Author: bestmedeal

The bond between the Netherlands and Editors has been very close for years, sothe band easily attracts more than four thousand visitors to the RTM Stage,the new pop venue in Rotterdam Ahoy. Success is assured, it seems. It istherefore surprising that the chemistry between band and audience is missingthis time. Unfortunately, this time it’s a case of your own fault, big bump.

Photography Paul Barendregt

These are turbulent times in the music world, but fortunately the live circuitof today also has its certainties. When Editors arrives, for example, thingsstart to storm. Not surprising: this British rock band, known for the greatdebut album The Back Room (2005), a modern classic with Joy Divisioninfluences and a string of indie hits, has always been good value for moneyfor almost twenty years. Not just musically. If there is anyone who can playthe audience, it is singer Tom Smith. Who still remembers the pose on top ofthe piano at Pinkpop 2008, monumentally captured by star photographer PaulBergen? Unforgettable for those who were there.

Our southern neighbors still get goosebumps when hearing the ballad No SoundBut The Wind. The images of the young fan at Werchter, who sang the song in2010 with their eyes closed, completely in ecstasy, rightly went viral. Thisis what pop music can do to people, and why we flock to venues and festivals.Even if a ticket costs fifty euros as it does now, which is no longer even astriking amount in halls of this size. Have you seen the ticket prices ofRobbie Williams and Depeche Mode? So it could be much worse.

But for one reason or another, Tom Smith decided to keep it introverted inthis huge room – type AFAS Live. Not in the music (which is actually fullerthan ever, more about that later) but in gesture. This time he pulls his crazyface, he makes his gestures, he does his dances, but this time he just doesn’tsucceed in approaching the audience. He looks at us and we look at him, andit’s like we don’t belong together this time. That feeling is fueled by ahopeless lack of interaction. ‘Thank you Rotterdam’, he doesn’t get muchfurther until just before the encore – he tries that in Dutch by the way, hesounds unintentionally comical like Tom Hanks who in the recent film _Elvis_turned a Dutch-intended accent into bizarre fake German.

It is also striking that Smith is glued to the microphone stand. Operating onvirtually the same square meter, the entire show. What kind of crazy choice isthat? This summer, on a EAR at a festival far away in Romania, he still roamedthe stage with the microphone in his hand. You couldn’t take your eyes offhim. That’s different now. Now Smith is suddenly static. On two screens, highleft and right of the stage, we can see that he is still king of crazy faces,but he doesn’t get any further than that. It’s as if the band is too busy withthemselves this time. Not helped by what must be by far the most silentconcert audience of this year. It is, it must be said, a mess. The height ofthat sluggishness is also painful: when the confetti cannons start to spray,it remains silent. No applause, no cheers. Nothing. This has not helpedanyone. Poor cleaner who gets to wipe all this clean.

It seems to depend on the musical direction of the band. Electronics and beatspredominate on the new record EBM and in the search for the translation ofthat typical studio music (‘Let’s add another layer here, and here!’) thespontaneity has been completely lost. It’s as if the gentlemen now have to gothe extra mile to at least do their own part in the rambling sound. The wholething is accidentally but skilfully locked. They are stacked layer upon layer,in the hall it sounds at the least moments like a slurry you can’t getthrough, tinny and massive, there is no oxygen in the songs. Most classics getthat treatment too. In this, too, things are lubricated closer than ever.Smith starts singing more listless. Hear how he All Sparks sings: differentthan before, less vicious, less fast, less compelling: the text is hopefullynot prophetic. ‘All sparks will burn out in the end.’

It won’t happen yet. There is still life for Editors, EBM seems to be thestarting point of a search for how far it can go with those electronics. Nexttime we will be there again, probably with thousands of fans. It is to behoped for concert visitors that this was an intermediate phase, in whichEditors searched for a new form on stage. There is no arguing about taste, ifthe band wants to continue with electronics that can also become interesting.Only that audience, that should really no longer be lost sight of. Becauseeven if you put down ten confetti cannons and twenty flamethrowers: if thereis a lack of chemistry between band and fans, something will still go wrong.

Seen: October 6, 2022 in RTM Stage, Rotterdam.

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Thanks to the catchy choruses, the hits of singer Antoon are easy to singalong after listening once. That’s what hordes of teenagers do at all hisperformances. But he does not have a formula for that success, he tells NU.nl.

By Michiel Vos

“I’m not writing a catchy song. It just happens. Sometimes I wish I knew howI’m doing it – before the writing sessions that nothing comes out,” said thesinger of hits like Hello , Hotel school and Olivia.

Twenty-year-old Antoon is convinced that it makes no sense for him to startwriting with the aim of making a hit. So he didn’t when he released his newsingle Knock Knock wrote. “If there is an atmosphere that there should be ahit, it will never be one for me. The most successful songs I’ve made comefrom having fun and laughing with friends.”

