playground. We now live in a world that is melting.We must continue to spread that message.”

Nowhere is her commitment more clearly, next weekend, than in the projectaround Haydns Sieben letzten Worte. For this, Kopatchinskaja collaboratedwith video artist René Liefert, who made silent videos about the relationshipof different indigenous peoples with the earth. Kopatchinskaya: „We are on thebrink of an abyss and everything depends on our next step. Maybe we’ll find asolution. But if that doesn’t work, we should at least try to perish withdignity. Like the musicians aboard the Titanic: play to the end.”

TVIt’s over and out for Riadh Bahri. He missed the win by just one second.Because Danira Bouhkriss quickly, alertly and with a high Cannaerts contentsnatched 40 seconds in the round of films. In the final, Merol faced a gap ofno less than 220 seconds. And yet she struggled over that cape. Riadh couldcome up with only three correct answers. And couldn’t say anything about thePaloma Cocktail. Bye bye Bahri.

The funniest, happiest, most colorful journalist from ‘Het Journaal’ is from’De Allerslimste Mens ter Wereld’. Only with a lot of luck will he soon beawarded a place in the final weeks. Now he was one second short in thecutscenes to come back a fourth time. And his final was a letdown.

Suddenly one second in this quiz turned out to be super important. It istherefore important as a candidate to play alert and focused from the start.Taking as many seconds as possible everywhere, losing as little time aspossible. Anyway, pretty much the Bart Cannaerts technique. Actually, RiadhBahri did very well in his third participation. Fast and good ‘Open Door’,fast and good ‘Puzzle’, but a bit too casual in the photo round. Seven insteadof six French icons would have given him the victory. I would like to add thatin the video round, Danira received a seemingly easy video about the conflictbetween China and Taiwan. But the answers were very difficult. That happensafter six successful participations…

For Danira, her participation in the ‘Allerslimste Mens’ is indispensable.With the retirement of Riadh Bahri, she is now definitively certain of thesecond place in the final ranking. She can get back in one day before thegrand final.

Newcomer Merol got off to a slow start and was never really in the game. Afinal score of 145 seconds is below average. Especially for a tough candidatelike Merol. In the final she played very well and hard. She simply outplayedRiadh with 17 correct answers against 3, in 6 questions. But watch out for theDutch one.

Two funny guns sat on the jury seats with the Geubels-Jeroom duo. And that wasimmediately felt. A barrage of good one-liners, witty reactions and dryremarks, signed Jeroom. More of these guys, please.

Another remarkable detail: Domino’s Pizza is briefly shuffled under the carpetby Erik and the others. “I understand that they had to close in Italy. It’sterrible.” And Merol: “Much too fat.” To which Geubels: “I call them fatcakes. For real.”

The best quotes

Merol (whether she can become the Smartest Human Being): “Sure. You have tobelieve in it. With my second place in ‘De Slimste Mens’, I am now recognizedand addressed everywhere here.” To which Geubels: “These are people fromUnicef.”

Jeroom (after Riadh advertises his book ‘Out of the closet, In the closet’):“That’s something Anne Frank could have used too.” (to which some shockreactions from the studio)

Geubels (about Jeroom’s performance in the Allerslimste Mens): “I waswatching, I blinked and he was gone.”

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Jeroom (about Ella Leyers, who played him home): “So Ella Leyers. But luck inthe game is bad luck in love. And that’s right. Because she is now togetherwith Rik Verheye.”

Geubels (about the atmosphere during the recordings of the Slimste Mens in theNetherlands, where he was immediately played home): “I think there was a niceratmosphere at my grandmother’s funeral.”

Jeroom (about his relationship with Elodie): “Everything is still okay. Shedoesn’t get any other food.”

Jeroom (whether there are any benefits to gray hair): “Not being bald.”Geubels sighs deeply.

Geubels (very alert after Riadh says he had to go to the emergency room with amosquito bite): “Did they come get you with the MOSQUITO?!” To which Riadh: “Ithought it was monkey pox.”

Hilarious moments

Jeroom and Philippe Geubels respond to Erik Van Looy’s statement that passers-by say he looks like Tom Cruise (certainly after his eye surgery). Geubels:“Who said that? A man with a white stick and a dog?” And Jeroom: “And what isyour Mission Impossible? Getting out of the bath?”

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Tipping moments

Newcomer Merol immediately takes 30 seconds. It will clearly turn out to be afalse good start later on.

Riadh Bahri is fast and good at ‘Open Door’ and ‘Puzzle’. Merol sinkscompletely.

