#Christoph Hein

[intellectures]

Sanfter Poet und rebellischer Vollblutmusiker

Lew Hohmanns Film über den Liedermacher Hans-Eckardt Wenzel lebt von den offenen Gesprächen mit dem Sänger, der Kraft seiner Texte, dem Zauber seiner Konzerte und einer bewegten Biografie. Wer Wenzel noch nicht kennt, kann ihm hier endlich begegnen. Continue reading Untitled

[endlich-allein]

Rammstein, 2005 by Olaf Heine for Kerrang!

[notafraidofredyellowandblue]

Schneider on his IG: "Berlin, 1, 2..." photos by Olaf Heine

[manuelamordhorst]

Impressionen zur Vernissage 'FarbGeSchichten' in Lüneburg

[typhlonectes]

A new species of harlequin toad (Bufonidae: Atelopus) from Amazonian Ecuador

Plewnia, Amadeus Terán-Valdez, Andrea Culebras, Jaime Boistel, Renaud Paluh, Daniel J. Quezada Riera, Amanda B. Heine, Christopher H. Reyes-Puig, Juan P. Salazar-Valenzuela, David Guayasamin, Juan M. Lötters, Stefan

ABSTRACT

For nearly four decades, harlequin toads, genus Atelopus, have suffered unparalleled population declines. While this also results in limited understanding of alphataxonomic relationships, these toads face an urgent need for advances in systematics to inform conserva­tion efforts. However, high intraspecific variation and cryptic diversity have hindered a comprehensive understanding of Atelopus diversity. This is particularly exemplified among Amazonian populations related to A. spumarius, where decades of taxonomic work have not been able yet to unravel relationships between the many forms, while the names coined so far have led to taxonomic confusion leaving numer­ous lineages unnamed. A recent comprehensive phylogenetic study has revealed new insights into the systematics of harlequin toads with an emphasis on Amazonian forms, identifying several unnamed lineages. We here describe one of these evolutionary lineages as a new species, restricted to the Ecuadorian Amazon basin, in an integrative taxonomic approach using molecular, morphological, bioacoustic and larval information. With this, we contribute to a better understanding of Atelopus diversity as the baseline of conservation action.

Read the paper here:

A new species of harlequin toad (Bufonidae: Atelopus) from Amazonian Ecuador

[marimayscarlett]

From the wir.sehen.euch IG account

NAME TROUBLE: When Rammstein started making music together, they did so as a collective. When they released Herzeleid, they only put a headshot of each band member in the booklet - no names, or no reference to who played which instrument. They didn’t even give out their names when doing interviews. «Just write Rammstein», three of them told Zillo in 1995. «We don’t make a personality cult. Although our personal opinions are very different, we try to represent a unified opinion to the outside world.»

«We see ourselves as a solid unit», Paul Landers said to Rock Hard. «Actually, it wasn’t originally conceived that way, but if we sit in the rehearsal room for example, and only one band member is not present, nothing constructive happens, simple as that. We only function when all six people are there. So we’re not a band where everything is built around one leader, but more or less six doers, each of whom - depending on their stubbornness - contributes as much as possible.»

Because of that, they insisted on doing their Herzeleid press tour with all band members. «Right», Paul said, «However, it turns out that most of the time only three of us talk after all, which is why the others can stay at home in the future and not have to worry about that crap.»

Since then, Rammstein have been in the media countless times, though over the years, many journalists have had trouble with the names of the band members. Apparently it can also been difficult to distinguish between the different band members, and strangely enough, Christoph Schneider and Richard Kruspe seem to get mixed up quite frequently...

📷: Screenshots, Olaf Heine, Franziska Krug, Thomas Lebie, Andreas Rentz

[rammingthestein]

Please note that this work must be divided 50/50, or you've just absolutely bombed your work assignment, and your boss will be PISSED.

© Olaf Heine

[lucuslavigne]

┄꯭ׄ┄꯭┄꯭ׄ┄┄꯭ׄ┄꯭──︦͟─┄┄꯭ׄ┄꯭┄꯭ׄ┄꯭ׄ┄꯭┄꯭ׄ┄꯭┄꯭ׄ┄┄꯭ׄ┄꯭──︦͟─┄

ꗃ I Hate To Admit

Bang Chan × Leitora.

⋆ sinopse : Christopher tem dificuldade em admitir e aceitar que você já não está mais com ele. Os planos, as viagens, as metas… Ele ainda lembrava de tudo o que haviam feito juntos.

— Sabe qual é o meu maior sonho Chris? — o perguntou.

— Qual é meu bem? — acariciou sua mão.

— Ter uma família com você. — sorriu, deitando a cabeça no travesseiro.

O Bang sorriu largo, ele adoraria ter uma família com você.

Mas você mentiu para ele. E ele tentava a todo custo se esquecer disso.

Espero que gostem!

