Author: bestmedeal

You can’t reach it with your mind: Moped at sea , the book program of theVPRO, will not return to the screen in the new year. Was signed: NPO.

Eveline Aendekerk is director of the Collective Propaganda of the DutchBook Foundation (CPNB).

In Moped at sea Within the framework of a varied magazine, two writers orpoets usually spoke, in conversation with the dedicated presenters Ruth Joosand Wilfried de Jong. Gradually they found their way better and better. Thatgrowth process was reflected on the viewers side. There were more hookers thandropouts and so their number crept up towards 200,000. That is four times theJohan Cruijff Arena is full. The viewers of Moped at sea were fascinated,were surprised and moved by writers they didn’t know yet, and resolved to reada book by that author and watch the program more often. How many people have_Moped at sea_ viewed more than once? One in fifty Dutch people? I think evenmore.

But that is apparently not enough. Is it because longer conversations areboring? Or because Moped at sea there is for people who already read, right?Boring is a matter of taste. There are people who find a football game boring- I am one of them – and there are many more than those who like it Moped atsea watched. And what’s wrong with book readers? Reading is mental fitness.Bookstore and library are just as useful as gym and pedometer. Trained readersalso need to be familiarized with the overwhelming offer. They too depend onintermediaries who put them on a new track. Those mediators cannot do withoutplatforms: social media (BoekTok!), playlists, podcasts, written media. Andalso good old linear radio and television, started in the last century asuplifters of the people.

right to exist

It is the public service broadcaster that carries the torch of popularupliftment into the 21st century. You will find that in it _mission statement_of the NPO. There is no shortage of lofty terms. The NPO promises “a richerlife for everyone”, is concerned with “vulnerable genres for the connoisseurto much-needed relaxation for a wide audience”. This makes the NPO “animportant lifeline for the creative sector in the Netherlands”.

Read also: NPO scraps VPRO Boeken and turns out to be a sponsor of thedecline

A vein is now being pinched for our writers. At the same time, the Ministry ofEducation, Culture and Science is fully committed to reading and improvingreading skills. This is the same ministry from which the NPO receives itsfunds. Shouldn’t there be a lot more book programs on radio and TV? This isapparently possible with our neighbors in France and Germany.

It is true that the NPO adds that books and writers will be central to theBook Week for twelve weeks Eus ‘ Book Club. That’s good news, it will make alarge audience excited for writers and bestsellers. But that alone is notenough. Both Eus ‘ Book Club_with a more entertainment approach from theBurgerweeshuis in Deventer, as _Moped at sea has its right to exist. Pulledin the past Here is … Adriaan van Dis 770,000 viewers. Regardless of theformula, books on TV should be audiences.

Because of our culture

Three years ago I spoke to the NPO director about the lack of book programs inpublic broadcasting. The reason was the discontinuation of VPRO Books at thetime. That led to the promise to explore in a wider group what is needed andwhat the NPO could do. Should this exploration ever take place again, the booktrade will be happy to think along with the NPO.

The reader is central to the campaigns of the CPNB, the novice reader as wellas the well-trained reader. All those readers cannot do without writers,translators and illustrators. Lesser-known writers, translators andillustrators also deserve opportunities and cherishment, not so much for theirown sake, but for the sake of our culture, which otherwise becomes rigid andatrophied. Nurturing and cultivating, they are contained in the word’culture’.

Writers can put you in someone else’s head, someone who is completely alien toyou, or wholly unsympathetic. If ever a novel about the dilemmas of a publicbroadcaster appears, I rush to the store. Maybe one day I’ll understand.

You didn’t see this one coming: the final of B.V. Darts was won by singer andactor Maksim Stojanac. The underdog took wing at the crucial moment and playedthe competition in a heap. “Although in the future I will stick to a game inthe football canteen.”

Tom Vets

Yesterday at 23:00

Only with heels over the ditch did he manage to conquer a place in the finaland for the public he was by no means the favorite. Everything indicated thatit would be a battle between ex-sportsman Hans Van Alphen and musician TouristLeMC. And yet it was Mad Maks who took the trophy of the second season of BVdarts could blow into the air.

