Author: bestmedeal

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

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

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

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

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

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

Festive Requiem

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Flash dance… What A Feeling

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

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

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

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

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

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Problems with record company

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

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

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

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

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

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

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

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

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

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

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

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

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

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

After the match between Morocco and Belgium at the World Cup, there weredisturbances on the Turnhoutsebaan in the Antwerp district of Borgerhout.During a live intervention before the broadcast at 7 p.m., VTM NEWS journalistRob Van Herck was punched in the face. “Fortunately, people intervened, so itdid not escalate further,” he tells Joe radio station. In Brussels, severalmembers of the press were attacked during their reporting.

Yorick Dupon 28 Nov. 2022

Latest update: 11-28-22, 11:36 Source: own reporting, VTM NEWS, Joe, RTL INFO, VRT NWS, RTBF, Belga

Van herck has no injuries from the incident, but the journalist does file acomplaint. DPG Media, the parent company of VTM NEWS and HLN, supports this.At the morning show of Anke Buckinx and Sven Ornelis on Joe, Van herck talksabout Sunday evening.

“I received a punch on the side of my face off screen,” says the VTM NEWSjournalist. The original plan was to film the folk festival on theTurnhoutsebaan after the match, but the atmosphere suddenly changed. “At 6p.m., a large group of people stormed a police station, after which twoofficers had to flee,” said Van herck.

Nevertheless, an agent told the reporter that he would keep an eye on VanHerck’s live report. “The police were present until 7 p.m., but suddenly theywere ordered to leave. Within two minutes the shock troops had jumped intotheir combis. Three minutes later, the situation was as shown in the report,”the journalist testifies.

According to the Antwerp police, the intention is not to give the impressionin any way that the officers want to provoke something. At the discretion ofthe responsible officer at that moment, they leave as soon as things havecalmed down. A spokesperson told VTM NEWS.

At the same time, there were also football supporters who wanted nothing morethan to appear on screen, as is often the case during live coverage. “Thoseyoung people tried to keep the good peace, but then the other type ofsupporter appeared,” says Van herck.

The full conversation can be viewed below.

The Antwerp police had to arrest eight people on Sunday. That is what thelocal police say to the editors of VTM NEWS. They are now free again. Thedetainees were all held administratively for disturbing public order. Theywere therefore allowed to go home later in the evening when peace hadreturned. Their arrest may have legal consequences later, according to theBelga news agency.

Journalists and cameramen also attacked in Brussels

In Brussels, a VRT NWS camera crew was pelted with stones and bottles onSunday. This is reported by the public broadcaster. The window of a reporter’scar was broken. The press service of the VRT informs our editors that there isonly material damage. “VRT NWS is still evaluating everything internally, sowe cannot yet say whether we will file a complaint or not,” said spokespersonYasmine Van der Borght.

In addition, several teams of the French-speaking broadcaster RTBF were alsoattacked. They were insulted and beaten several times by young people onBoulevard Maurice Lemonnier. The RTBF executive committee responds that alegal complaint will be filed for any attack. “Their work must be respectedand especially the integrity of their person,” it read in a statement.

LOOK. In HLN LIVE we ask Interior Minister Verlinden whether the riots afterBelgium-Morocco could have been avoided

A team was also physically attacked at RTL INFO. A journalist and cameramanwho wanted to report on the spot about the riots in Brussels had to takerefuge in a company after being attacked by several people. They were beatenand equipment was damaged and stolen. The editors of RTL INFO condemn theattacks on journalists.

According to a statement from the Brussels police, a journalist was alsoinjured in the face by fireworks during the riots in the capital, the Belganews agency reports. Ilse Van der Keere, spokeswoman for the Brussels CapitalIxelles police zone, informs our editors that the report came in via theemergency number, but that the victim could not be identified.

VVJ: “We will never, never, never accept this”

“We are not shocked by what is happening here because we have noticed for sometime that there is increasing aggression. This is very bad. We will never,never, never accept this,” said Pol Deltour, national secretary of the FlemishAssociation of Journalists (VVJ). “They are being attacked personally.Journalists are people doing their job. But it goes further than that, becauseonce you attack journalists, you attack reporting and you mortgage the newsstream.”

“In 2019, we set up the Reporting Center for Aggression. We see in the figuresthat this is a problem. The most important thing now is that complaints aresubmitted as much as possible, as other victims of Sunday evening have to do,”says Deltour to our editors.

Con la presión a todo campo como arma común, la principal batalla que anticipóLuis Enrique se iba a dar por la posesión de la pelota y fue superada. Norenunciar a salir jugando desde atrás y no perder la compostura, pese a laintensa presión alta de los alemanes que provocó pases comprometidos de UnaiSimón y de Laporte fue otra conclusión positiva del encuentro. España tuvo másel balón (65%) que Alemania (35%). And la otra reválida, la de tener la pelotaen campo contrario, también fue superada por los internacionales españoles.Solo en los minutos finals, con el acoso alemán, España se vio más obligada delo habitual a defender con la línea defensiva más cerca del área de Unai Simónque de la línea del centro del campo, donde normalmente se establece. Lasprimeras conclusiones de entrenador y jugadores sobre esa última phase delpartido fueron que faltó calma para guardar el balón con circulaciones máslargas, pero con la nueva visualización del encuentro la tendenciageneralizada fue la de ensalzar que Alemania mejoró con los cambios y que,finalmente , al menos, se pudo sostener el empate que ha dejado franca laclasificación para la siguiente ronda. En la expedición se hace referencia alpoderío individual de los alemanes ya la militancia de muchos de ellos en eltemido Bayern de Múnich, que en los últimos años ha pasado por encima delBarcelona en la Liga de Campeones.