‘I don’t want to do the same as on a previous single’

The singer has sold out the Ziggo Dome twice and can rightly be called asuccess. He doesn’t choose his singles based on that. “I don’t like that. It’snot about the biggest hit for me. There’s a song on my upcoming EP thateveryone said would be the number 1 hit. That was almost a reason for me notto choose it as a single I don’t want to follow up on my previous hit and dothe same thing again, I just want to stay innovative.”

According to him, the artist’s singles go from country to house, to trap,disco and pop. He was sometimes discouraged from hopping from genre to genre.”Would you do that, because your previous one was a hit and it soundeddifferent, they said. With my previous single I was warned that it would notbe played on the radio, but it also went platinum. However, the more successyou have, the more exciting it becomes to take that step in a differentdirection.”

‘Last week you thought this was your best record’

Although Antoon is always confident about his music and single choices, theuncertainty sometimes kicks in in the weeks before the release. “Then I cansuddenly think that it is my worst record so far. Then I call Twan (vanSteenhoven, Big2 of The Opposites and mentor of Antoon, ed.) who soothes me.”Last week you thought this was your best record ” he says. He reminds me howcool I think the song itself is and that I shouldn’t worry about what othersthink. As long as I had fun making it and know what I’m releasing.”

antoon wrote Knock Knock about falling in love with a girl who has anotherboyfriend. It’s not entirely autobiographical, he admits. “I write with twofriends and we start talking about what we’ve been through. It’s neverentirely based on a story of one of us, but on a feeling that comes togetherfrom our different experiences.”

Due to the busy festival summer, the artist has not been able to write newmusic at all. He can’t wait to get back into the studio. “I’m almost depressedby my empty Dropbox folder that normally contains new demos. I’m already inbed thinking up all kinds of ideas. It’s going to be playtime when we go backinto the studio. That’s the best thing there is.”

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TVNo big winners, no big losers after one month of TV offensive. And so peopleare satisfied with the three large Flemish broadcasting groups. At thebeginning of September, the ratings still seemed to plummet, but the oppositeis true. We even watched more than a year ago, only we are doing that morethan ever before or via the streaming platforms. Although not all programs geta good report.

Toppers and floppers

At VTM people are delighted that the classic evening with ‘Lisa’, ‘VTM Nieuws’and ‘Family’ is doing very well. ‘VTM Nieuws’ reaches 1 million viewers everyday, ‘Family’ easily reaches 700,000 fans.

See also: do the couples in ‘Blindly Married’ see why they are matched?

In the merciless battle on Monday evening, ‘Blind Married’ kept up nicely inSeptember with more than 860,000 viewers. The initially criticized ‘I Can SeeYour Voice’ already reached 725,000 viewers. Successor ‘The Voice’, now onFriday and Sunday’ even just under 900,000 viewers. The channel then saw that’Pascal’s scale’ continued to falter on a meager 270,000 fans (includingdelayed viewing). At VTM this is called ‘a flop’.

The Netherlands-Belgium topper makes clear how important ‘must-see programmes’are, with more than 887,000 fans the most watched VTM program in September.

One was a clear market leader among the general public, but failed torejuvenate despite frantic efforts. The fictional series ‘Chantal’ wasremarkably the most watched One program, with a better score than ‘Home’ and’Down the Road’, although all these successful programs have more than 1.2million viewers. ‘The Repair Shop’ did not make it to the top 15 of mostviewed One series and can therefore hardly be called a success. ‘Over Eten’,also featuring Danira Boukhriss, did well with 722,000 fans.

An image from ‘Chantal’, the most watched One program © NyklyN

PLAY4 is doing slightly better than last year, mainly thanks to theanniversary season ‘The very smartest person’, which was launched almost twomonths earlier than usual. Erik Van Looy (with repeats) is good for more than1.2 million viewers. ‘The table of four’ will, as the station itselfannounced, still have a long way to go. With delayed viewing and two repeats,Gert’s talk show now achieves a best score of just 370,000 viewers.

Hardly differ

In the end, One, VTM and PLAY4 are quite satisfied with the results achieved.At the VRT, One of the general public (viewers 4 years and older) has a 31.6%market share, or about a third of all viewers. That is 0.5% less than in thesame period last year. But One remains the clear market leader among thegeneral public.

In the commercial channels, which focus on the target group 18-54 year olds,VTM scores 26.7%, which is 0.6% better than last year. This makes VTM themarket leader again. PLAY4, which drastically tinkered with the programschedule and fully focused on ‘The table of four’ and ‘The very smartestperson’, is very satisfied with a 12.9% market share. Last year, when without’Smartest person’, the channel reached 11.4%.