“This feels so good,” says Stojanac proudly. He played a thriller of a final,in which he doubled against Francesco Planckaert. “At one point I was prettymuch without a chance. I still don’t really know where I made the difference.”Then he saw his family sitting at a table. “They looked rather pathetic. Butmy brother said to give everything one more time. Since I had nothing left tolose, I followed his advice. When I made that mental switch, everything wentsmoothly. From that moment on I never lost a single duel. And so I won 3-2. Inthe ultimate duel Hans went for the ax 3-0. As if suddenly the darts talenthad crept into me.”

Stojanac also attributes his victory to a portion of luck. “And you have to begood at math. That is perhaps the best tactic to be able to throw out. It isimportant to find out your favorite numbers in advance, and especially topractice on them.”

Focus on small arrow

It will certainly not have been due to hours of training, because shortlyafter the recording of the first rounds in August, candidate SaartjeVandendriessche whispered to us that Stojanac had barely practiced. “That’sright. I had a busy schedule during the summer when the shooting took place.There was hardly time to throw darts at home. Very occasionally I had a momentfree.”

Although he decided later in the game to prepare himself a bit better. “Forthat final I took my time, and that was my luck. Because the level of thefinalists was a lot higher than that of the participants in the preliminaryrounds. I knew that Francesco Planckaert had stood in front of the board forat least two hours every day. So I had to cut a tooth too. Only then do younotice how intensive that sport is, to keep your focus on it all the time. Ihave had a job for several years in which I regularly deal with stress. It’snot always easy to be yourself on stage when there are 10,000 people in frontof you. But this game was something completely different: suddenly I had tofocus on a tiny dart and a board. It’s hard when so many eyes are on you. Thetension at the moment when you know the other person can throw out wasunbearable at times.”

Playing the man

Stojanac does not call himself a bad loser, but he does want to be the firstin a competition. “When I lost 3-0 against Hans in the preliminary rounds, itwas no good. I still haven’t forgotten that moment. It also has to do with thefact that I am a football player. Then you don’t want to lose. And thensometimes you have to be cunning to pull the victory to you. In games Isometimes dare to play more on the man than on the ball.”

He has not acquired a new great passion. “I like darts, but now that boardhangs in the garden. If I ever venture into a darts tournament again, it willbe more likely to be in the football canteen.”

GhentVincent Storme (32) passed away a good two years ago. The young rapperfrom Nieuw Gent left behind numerous unfinished songs. That bosom friendSpreej now processed into the record ‘Open End’. “I still remember my firstmeeting with Vincent”.

With Jef Neve, Zwangere Guy or Tijs Vanneste, Christophe ‘Spreej’ Cabochemanaged to gather a beautiful circle of musical talent around him. Togetherthey worked on Open End, Vincent Storme’s posthumous album. The rapper fromthe working-class neighborhood of Nieuw Gent took his own life in 2020 at theage of 32.

“Storme still had a lot of unfinished songs,” says Caboche, a soulmate sincechildhood. “In the last years of his life, Vincent was not doing as well,everyone saw that. But I want to show that despite his demons he still madeexcellent music.”

In the end, the whole process took two years. “Longer than expected,” saidCaboche. “But I didn’t want to rush it. The recording sessions were alwaysvery intense. I often had to recover from it for two weeks. Storme was my bestbuddy. It was the first close friend I had to say goodbye to.”

(continue reading below the photo)

Ghent rapper Storme. © RV

“Dare to talk”

Storme lived the last years of his life in Nieuw Gent, the social residentialarea near UZ Gent. “I moved there with my mother when I was 16,” says Caboche.“When I first met Storme, he was rapping at the top of his lungs in his livingroom. I was blown off my socks.”

Quote >>> Storme was proud of his neighbourhood, but he sometimes lingered in the dark> side. I hope that the young people now hear his lyrics and realize that they> are not alone. That’s why this call: dare to talk>> Christophe ‘Spreej’ Caboche

“Since that day we have become good friends. I built a studio in one of theblocks and we sat together almost every day. Storme was proud of hisneighbourhood, but he sometimes lingered in the dark side. I hope that theyoung people now hear his lyrics and realize that they are not alone. That iswhy this call: dare to talk.”