Sin los auxilios de Militão y Alex Sandro, Vinicius y Raphinha, forzados asumar por Neymar, se quedaron aislados, sometidos a la custodia compartida porvarios suizos. A la selección de Yakin Murat no le falta oficio para el pico yla pala. Otra cosa es cuando debe levantar la mirada. No lo hizo en toda lanoche, apenas algún vistazo de pasada a Alisson. Suiza late mejor cuando seabriga cerca del veterano Sommer. Algo más expansiva en el segundo tiempo, deentrada el equipo helvético se paralizaba sin disimulo cuando debía dar unpaso al frente. Lo que fuera con tal de no desordenarse. And ataque son muchaslas ocasiones en las que Embolo, goleador ante sus paisanos de Camerún, juegaal solitario.

Tampoco Brasil fue un desmadre ofensivo de entrada. Ni mucho menos. Unaasistencia de Raphinha —cada vez mejor pasador que regateador— a Vinicius fuela única gracia brasileña del primer tiempo. Al del Madrid le salió un rematealgo mordido y Sommer estuvo ágil.

Al descanso intervino Tite, que buscó en Rodrygo un Neymar que no fueraPaquetá. La entrada del madridista surtió efecto en el camarada Vinicius.Brasil se entregó al extremo, que comenzó a producir sobrecargas en latrinchera suiza. Hay otro Vinicius and Brasil. El mismo estupendo jugador,pero con otro talante. Ni un mal gesto, ni una mueca de reprobación al rival oal juez, nada de aspavientos. No se alteró cuando fue cazado más de una vez.Ni tan siquiera cuando al salvadoreño Iván Barton le chivó el canadiense DrewFischer un fuera de juego de Richarlison. El ariete brasileño pujó por lapelota, la conquistó Rodrygo y Casemiro puso en órbita a Vinicius, sobrio yeficaz ante Sommer para cantar su primer gol como mundialista. En el tribunalsupremo del VAR rebobinaron y condenaron a Richarlison, que al parecerintervino fuera de lugar.

You have those jokes, like one left this weekend Who is the mole? , whichturn out fine. Or not… but then we’re talking about tweeters who didn’t seethe fun of a message. And well, then you know it: furious with the cupboard.Within one second.

“It seems that the working atmosphere at Who is the mole? behind and infront of the scenes is also pretty sick. Especially by one person”, was thetext that mattered. For the writer, this resulted in more than 4200 likesuntil this morning. But also 179 reactions, including many angry ones.

You really can’t just say that about Wie is de Mol?!

Because hey, hello, is someone throwing that on the worldwide web without aname or argument?, was the purport of the angry messages. How dare he! In thiscase, that ‘ie’ was Maarten Hopman, who by ‘that one person’ naturally meansthe mole of the game show. With his joke he played amusingly on a much moreserious case, that of Matthijs van Nieuwkerk The world goes on. Research isbeing conducted into the working culture of that success program and the roleof the presenter, now also NPO-wide.

It seems that the working atmosphere at Wie Is De Mol behind and in front of> the scenes is also getting pretty sick. Especially by one person.>> — Maarten Hopman (@maartenhopman94) November 26,> 2022

Twitter users once did not do their own research

People on Twitter sometimes (or very often) pat themselves on the back abouttopics where they have done their ‘own research’. At the message about Who isthe mole? that research was completely lacking. Shout immediately, somepeople thought that was a better plan. However, one press on Maarten Hopman’saccount had shown that we are dealing here with a man who is the editor of thesatirical online platform The pin is (“Your go-to for reliable news”).Hopman posts funny things on Twitter all the time. But yes, if you don’tfollow him…

📺

Participants Who is the Mole?

This weekend the participants for the 23rd season of Who is the mole?_announced. They go on the hunt for the mole: _Glamor -editor-in-chief Anke deJong, actor/comedian Annick Boer, investigative journalist Daniël Verlaan,presenter Froukje de Both, presenter Jurre Geluk, actor Nabil Aoulad Ayad,Olympic swimming champion Ranomi Kromowidjojo, presenter Sander de Kramer,actor/singer Sarah Janneh and presenter/actor Soy Crown. _Who is the mole?_can be seen from 7 January at AVROTROS on NPO 1.

‘Really low’, if you say that about Wie is de Mol? claims

“By whom?” was perhaps the most striking response to the tweet in which oneperson at Who is the mole? Other people are genuinely angry with Hopman.“The sad thing is that anyone can claim something. Then do it with a name,” itsounds, for example. “Yes, this is really low,” adds one Sjoerd. Wim: „Thewhole atmosphere in the Netherlands is sick front and back. Polarization isrampant, a different opinion is not appreciated. The Netherlands is sick andas I see it, terminal.”

“Wim misses the point,” Frank responds. But William is not alone. Two morethen: “Have fun shouting on Twitter! Soon people will be unfairly blackenedagain.” And: “I only see bullying, nasty comments on social media. Let’s alltake a look at ourselves!”

Funny comments back

Fortunately, there are also many funny reactions, such as this: “Terrible. Bythe way, bee Hunted the program management seems to keep an eye on theparticipants with disproportionate means. The privacy of participants seems tobe structurally violated.”

Was the Twitterer himself still surprised about the anger at his satire? Ordoes he see those kinds of reactions coming a mile away? Maarten Hopman: “Youcan expect angry reactions to almost every tweet these days, but I prefer tofocus on the positive reactions and the people who add a joke to it. Twitteris still a very fun and inspiring place for me most of the time.”

Hopman was in good shape this weekend. He also briefly discussed the riots inAmsterdam, Rotterdam and The Hague after the Morocco – Belgium (2-0) World Cup