See also: Gert Verhulst and Jef Neve perform a 17th century spicy song in’The table of four’

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Despite frantic efforts, One is not able to really rejuvenate for the timebeing. One gained 20.8% last month, a loss of 0.9%.

In the target group 18-54 year-olds, the VTM channels together have 40.4%, orfour Flemish viewers out of ten. The VRT drops 1.3% to 25.7%, the PLAY groupis stable at 19.3%.

Striking observation: slightly more TV was watched compared to last year. Lastyear it was an average of 143 minutes per day, now 144 minutes. On weekdaysthere is more viewing, on Friday and Saturday there is a drop. On weekdays, onaverage, the same amount of time is watched, but on certain days the delayedviewing clearly increases. That’s especially the case on Mondays, with’Married Blind’, ‘The Smartest Man’ and ‘Down the Road’, programs that aredelayed by up to 70 percent.

‘down the road’ © © VRT

Delayed watching

At the start of the TV offensive, the viewing cards were not good, say bad.The first weeks of September it was still warm in the summer. A sacrifice forall those ‘strong’ programs that were launched earlier than ever because ofKing football and the World Cup that starts in Qatar at the end of November.It resulted in remarkably low live viewing figures. Just short of 400,000viewers for the VTM topper ‘Blind married’, not 800,000 viewers for thejubilee season of ‘De smartest mens’, ‘Thuis’, an end among a million loyalfans. But thanks to streaming platforms such as VTM GO, VRT MAX and GOPLAY anda sophisticated schedule of repeats, all TV programs that matter effortlesslyreached last year’s figures and did even better.

Thanks to the phenomenon of delayed viewing. Across all channels, three out offour viewers, especially older ones, still watch their favorite programs live.In prime time, between 8 p.m. and 11 p.m., viewers between the ages of 18 and54 are already more than 50 percent delayed in watching their favoriteprograms. On average, 60 percent of this delayed viewing occurs on the dayitself and 40 percent during the 7 days afterwards.

Ethnicity is nice for jokes, but it says next to nothing about an individual,nothing about his character, nothing about his dreams, nothing about his_Weltschmerz_ and especially nothing about his home. Ethnicity is in your mindand sometimes it’s in your passport. That’s all. I think.

Hizir Cengiz is a journalist.

The fact that ethnicity is seen and created as important and fundamental istherefore wry to me. If you really want to see another person, you have tolook far beyond ethnicity; and whoever wants to find himself must do so aswell.

The latest example of ethnicity being made important and fundamental is_Polder macros_ , a reality series by BNNVARA. In Polder macros six youngMoroccan Dutch people go to their homeland, ‘on a unique quest for their trueself’. All six were born in the Netherlands. The first few episodes areonline. For example, in the first episode it can be seen that the young peoplearrived in Marrakesh, spent the night in a riad , there was a briefdiscussion due to the fact that Aziz is gay and Yasmine attended a Moroccanwedding for the first time. Yasmine then knew: if she ever got married, shestill wants a similar party.

Also read: Six polder mocros in Morocco and a mocro girl who turns thetables hard

The main characters are very diverse in character, belief and image of man.This is emphasized repeatedly by the makers, so that the viewer knows – don’tbe alarmed, dear reader – that diversity also exists among the Moroccan Dutch.The de Volkskrant critic Alex Mazereeuw wrote: “That struggle with theiridentity ultimately made the program more than just a wonderful sweet trip,especially because there were also many different identities within theMoroccan-Dutch identity.”

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Stupidly, you might think that the makers have to emphasize diversity so oftenand a journalist needs a program to see that the Moroccan Dutch also havediversity. But the cause of this short-sighted view is the fact that we almostalways reduce biculturalists in particular to a group. Because _Polder macros_shows that ‘the Moroccan’ does not exist, it has succeeded in that sense.

Although I learned at school that the Netherlands is a country of individualresponsibility, of individuality, a country with a love for liberalism, beingwho you want to be yourself, a country where the only dogma is a lack ofdogmatics. But later I realized that I had misunderstood: when it comes tobiculturals, they are almost always seen as a group, as their parents, astheir roots, as their ethnicity.

If you are anything, you are your ethnicity. Just see the well-intentioneddiversity policy: differences are sought to make room for them, but then, forexample, all Turkish-Dutch people are lumped together. The Turkish Dutchmanthat is brought in would represent the entire Turkish community.

Disregard of the individual

Due to the focus on ethnicity, the nuances, but especially the individual, aremisunderstood and erased. In my search for who I want to be, I have sometimeshad to break free from what I considered normal, because it was taught to meat home or would be the dominant belief within ‘the Turkish community’. Forexample about the male-female ratio and about homosexuals. It feels like aknife in my back when I – and again: well-intentioned or not – throws me backinto that large group. As if the individual is not granted a bicultural.