(continue reading below the photos)

Storme during a performance by Safi & Spreej a few years ago. © RV

Vincent Storme (left) and Spreej at the release of Open Book. © RV

processing process

With ‘Open End’, Spreej elaborates on Storme’s earlier albums. He previouslyreleased ‘Open Book’ and ‘Open Hart’. “We wanted to re-appear ‘Open’ in thetitle anyway. It was a good friend who came up with the name. Everyone wasimmediately sold. It perfectly describes how we feel.”

Quote >>> For me, making the record was a processing process and at the same time a> recognition of his talent. He himself wanted to work with many of the> artists>> Christophe ‘Spreej’ Caboche

“In New Ghent, Storme has not yet been forgotten. After his death, a largegraffiti work was painted in the youth center where he volunteered. For me,making the record was a processing process and at the same time a recognitionof his talent. He wanted to work with many of the artists himself.”

“Storme had already been in contact with Tijs Vanneste. He sent me an emailafter his death when he heard about the record. In the end, Vanneste made hisown version of the chorus of ‘Sometimes’. Storme had already recorded that,but the audio quality was poor. Tijs’ version is simply top notch. We canrightly be proud.”

‘ Open End’ can be found from 16 December at _Spotify . Anyone withquestions about suicide can contact the Suicide Line on the free number 1813or on the website www.zelfmoord1813.be._

Dear Singers is back for once this year in the hacienda in Seville. This timeno singer or singer is central, but it’s all about the Children Cancer FreeFoundation.

This special day is all about the Children Cancer Free Foundation, KiKa. Theorganization has been around for about twenty years now and that is why DearSingers devotes attention to this special cause in this episode.

Anita Mayer

Anita Meyer is ambassador for the Princess Máxima Center. The Center oftencollaborates with KiKa. When Anita was asked by the Princess Máxima Center tobecome an ambassador, she obviously couldn’t say no. Having children of herown, she understands all too well how important it is to contribute to the100% cure of this disease. KiKa does this by conducting research and thePrincess Máxima Center by treating children with cancer.

KiKa

Nineteen percent of children die of childhood cancer. This means that onceevery three days a child dies of cancer. Do you want to do something aboutthat? You can do this by donating via the website supportkika.nl or call0800-1303.

Henk Poort & Tabitha – The Prayer

The duet gun Henk kicks off the episode together with Tabitha. They sing thesong ‘The Prayer’ by Andrea Bocelli and Céline Dion. Although Henk is notreally religious, he prays that the nineteen percent of children who die fromchildhood cancer will quickly decrease.

Glen Faria & Tania Kross – Give Me Your Fear

A number of participants went on the road for KiKa. Glen Faria ended up with agirl named Jans and her family. They showed Glen the hospital, which he isstill impressed by. Jans’ family has had a lot to endure. Before Jansdeveloped lymphocytic leukemia, her mother had overcome breast cancer.

Children often have to deal with very intense treatments. The small bodieshave to endure a lot during chemotherapy, which often also has many sideeffects. It is therefore incredibly important that research is done into thequality of life after all treatments.

Jaap Reesema & Maria Fiselier – Being Yourself

For Jaap Reesema, the stories about childhood cancer are very familiar. Theson of a good friend of his has had several treatments. He has since beendeclared cured. Fortunately, the family has received a lot of support from thePrincess Máxima Center. His or her life changes not only for the child itself,but also for the rest of the family.

Tabitha & Jaap Reesema – Keep Dancing

The girl who visited Tabitha, Lizie, has been declared clean. Unfortunately,that does not mean that all problems will suddenly disappear. Because of herbrain tumor, Lizie has the reading and math level of someone from group 3,while she is now 10 years old. Often people do not realize that there is somuch more to a child who gets cancer and is later declared clean.

Tania Kross & Henk Poort – Somewhere

The song from the West Side Story ‘Somewhere’ sings Tania Kross together withher great friend Henk Poort. This song actually says: “Someday we will meetthere”. Talking about death remains difficult for some people, but with thissong Tania looks for comfort in her own way. Because that’s what music can do.

Jaap Reesema – Grey

As an exception to the duet rule, Jaap sings the song ‘Grijs’ again, becauseit fits so well with this special episode of Best Singers.

Maria Fiselier & Glen Faria – Alegria

With a lump in her throat, Maria Fiselier has visited the family of thedeceased Sam. At a much too young age, Sam was told that he has cancer andthat he will not recover from it. On the birthday of Sam’s mother, Mariastarts the conversation with them.