In the photo gallery, Merol knows a lot, but she also loses a lot of timesinging the songs. Danira has a simple and quick photo question, just likeRiadh.

In the video round, Danira makes the difference. She steals 90 seconds fromMerol and Riadh. That makes the difference. She wins by exactly 1 second.

In the final, Riadh must always win. He does not do that. He stumbles upon theingredients of a Mexican ‘Paloma Cocktail’.

The final score (for the final game)

‘It’s a matter of patience, waiting quietly for the day, when all of Hollandis talking Limburgish…’ Who hasn’t ever sung Rowwen Hèze’s song at a party,without even saying a word? You can enjoy Limburg in the cinema from tomorrow,because the romantic feel good Matter of Patience can then be seen. Andcertainly not only in Limburg.

Because we sometimes get the accusation that we only write about the Randstad,it is Matter of Patience Subway ‘s Movie Review of the Week. But no joke:Dutch rom-coms are usually not overloaded with compliments and meanwhilecrowds of people are attracted to the cinemas. This one, with the umpteenthleading role for Barbara Sloesen in a relatively short time, thereforedeserves a discussion. And also, or still, that Limburgish is a very nicesubject.

Literally a matter of patience

Barbara Sloesen is such a true Limburger, but as chef Monica she has packedher bags and exchanged the fictitious village of Noorbeek for Amsterdam. Sheis causing a furore in a popular hotspot, but she wants more: setting up thecoolest star tent in an old garage in Amsterdam-Noord. Before the plan becomesreality, she has to return to Limburg for a day to arrange something. Friend(Manuel Broekman) runs the place for a short while.

Once back in Limburg, Monica appears to want to collect money from her exSjeffie (Frans Dam puts down a beautiful village girl), whom she has not seenfor ten years. The couple was entitled to the inheritance of Monica’s parentswho died in an accident, but the considerable mountain of money was actuallymeant to renovate the family home together. Monica now wants to put her sharein her fat star tent, but Sjeffie only wants to give his ex her way “when alltrees are the same size”. To make a long story short: the departed Noorbeekseremains – necessarily – in Limburg much longer than planned. It all has to dowith the hassle of the past, a crucial role of an aunt (Bianca Krijgsman) andwell, also with that little villager of course. Monica literally has to dealwith that matter of patience.

narrow-minded villagers

Hopefully the Limburg cinema-goers can have their established roots, but foroutsiders it’s fun anyway. When Monica has returned, we see her home base fullof cursing cyclists and the bar/dancing that has been there unchanged sincetime immemorial. What narrow-minded villagers – could have been anywhere, bythe way – want to give birth in Noorbeek (‘otherwise it will be a Maastrichtchild’). And Monica’s old friends? They have never bothered to come toAmsterdam: „A cup of coffee is 5 euros there, right? Do you get a treasure mapor something?”

In Matter of Patience Limburgish is spoken (as far as is possible with allthe different dialects). Whether that was successful is something thesoutherners will have to judge. This reporter really has no idea.

Barbara Sloesen and Bianca Krijgsman.

Third leading role Barbara Sloesen

Barbara Sloesen is doing well in leading roles. Of Matter of Patience infact, she has taken on her third supporting role in two years. Subway mether on the way for interviews about the Christmas film released in mid-summerdue to corona Everything is as it should be and another feel good, HeavilyIn Love! 2. She already worked with director Ruud Schuurman for the summerChristmas film, so it is not surprising that the two have found each otheragain.

Schuurman knows very well what Barbara Sloesen can deliver. In one way oranother, the roles she is given appear to be particularly easy and natural.But yes, that’s what we call talent. Worth mentioning is the share of FlorenceVos Weeda. Not long ago, TV viewers saw her as a high school student in thelead role of the series The Slut of 6 VWO. Now she is the pregnant notarywoman who is in the beginning of Matter of Patience turned out to be a bitchfrom Limburg. Funny: TV and radio reporter Lex Uiting who recorded his onlyhit Nao ‘t Zuuje (number 388 in the Top 2000) is singing at a fair.

The Limburg primal band Rowwèn Heze was not allowed in Matter of Patience_are missing of course. They perform in the film with their song. _Matter ofPatience is understandably also the title song. It got a new look with theparticipation of Roxeanne Hazes.

Rating from 5: 3.5

Subway You can read the film review of the week every Wednesday around 6p.m. New titles always appear in Dutch cinemas on Thursdays, such as Matterof Patience (sometimes also on Wednesdays). Reporter Erik Jonk chooses oneevery week. Next week we’ll talk to you about Grutte Pier a ‘ridiculouslylong’ Frisian of 2.10 meters for the Middle Ages with a rather special story.