But it is not only an institution like BNNVARA that makes ethnicity importantand fundamental. Many biculturals also often make themselves very small, byglorifying their ethnicity, seeing it as the most important thing that hasshaped them, by having the idea that they can feel, for example, a Moroccan orTurk and therefore also feel at home in their ethnicity. can find. That’s alsothe reason I get itchy Polder macros.

Of course your ethnicity is part of your identity, but again: you can’t feelan ethnicity at all, let alone find yourself at home in it. If you could feellike a Turk, just as happy and angry, then the kindergarten circle had alreadyexplained what that feels like. I think that’s why anyone looking for thatfeeling, whether it’s for television or not, will always be disappointed. It’sjust a waste of time.

Maybe I find this because I am different in the search for a home feeling.After all, my mantra is: my mother did not leave her hearth in the Turkishmountains so that I would become a Turk here. Incidentally, not so that Iwould become a Dutchman. Well, so that I could develop myself here.

The trailer of Black Panther 2 made a big impact on Twitter. In a positivesense, fortunately. Yes, that is also possible on the social media platformthat Elon Musk does want to take over again. A compilation of the reactions tothe Marvel movie without the late Chadwick Boseman.

The first part of Black Panther is an American superhero film in the MarvelCinematic Universe from 2018. In this film, which has also been praised,several references are made to the principles of the African Ubuntu philosophysuch as forgiveness, charity and unity.

Continued without Chadwick Boseman

In the first part, Chadwick Boseman played the role of T’Challa / BlackPanther, the king of Wakanda. But in August 2022, the actor died from theeffects of colon cancer. Actually no one knew about his illness, so his deathcame as a shock to Hollywood.

The practical result was that Marvel had to look for a new king of Wakanda,and now it is no longer news that this has become a woman. LEGO recentlyrevealed with this building set that Shuri, T’Challa’s sister, is the newBlack Panther. Although there is also a theory that several women will wearthe costume in the new Marvel film. Chadwick Boseman will also pass by in thetrailer, on a billboard.

First trailer Wakanda Forever

There was already a first teaser of Black Panther: Wakanda Forever , as thesecond part is officially called. Now there is an official trailer. It showsthe new costume of the black female superhero for the first time.

The plot in short. The leaders of the kingdom of Wakanda fight to protecttheir nation from invading forces in the wake of King T’Challa’s death. A newthreat comes from the hidden undersea nation of Talokan.

Reactions to the Female Black Panther

In addition to the female Black Panther, Marvel fans are also delighted withthe character Prince Namor, played by Tenoch Huerta. The responses in a row.And don’t forget Queen Ramonda.

Attorneys for Kevin Spacey claim that Anthony Rapp manufactured sexualmisconduct allegations against the Oscar-winning actor because he was jealousof his success and angry about his own stalled career.

“He blames Mr. Spacey for everything that hasn’t gone well in his life,”Jennifer L. Keller, an attorney for Spacey said Thursday during openingarguments in the actor’s civil trial.

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Rapp “peaked around the year 2000 and he grew bitter about not getting partsas an openly gay man,” Keller added.

Spacey was on hand in Manhattan federal court as his lawyers attempted tofight back against Rapp’s $40 million civil lawsuit. Rapp is claiming thatSpacey made unwanted sexual advances at him in 1986 when Spacey was 26 andRapp was 14 years old. Rapp’s legal team made a point of reminding the jurythat the actor was only a teenager at the time of the alleged assault, sharinga photograph of him in which he had a comb over haircut, wore glasses andappeared very boyish. They reminded the jurors not to think of Rapp as the50-year-old actor who was watching the proceedings, but as the boy he oncewas.

“This was something that never should have happened,” Peter Saghir, anattorney for Rapp, said during his own opening arguments. “Kevin Spacey made asexual advance on Anthony when he was 14 to gratify his sexual desires,” headded at another point.

Spacey’s legal team plans to bring medical experts who will testify abouttrauma and memory lapses. Based on their opening statements, they appear readyto argue that Rapp has misremembered or embellished key details.

In a 2017 article in BuzzFeed, Rapp claimed that he attended a party at theactor’s New York City apartment. At that gathering, he went into Spacey’sbedroom and at one point realized he was the last person at the party. Heclaims that Spacey blocked the doorway, preventing him from leaving the room,and eventually picked him up and put him on his bed. He then allegedly climbedon top of Rapp. However, Keller said that Spacey’s apartment was a one-roomstudio and showed a floor plan on a screen that she said made Rapp’sdescription of events improbable.

Story continues

“The story only works if you invent a wall and a door,” she said.