To not only hear heavy songs during this KiKa special, Maria has chosen tosing a joyful song ‘Alegria’ together with Glen.

Anita Meyer & Jan Smit – That’s What Friends Are For

At the end of the evening, presenter Jan Smit and ambassador of the PrincessMáxima Center Anita Meyer sing the song ‘That’s What Friends Are For’.

And la casa del tuitero la alegría dura tan poco como en la del pobre. Eso sies que alguna vez la tuvo y quiso contarla en raciones de 280 caracteres. Laeliminación de España del Mundial de Qatar no solo es una desgracia para elforofo común. Los del cortijo de Elon Musk nos quedamos huérfanos de lasopiniones de un expresidente del Gobierno metido a columnista y amante decierta tautología teutona. Mariano Rajoy se ha despedido de sus columnas en_El Debate_ con una phrase entrañable: “Un abrazo a quien quiera recibirlo”.Un beso de amor no hay que dárselo a cualquiera, como nos enseñó ManoloEscobar, y un abrazo conviene darlo a quien lo quiera, claro que sí.

También perdemos a Luis Enrique como seleccionador nacional y como _streamer._Ya no habrá más vídeos de esos en los que, con la misma soltura, el asturianorevelaba el tipo de ropa interior que utiliza —para seguro fastidio de PabloMotos—, defendía lo lúdico y formativo del fútbol infantil por encima deléxito competitivo y se plantaba ante un usuario que, cuando el entrenadoranunciaba la colaboración con una causa benéfica a favor de los cuidadospaliativos de un hospital catalán, exclamaba: “Yo a Cataluña ni agua”.

“Luis Enrique, tu padre es Amunike”,cantaban hace más de 25años los mismos ―siempre lo son, aunque sean otros― que el martes, durante elpartido de España contra Marruecos, en un alarde de racismo convirtieron entendencia la etiqueta “Leña al moro”. Podría pensarse que se trataba de uno deesos temas del día aberrantes que se popularizan por el número de usuarios quelos condenan, que también, pero sabemos de sobra como se las gastan algunoshinchas. No hace ni tres meses hemos visto a varios seguidores del Atletico deMadrid gritar en el derbi: “Vinicius, eres un mono”, lo que motivó una condenaunánime del Congreso. Algo simbólico, un poco para quien lo quiera recibir,como el abrazo de Rajoy, no se vayan a tomar medidas duras contra losaficionados radicales por si se molestan.

El tuitero DavidMosquerase encargó de bucear en oscuros rincones de la hemeroteca y recordó que en1997, cuando Fermín Cacho y Reyes Estévez iban a disputar la final del 1.500en el Mundial de Atletismo de Atenas contra el marroquí El Guerrouj y elargelino Morceli, Mark tituló en portada “Leña al moro”. Al día siguiente,tras la victoria de El Guerrouj, titularon “Moro, plata y bronce”. Elperiódico deportivo se terminó intentando disculpar por ambos titulares conuna especie de no queremos molestar: “Si hemos utilizado el término moro esporque no creemos, porque no lo tiene, que tenga un componente peyorativousado para denominar a los marroquíes”.

El 6 de agosto de 1997 Fermín Cacho y Reyes Estévez iban a disputar la final> de los 1.500 del Campeonato Mundial de Atletismo de Atenas. Sus principales> rivales en la lucha por el ORO eran el marroquí El Guerrouj y el argelino> Morceli. MARCA tituló en portada: “LEÑA AL MORO”.> pic.twitter.com/h1jElL1LiA>> — David Mosquera (@renaldinhos) August 6,> 2019

Bajo la etiqueta “leña al moro” se podían encontrar estos días desde mencionesramplonas a la Reconquista, los Reyes Católicos y los templarios a vídeos conmontajes de fotos del rey Mohamed VI de Marruecos tras la bandera arcoíris―¿por qué ser solo racista si se puede ser homófobo también?― e incluso algúnspout de algún streamer que de nuevo empleó el símil simio, uno de esosinsultos bumerán: quien lo profiere solo se retrata a sí mismo.