James Corden has apologized after he misbehaved in a New York restaurant.Keith McNally, the owner of the well-known catering business, spat his gal onInstagram about the talk show host and even banned him. It’s now all overagain between the two. “I strongly believe in second chances,” said McNally.

Yesterday was enough for Keith McNally: for the second time, Corden had beenextremely rude in his restaurant. James Corden is an incredibly talentedcomedian, but a secret of a man. He is the rudest customer my staff hasexperienced since the restaurant opened 25 years ago,” McNally wrote to hisnearly 80,000 followers on Instagram.

McNally then outlined what had happened. For example, during one of his visitsto the restaurant, Corden found a hair in his food. McNally said that”unfortunately this could happen”, but Corden was said to have been furiousand was not satisfied with the manager’s apology. He therefore demanded a freeround of the house and wanted all the drinks he had ordered to be taken offthe bill. If the manager didn’t, Corden would leave a scathing review ononline platform Yelp.

According to McNally, it didn’t stop with that one issue. Corden recently camefor brunch with his wife on October 9. She ordered an omelette with Gruyereand salad, but discovered that some egg whites had been mixed with the yolk.The manager asked the kitchen to remake her order, but then it went wrongagain: instead of a salad, she got fries. “You’re really bad at your job.Maybe I should get in the kitchen and make an omelette myself,” Corden is saidto have yelled at the waiter.

Second Chances

The restaurant owner didn’t like Corden’s statements and decided to ban himfrom his business. However, Corden found out that McNally had lashed out athim on social media and decided to call him up and put on the robe. Thatworked at McNally, who writes in a new message today that the British comedianand presenter is welcome again after he has apologized. “I strongly believe insecond chances,” said McNally.

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Also listen to the AD Media Podcast with Johnny de Mol this week, KhalidKasem ‘s interview with Derk Bolt, the André Hazes documentary and Kamp vanKoningsbrugge with famous citizens. Listen below or subscribe via Spotify oriTunes.

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The French couple Antoine and Olga are making their dream come true, now thatdaughter Maria has left home: to live as an organic farmer in a mountainvillage in the Spanish region of Galicia, where only the elderly and theunderprivileged were left behind. The idealistic bully Antoine dreams ofrevitalizing the entire village, restoring abandoned slums on his own. Thecouple is learning Spanish, making friends – but not everyone is happy abouttheir arrival. The neighbors, brothers Xan and Loren, are hostile andresentful.

This is already apparent in the blistering first scene, where the wiry Xan inthe village pub sets off harassing anti-French tirades against lobbes Antoine.It turns out that it is not just xenophobia of those left behind: Antoineresists the arrival of the windmills from which the brothers hope to earnmoney to buy a taxi in the valley. They want to get out of the poverty thatAntoine finds so picturesque.

This modern social conflict – the Spanish director Rodrigo Sorogoyen wasinspired by a true story – provides fuel for a dark thriller that smolders andheats to its fatal discharge. This is followed by a long epilogue, aboutmourning, revenge and justice. Stylistically, Sorogoyen was inspired bywesterns: this is about stubborn men in a raw nature who get stuck in aninsoluble, apparently principled conflict. The brothers are the villains, theykeep taking new steps on the escalation ladder. They piss all over thecouple’s chairs. Beat a mirror off the car. Put old batteries in the well sothat Antoine has to continue his tomato harvest.

Antoine reacts like a modern, reasonable citizen. He secretly films thebrothers to build a file against them, because the local police pick up andkeep wet. But things only escalate and after a late night encounter Olgaknows: had Antoine been there alone, the brothers would have killed him. Is itworth it, she wonders.

late anyway Las Bestias Don’t reduce yourself to a template thriller aboutcivilized people besieged by inbred heads. Somewhere on two-thirds the scalesfall from your eyes when Antoine forces the two brothers into a conversationin the village pub. You see the door open for a moment at his assailants –until Antoine slams it shut again. His resentment is understandable after allthat has happened, but stands in the way of compromise.

And that’s the point of Las Bestias : French may clash with Spanish here,city with village, cosmopolitan with hillbilly, but ultimately this is allabout testosterone, war logic. Antoine can’t listen either, add water to thewine, let go of his saintly right. Nobody wants to know about deviating.

Las Bestias can be taken as a critique of the principled, stand yourground logic that westerns instill in us. There is always a solution, Olgatells Antoine. But it’s all or nothing for him too, so everything moves infatalistic slow motion towards violence. And then follows a grim epilogue ofmourning and retribution where the women left behind get to foot the bill. As