But Rapp’s team painted a harrowing portrait of the evening, claiming that theteenager was “frozen” as he “felt the weight of Spacey” on top of him. At somepoint, they said, Rapp was able to escape to a bathroom, which they describedas “a safe place, a place to retreat.” Rapp eventually managed to leave theactor’s apartment, deeply shaken by the incident.

“This was no accident,” said Saghir. “This was no horse play.”

Rapp’s team announced they were going to have another alleged victim of Spaceytestify about a 1981 incident involving the actor. Saghir said the person, whohe did not identify by name, was not a friend or acquaintance of Rapp.

Spacey’s side revealed that it plans to question whether the alleged incidentwas actually traumatic. They argue that if Rapp was suffering from post-traumatic stress disorder, he would have practiced “avoidance.” However, theysay they have proof he watched the actor’s movies, including such films as “LAConfidential.”

Spacey won Oscars for his work in “American Beauty” and “The Usual Suspects.”He was fired from the Netflix series “House of Cards” in the wake of multiplesexual abuse allegations. Rapp starred on Broadway in the original cast of“Rent” and appears on “Star Trek: Discovery.”

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You probably haven’t missed it if you’re a real Netflixer: the series_Monster: The Jeffrey Dahmer Story_ is at the top of everything. The seriestells the story of one of the most notorious psychopaths ever. Victim SupportNetherlands believes that the series should be removed from the streamingplatform.

They have received a substantial number of complaints from people who aredisturbed by the way Dahmer’s victims are portrayed in the series.

‘Dahmer loses control’

Between 1978 and 1991, serial killer Dahmer robbed 17 young men of theirlives, most of whom he picked up in gay entertainment venues. He torturedthem, including by injecting hydrochloric acid into their bodies, had sex withtheir bodies after their death and ate body parts. The series is very graphicand shows these details. Victim Support Netherlands received a lot ofcomplaints about this, chairman Rosa Jansen told the newspaper NOS Radio 1News.

The victims of the ‘Milwaukee cannibal’ came mainly from vulnerable groups insociety. So easy prey, which the police didn’t care much about. This allowedDahmer to work undisturbed for years. Evan Peters plays the lead role in theseries. He is doing very well, according to the viewers.

Victim Support does not only argue for the removal of the series in theNetherlands, but also in other countries. The organization will also raise theissue with international umbrella organisations Victim Support Europe. “Ourgoal is to help victims to take back control of their lives after a terribleevent,” explains Jansen. “A Netflix series like Dahmer takes that directionout of their hands again.”

romanticized

It particularly bothers Jansen that “in the series the killer is a ‘powerful,strong man’ while the victims are all emotional and weak. The perpetrator isenormously romanticized and no nuance has been added.” To make matters worse,Netflix has not informed the next of kin: “I was never contacted about theseries. I think Netflix should have asked what our opinion was on this. Theydidn’t ask me anything,” Rita Isbell, sister of one of Dahmer’s victims, told_Time Magazine_.

The chairman of Victim Support Netherlands says he has nothing against fictionseries or the ‘true crime’ genre. “But in this series, fiction and true factsare too intertwined. As far as we’re concerned, this series has crossed aline; we see what effect this has on victims and surviving relatives.” Jansenalso understands that there is little chance that Netflix will actually grantthe request. “But we wanted to send out a clear signal, so that viewers candecide for themselves whether they want to participate in this exploitation.”Netflix was unable to respond to the request from Victim Support Netherlandsthis morning.

Inappropriate Netflix label

Earlier, there was much criticism from the queer community because Netflix hadlabeled the series ‘LGBTI’. Usually this includes films and series that have aqueer person in the lead in a positive way. At the series Monster: TheJeffrey Dahmer Story that is of course not the case. Netflix has sinceremoved this label. Other labels the series has been given include”psychological,” “horror,” “old crimes,” and “dark.”

Sally Jessy Raphael’s famous TV talk show ended after two decades in 2002 —and she’s still not about how it all played out.

the Sally host, known for her signature red eyewear, reminisced about herdaytime TV days with fellow talk show queen Ricki Lake on the Raised byRickic podcast. Today, Raphael, 87, is as fierce as ever, letting it rip ontopics ranging from her show’s abrupt cancellation that she never recoveredfrom to dating after losing her husband and manager Karl Soderland in 2020.

“When it started, I talked to presidents of the United States [and did]interviews with celebrities,” Raphael recalled of the early days of Sally.But ownership of the program changed hands several times and once NBCUniversal “got a hold of it, [it became a] “Who’s your baby mama?” type orshow. That’s when it all went downhill.”

Because she didn’t own the show, she had to roll with it. “I was living alifestyle where I needed the money…” she said, explaining that she lived inNice, France, while she filmed the talk show, commuting to NYC three days aweek. But only to an extent — and that became her show’s downfall. “NBCUniversal Owned Jerry [Springer]Maury [Povich] and me — and I’m the one whowouldn’t do the [most exploitive topics] so they let me go.”