Tras la derrota de España, de la bravuconería muchos tuiteros pasaron a temerdisturbios con tanto ahínco que parecían desearlos. Hubo incluso quien se losinventó porque el odio no se siembra solo. Por suerte, no hubo nada más quelamentar. Otros celebraron la derrota de la Roja. También tenían motivos: losracistas tuvieron que comerse la victoria marroquí y con ella nos hemos idodel Mundial para el que han muerto 6,500 trabajadores inmigrantes. No nosalvan ni Rajoy ni Luis Enrique.

Al caer eliminados, cada uno de los integrantes de la selección le seguirádando vueltas a la cabeza. Pensarán en las jugadas que tuvieron, en comopodían haber dado el pase, el control que no fue bueno, la pequeña duda antesde tirar a puerta… Porque esa es la sensación que se te queda, individualmentehaber podido hacer algo diferente para marcar algún gol y evitar así lospenaltis. Y qué decir de los lanzadores, que con pena y rabia habrán recordadola imagen de su lanzamiento mil veces. Por mi parte no hay nada querecriminarles: tuvieron la valentía de chutar y fallaron. No deja de ser un

First it is called a plume of smoke. Subsequently, TV and radio speak of apoison cloud, to eventually switch to an ‘airborne toxic event’ (where poisonis spread through the air). But whatever may be going on just outside theborder of his college town, Jack Gladney won’t be fooled. He explains to hischildren that cities are built in such a way that the better neighborhoods,like theirs, remain unaffected by disaster. ‘It doesn’t get to here. It’s justnot happening.’

And so says the professor who appears in Noah Baumbach’s wonderfully elusivenew film white noise is presented as eminent expert in Hitler studies. A manwho therefore knows how dangerous it is to bury your head in the sand, and wholikes to describe the family institution as ‘the cradle of disinformation’.While the sirens wail outside, the same Jack Gladney (Adam Driver, withreceding hairline and ostentatious tummy) sits imperturbably at his supper.

Mischief and media, disaster and indolence, consumerism as an anestheticagainst terror: in this Netflix adaptation of Don DeLillo’s 1985 novel of thesame name, the big themes collide like cars, according to Gladney’s friend,media teacher and Elvis connoisseur Siskind (Don Cheadle). ) in Hollywoodmovies – enthusiastically, joyfully. And as government instructionscontinually change as the severity of the catastrophe becomes clearer, so toodoes it white noise one surprising, not to say alienating, turn afteranother. With the heavenly white supermarket as a recurring haven.

Take Jack and wife Babette (Greta Gerwig), disturbingly phlegmatic andsporting a voluptuous head of curls; that haircut alone makes clear that_white noise_ set in the 1980s). Baumbach introduces the two and theirchildren as a chattering jumble of perspectives, but meanwhile there is alsoplenty of existential unrest.

1980s style

While Babette becomes increasingly forgetful and secretly takes scary pills,Jack dreams at night that he is being strangled in bed by a stranger (or is ithimself?): a well-directed nightmare scene that briefly steers the familycomedy into pure-blooded horror territory. The dialogues, largely taken overfrom DeLillo’s novel, sound musically theatrical and rhythmic: a musicalitythat is only released during the credits, in a grandiose show ballet betweenthe supermarket shelves.

Who would have thought that of Baumbach, who made his name with broodingtragicomedies like Frances Ha (2012) and herself with the wedding portrait_Marriage Story_ (2019) from his most sensitive, realistic side. Especially inthe middle part of white noise , when the film becomes an absurd-apocalypticspectacle in the eighties style that also links up with the corona pandemic,Baumbach seems to be reinventing himself as a filmmaker. Very nice, thatclose-up of Jack during the refueling while the toxic cloud passes above him,like the black-red shadow of death.

Where is all that going? Does the film veer hopelessly out of control or doesit just kick life on its tail in all the chaos? Hard to say. But watch howsmoothly and pleasantly Driver and Gerwig move with every extreme registrychange, and you just want to do the same.

La revolution portuguesa. El destino puede ser diabolico. Al principalnarciso del fútbol mundial se le hal llevado por delante su propio vedetismo.A Cristiano le ha nublado el ombligo. No ha sabido medir los tiempos. El ayerya no puede competir con el hoy y no era el momento de hacer un desplante a sutécnico. Y tampoco calculó que Gonçalo Ramos lleva un curso enchufado con elBenfica. El día de CR en el cuarto oscuro su relevo cantó hasta tres goles.Revolución a la vista en una selección que tiene de sobra sin la versión

En el fútbol y en la vida es mucho más fácil destruir que construir. Partiendodesde esa base ya sabiendas de que no es nada sencillo atacar bloquesdefensivos situados cerca de su portero, agresivos, ordenados, que te tienenestudiado al milímetro. Además, sin tener algunas herramientas individualesque tengan las llaves de las puertas cerradas. No nos defendió igual Japón queMarruecos, pero contra ambos no encontramos la manera.

Estructura de construction

España construía los ataques con una línea de tres, los centrals más ellateral derecho, Busquets en posición centrada por delante de ellos, Alba conmás altura abierto en la banda izquierda, casi en la misma línea que Gavi yPedri, que inicialmente se ubicaban en los cuadrados, terminando con Ferranmuy abierto en la derecha, Asensio entre los centrals y Olmo, que se repartíala amplitud o el espacio entre central y lateral según Jordi Alba iba ganandometros.

Posiciones medias de los jugadores

Posiciones medias de los jugadores

Posiciones medias de los jugadores

Posiciones medias de los jugadores

Como defendia Marruecos?

Marruecos disponía un 1-4-5-1 con En-Nesyri sin orientar la presión, sufunción era evitar el pase sobre Sergio y los que saltaban sobre los centralseran los volantes del lado, tanto Amallah como Ounahi. Esos saltos dejaban unespacio detrás que no fue aprovechado. Hasta el punto de que Pedri decidióabandonar su ubicación para jugar casi todo el partido por delante de línea,por delante de los centrals marroquíes, con una función poco productiva. SoloGavi, cuando este y Pedri cambiaron el perfil, fue encontrado entrelíneas.

¿Por qué Gavi fue encontrado?

España atacaba asimétrica, ya que Llorente construía como tercer central ycuando recibía el balón le saltaba el volante marroquí de su lado, con locual, el extremo siempre podía tapar línea de pase con Ferran, la única manerade progresar era con un pase al primer contacto sobre Gavi cuando estaba enese perfil.

Pero cuando más se encontró a Gavi fue cuando se fue al perfil izquierdo. ¿Porque? Porque Alba, muy inteligente, bajó su altura provocando que el jugadorque le saltara a él fuera el extremo, para que no pudiera tapar línea de pasedentro y resultara más sencillo tanto para Laporte como para el propio Jordiencontrar el siguiente pase. Además, Olmo fijaba al central y al lateralcolocándose entre ambos. Fue el único momento del juego donde España encontrópases dentro para progresar.

¿Qué soluciones quedaban?

Ante la imposibilidad de progresar con el juego interior quedaban las opcionesdel uno contra uno del extremo contra el lateral marroquí, situación que sepudo dar muy poco, porque Olmo ocupaba posiciones centradas como elementofijador ya Ferran le tapaban línea de pase. Eché de menos que jugara más consu altura y bajara para poder recibir más al pie o sacar al lateral de sitiopara atacarle la espalda. Situaciones que se dieron algo más con la entrada deWilliams.

La otra solución, que fue la que la selección más buscó en el tramo final, erala del pase profundo a la espalda de la línea defensiva. No es sencillo deejecutar cuando hay poco espacio entre la defensa y el portero, como era elcaso, y hay menos probabilidades de éxito cuando el pase es vertical y no endiagonal, algo que España no podía ejecutar ya que casi la única opción dehacerlo era sobre el mismo perfil en el que progresaban tras la conducción delos centrals, Rodri y Laporte. Aun así, las veces en que se consiguió conectarcon los atacantes en profundidad, no se atacaron las zonas de remate y rechacecon la agresividad y el hambre que requería la ocasión.

Esa lectura de juego maravilla a Yaya Touré, como ha explicado en TheAthletic : “Bellingham no solo es peligroso con el balón. Entiende que corrersin él es más importante que correr con él. Cuando tienes la pelota, todo elmundo se centra en ti, pero correr a la espalda, las carreras no egoístas,pueden desviar a los defensas y crear espacio para un compañero en el sitio