While she was a trailblazer — the first woman to host a syndicated talk showon TV, before Oprah Winfrey arrived on the scene — she was unceremoniouslydumped by the network. It still stings.

“Not only didn’t I have a say, but let me tell you how bad this was,” sherecalled. “I had 250 employees … and I told them, because I was told by thecompany … we were going to be renewed and everything was fine. Then theycalled me in one day … and told me ‘No, we’re not continuing the show. I hadto call the 250 people together … and say, “I’m terribly sorry. I don’t knowif you’ll believe me but I was song to.” And that was the end of that.”

Story continues

Not only was it the end of her talk show run, but it was the end of hercareer. Something she hadn’t planned for. Raphael said her agent sent her avase after her firing that was engraved with: “The best is yet to come.”However, “If you look at my résumé, I haven’t worked since then. Haven’tearned a dime,” she said. Her agents “never found one other job [for me] since2002.”

some classic Sally :

While she hasn’t worked, she has maintained friendships with many Sally> show employees. “I still am in touch with almost every one of the people I> worked with,” she revealed.

Earlier in the conversation, Raphael talked about her professional start.Breaking into the business wasn’t easy, especially for a woman. She was hiredas “the morning man” on a radio show — and, yes, that was her title. (“Theydidn’t have women yet!” she said.) While she pursued radio, it was a lot ofdowns. “I kept getting fired. I think I’ve been fired 27 times.” While jumpingaround on different radio shows, another talk titan Phil Donahue heard her andsuggested she try out for a TV show, thinking a woman’s voice was needed inthe male-dominated space. After a stint as a TV guest host, she landed her ownshow in 1983.

Raphael also spoke about losing the love of her life, Soderland, in 2020. Shesaid she’s been grieving for the last two years, but is now hoping to findcompanionship for this next leg of her journey.

“I’ve been trying to find … you can’t say a ‘boyfriend’ at my age. That soundsridiculous,” she said. However, she then rattled off exactly what she’slooking for: “I can tell you very quickly: 70s or 80s. Not rich and not poor.An ordinary Joe.”

The satirical news program Until here won the Gouden Televizier-Ring onThursday. The Televizier-Ster Impact is to the YouTube series ANGRY from TimHoffman. Also this year the television prizes were awarded in the RoyalTheater Carré in Amsterdam.

By our entertainment editors

The series by Niels van der Laan and Jeroen Woe received more votes than TheHunting Season (SBS6) and The Beavers (RTL 5). “Thank you to everyone whovoted for us, you are all amazing,” they said during their speech. Thecomedians also thanked Paul de Leeuw, among others: “Because he pulled us outof the theater and dragged us onto TV.”

Hofman has won the Televizier-Ster for the best presenter. He also receivedthe de Televizier-Ster Impact for his YouTube series ANGRY in which hecorrects the abuses The voice of Holland pointed out.

“Our mission is that people without power feel safe to talk to us and peoplein power feel stuffy,” the presenter said. “The prize is for everyone whodared to speak to us in January. Thank you for that.” At the end of hisspeech, he wished everyone a safe afterparty.

Tim Hofman on the red carpet with his brothers Rijk and Sam.

Photo: BrunoPress

The Televizier Star for best actor went to Frank Lammers tonight. Lammers wasnot present in the room, but gave his speech by means of a live stream. Theactor was also nominated last year, but lost to his Undercover colleagueElise Schaap. The prize was presented by Jandino Asporaat.

Robbert Rodenburg has with his YouTube series Open Card won the TelevizierStar for Online Video Series. “As a little boy I looked at the Televizier andI thought: what if you could ever stand there in your life? And now I’m here,”said Rodenburg in his speech. Also police vlog by police vlogger Jan-Willemand Impossible by StukTV were nominated for the prize.

Soy Kroon best talent

The Televizier-Ster Talent was awarded to Soy Kroon. “Wow guys, I reallydidn’t see this coming”, Kroon said as he received the prize. “I see it as anencouragement to keep going. As long as you are vulnerable and yourself, youcan achieve anything with the right people around you.”

Hello, I Have Cancer won the Television Star Youth. In the vlog series,teens Kelsie, Olivier, Marleen and Rose take you on a journey through theirlives with the disease. Presenter Anne-Mar Zwart visits them at importantmoments.

“We are here tonight with mixed feelings,” said Zwart as she accepted theprize. “We are also a bit sad. Our dear Marleen passed away last week. She hadbeen looking forward to it, the dress was already ready. We are going to havea party with her in our hearts.”

The prize was presented by Noël van Kleef and Thorn de Vries. Also the series_Hands Up_ from KRO-NCRV and Stitches and Pricks of BNNVARA were nominatedfor the prize.

• 

Zie ookDit draagt bekend Nederland tijdens het Gouden Televizier-Ring Gala

Criticism of Golden Televizier Ring nominations

In recent weeks, the nominations for the Gouden Televizier-Ring have beencriticized because the programs The Beavers and The Hunting Season werenominated while they are by no means the most watched programs of the pastyear. Last week, organizer Jeroen de Goeij told NU.nl that he does not seethis as a reason to adjust the voting procedure.

“We have often had commotion about programs that would not have been goodenough to win or be nominated. In the end, the vote is up to the vote.” DeGoeij emphasized that the Gouden Televizier-Ring is not a professional prizefor the best program on Dutch television. “We are looking for the favoriteprogram through the votes.”

In 2005, when Willow Smith was only 5 years old, she had her first touringexperience, joining her mother Jada Pinkett Smith’s nu-metal band, WickedWisdom, on the road. “It’s not very popular knowledge, but she was out there— she was on Ozzfest,” says Willow, who turns 22 this month. “She did [hardrock] for many, many years, and she loved it and she did it with her entireheart… but she did struggle with a lot of pushback.”

Willow, sitting onstage with Yahoo Entertainment at a sold-out Grammy Museumevent previewing her own rock record, __, recalls the “racist and sexist”treatment her mom received from self-appointed rock gatekeepers — “white mencoming at her and telling her that she couldn ‘t be in this space. But shekind of stood up and did it anyway, and that was so inspiring to me,” Willowsays. “Me seeing her as a little child, with people screaming racial slurs ather while she’s onstage, booing her, throwing stuff at her — it felt like shewas doing activism. I felt, ‘I’m seeing activism right in front of my eyes.’And it taught me that music isn’t just music ; music is meant to push theculture. … Even at a very young age, that was clear to me, because I just sawit right there. Yeah, it was scary, but it made me value the craft in a waythat if I hadn’t seen that, I don’t feel like it would’ve gone as deep.”

It also made an impression on Willow that Wicked Wisdom was able to win over> hundreds of skeptics at every Ozzfest second-stage gig. “There were so many> people that didn’t because to like it, but just had love it!” she> marvels. “That was so beautiful to see: the change of people’s minds, the> change of people’s hearts. And I feel like that is true activism. … Being on> tour with her in such insane places, the memories are kind of fuzzy, but the> main feeling I remember is feeling so close to her, like it was us against> the world. … And that feeling was priceless.”

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Willow relived that feeling last year in a viral video, when she sang WickedWisdom’s “Bleed All Over Me” with the reunited band while her beaming motherproudly looked on. It was a torch-passing moment of sorts, and now Willow istaking on the rock world on her own with her fourth solo album, __ — herhardest effort yet, and “some of the most honest work I’ve done.” While Willowburst onto the pop scene more than half her life ago “(“How crazy is that?”)with her breakout bop “Whip My Hair,” she has since built a crediblediscography of genre-crossing work, also very much against the odds.

Willow points out that she’s been dabbling in rock since her 2015 debut> album Ardipithecus and really started going for it with the seven-string> track “Human Leach” off of 2017’s The 1st , but “I think that people just> sort of chose not to focus on that side of my music and chose to focus more> on the melodic, more R&B/neo-soul side.” She reveals that she has received> plenty of pushback herself, from her record label, for wanting to move in an> increasingly hard-rock direction. “I feel like I’ve never really fit in any> categories. I think that that is the issue, and so sometimes people> categorize me in not the right way. Which is all good. I stand 10 toes down> on who I am, and I’ve been here for a while, and I feel like I’m pretty> authentic when you see me and listen to my music.”

While Willow’s mother “came against a lot of physical violence,” even deaththreats, nearly two decades ago with Wicked Wisdom, “Nowadays, it’s over theinternet,” Willow gripes. “People just want to be mad and talk crap over theinternet. I feel like, yeah, that’s a little bit less dangerous than someonein your face trying to throw a broken bottle at you, but yeah, you stillexperience that racism.” For instance, she recalls an incident when System ofa Down bassist Shavo Odadjian reposted a clip of her playing the riff fromSOAD’s “Toxicity” on Instagram. ​“I was so, so happy. Like, I showed my mom. Iwas like, ‘Oh my goodness!’ And then I’m looking at the comments, and all ofthese old white men are just bashing it. It was so crazy.” Thankfully,Odadjian — who’d posted Willow’s clip with the caption, “I love how musictranscends all ages! Bravo @willowsmith you’re a real one!” — defended Willow,who was 20 years old at the time. “He was in the comments fighting back, like:’Unfollow me, bro. I don’t care what you think.’ … I literally was like, ‘I’msorry you got so much flak for it!’ I don’t know, for some reason I felt likeI had to apologize. But he was like, ‘No, it’s all good,’ and that was sobeautiful. I felt so supported.”

More recently, another one of Willow’s ’90s rock idols, Les Claypool,> complimented her “fine guitar pickin'” on an Instagram post of her jamming> on a Primus song, and she felt so supported that she “literally cried. I> shed a tear when I saw that he commented. I don’t like to take external> validation because that can turn into a black hole really, really quickly,> but I had to take that slight bit. because he’s literally my favorite.> Honestly, I will hold that in my heart forever. So, I’m going to hold that> with me forever.” (“Certified Young Fiery Lass” is now the bio on Willow’s> Instagram page.)

Willow doesn’t think it’s so unusual for a Black woman like herself to do rockmusic, even if it takes some rock snobs by surprise. “It’s definitely been aheavily dominated white male kind of arena for a while, but if you do yourresearch, there’s many, many beautiful people of color who kind of steamrolledthe genre in a beautiful way,” she points out. “Sister Rosetta Tharpe wasplaying the electric guitar in the 1940s, and people don’t really talk aboutthat. I feel like if we do our research and we really love music and we reallywant to look at the, beginnings of these things, we find some beautifulthings.”

In fact, Willow believes that disenfranchised people have the potential to> make the best rock music. “Women have a lot to be angry about — let’s> start there,” she grumbles, acknowledging that anger from women, “especially> Black women,” often isn’t accepted in the mainstream. “We really haven’t> been treated the best by society since basically the beginning. But I think> that we hold such a beautiful gift, which is to see life from a perspective> that isn’t an entitled perspective. And I think that that allows us to> create art that truly changes the way people feel.”

Of course, some doubters might expect Willow to act entitled, given herupbringing in a famous Hollywood family, as the daughter of Jada and WillSmith. But other than fondly remembering her mother’s former rock band, she’drather not talk about her parents, and just let her music speak for itself. “Ithink my biggest way of blasting all of those [accusations of nepotism] isreally spending time on the craft and really working on my musicianship,” shesays matter-of-factly. “You know, if someone can play, they can play, andthere’s really no in between. And so, I feel like when you really, really workon that, it’s undeniable. They can’t say you’re not talented.”

__is definitely a showcase for Willow ‘s immense talent, and the early> reviews from Rolling Stone , The Guardian and Consequence of Sound> have been stellar. It’s her most lyrically confessional record ever (“In the> past, I would just be super-super-esoteric, like every single lyric that I> wrote was just about spirituality and geometry,” she chuckles), whether it’s> on “slow, sad, drunk songs” like “Split” and “No Control” or the self-> critical singles “Maybe It’s My Fault” and “Curious/Furious.” And while she> says she’s “angry and sad about a lot of different things” and a sense of> “deep, deep existential dread connects all the songs,” __is “not a> depressing record. I don ‘t think sadness needs to be depressing. I think> sadness is an expression of ourselves in such a beautiful way. We push it> away so much, and I don’t feel like we should. We should honor our sadness> and we should honor our anger and we should honor our discomfort, because> it’s a part of us too.”

one __track, “Hover Like a Goddess,” is decidedly less angry or sad than theothers, but it especially took Willow out of her comfort zone. “I kind ofwanted to challenge myself to try to write like a sexy song, which is notreally something I do ,” she says with a nervous giggle. “But I just lovewomen and I just think they’re the best creations, and I just needed to make asong to fully express that.”

A collaboration with Chris Greatti, who’s known for his work with Yungblud,> Blink-182, Pussy Riot, and Poppy (“The album that Chris did with Poppy is> literally some of the best music I’ve ever heard,” raves Willow), __ seems> to be tapping into the Zeitgeist, at a time — 17 long years after Wicked> Wisdom — when guitar-driven rock is finally back in the mainstream. And> through rock, Willow is finding a new way to speak out , just as she does> alongside her mother when co-hosting Red Table Talk.

“I think there’s so much happening in the world right now in rock. The soul ofrock is this cry for change, and I feel like rap and rock kind of have thatsame foundation of like, ‘Some bad things are happening and we are mad aboutit, and we want to express this and we need you to know how we feel,’” musesWillow. “There’s so much trauma just in everyday life for us now. Like, weturn on our phones and we see what’s happening in Iran, we see what’shappening with climate change, we see what’s happening with so many Black menand women being killed against their wills. All of this crazy stuff is goingon, and we’re just angry and we want change. And I feel like art is the way toshow people that we want change.

“And so, I feel like it’s less about the genre, and more about that intent andthat underlying feeling that the youth is having right now. The world is notdoing too good right now … but we’re seeing it so clearly, and that angers usand makes us feel like we need to speak up. And I’m trying to scream and I’mtrying to shred on the guitar, to let everyone know we’re serious about this.”