┄꯭ׄ┄꯭┄꯭ׄ┄┄꯭ׄ┄꯭──︦͟─┄┄꯭ׄ┄꯭┄꯭ׄ┄꯭ׄ┄꯭┄꯭ׄ┄꯭┄꯭ׄ┄┄꯭ׄ┄꯭──︦͟─┄

— Você tá' trancado nesse studio faz sete horas seguidas hyung... — Felix falou.

— Já faz tanto tempo assim? — olhou o relógio.

— Eu fiz brownie pros' meninos... — suspirou. — Vai lá comer. — saiu e fechou a porta.

Christopher apenas suspirou. Era difícil pensar em fazer alguma coisa se você não estava ao seu lado.

Lembrava da última conversa que tiveram naquele hospital frio, com almas lutando para continuar a viver.

— Sabe qual é o meu maior sonho Chris? — o perguntou.

— Qual é meu bem? — acariciou sua mão.

— Ter uma família com você. — sorriu, deitando a cabeça no travesseiro.

O Bang sorriu largo, ele adoraria ter uma família com você.

— Nós vamos realizar esse sonho logo querida. — beijou sua testa. — Você vai ver.

— Eu vou sair daqui logo amor. — você sorriu. — A doutora Hong falou que estou me recuperando muito bem.

— É uma notícia muito boa minha linda. — continuava a fazer carinho em sua mão cheia de furos por conta dos medicamentos. — Assim que você se recuperar eu vou pegar férias para poder ficar com você.

— Eu sei que vai Chris. — sorriu.

— Senhor Christopher Bang? — a doutora Hong o chamou.

— Sim? — se levantou.

— Pode vir comigo alguns minutinhos?

— Claro. — deixou um selar em sua bochecha. — Até logo querida.

— Tenha cuidado Chris. — o alertou.

— Vou ter, prometo. — sorriu e logo seguiu a doutora.

Os corredores brancos com detalhes em cinza faziam o australiano ficar tenso, ainda mais quando se estava acompanhando a médica de sua amada.

— Entre por favor. — abriu a porta, o dando passagem.

— O que quer conversar comigo doutora Hong? — perguntou.

— O estado dela está melhorando. — disse. — Mas leucemia é uma doença complicada. — abaixou a cabeça.

— O que quer dizer? — questionou.

— Embora ela esteja melhorando, ainda há uma possibilidade de quando houver uma recaída, ela não resista. — explicou.

E isso fez Christopher perder os sentidos.

— Eu... — tentou falar.

— Não precisa falar nada senhor Bang. — o tranquilizou. — Apenas vá para casa e descanse, o senhor irá precisar disso.

Essa foi a última conversa e a última vez em que ele entrou naquele hospital, pois no dia seguinte recebeu uma ligação que o fez perder o chão.

— Quem fala é o senhor Christopher Bang? — o perguntaram.

— É sim, em que posso ajudar? — sentou no sofá.

— É sobre a senhorita...

— O que aconteceu? — perguntou preocupado.

— Ela infelizmente veio a óbito. Meus pêsames. — se Christopher não estivesse sentado, ele teria caído ali mesmo.

— E... — respirou fundo, tentando conter as lágrimas. — E quando será o funeral? — comprimiu os lábios.

— O funeral já está organizado para amanhã às dez.

— Obrigado. — e desligou o telefone.

A partir daquela semana a vida do Bang havia se tornado cinza e sem graça. Os amigos do mesmo tentavam o distrair o chamando para sair ou ir na casa de um deles, mas o Bang sequer saia de casa agora.

— Como eu vou esquecer o dia em que você mentiu pra' mim hein, minha linda? — sorriu com os olhos cheios de lágrimas enquanto olhava uma foto de vocês juntos.

— Chris? — Hyunjin o chamou.

— Fala Hyunjin. — fungou, secando as lágrimas que insistiam em cair.

Mas o Hwang desistiu de falar e apenas puxou seu hyung para um abraço.

— Ela não ia querer te ver assim. — foi tudo o que o mais novo falou.

Christopher passou noites acordado sem conseguir parar de pensar na amada.

Ele queria que estivesse com ele assim como estava quando ele passou nas audições e comemorou com ele. As saudades o consumiam durante todas as vinte e quatro horas do dia.

Mas ele odeia admitir para si mesmo. É difícil entender.

É difícil esquecer.

[religion-is-a-mental-illness]

By: Andrew Doyle

Published: Dec 12, 2023

Towards the end of Christopher Marlowe’s play Tamburlaine Part Two, our marauding anti-hero burns a copy of the Quran, along with other Islamic books, as a kind of audacious test. “Now, Mahomet,” he cries, “if thou have any power, come down thyself and work a miracle.” Two scenes later, he is dead.

We might see this as a cautionary tale for our times. After all, it isn’t only Turco-Mongol conquerors who find themselves punished for Quran-burning. Last week, the Danish parliament voted to ban the desecration of all religious texts following a spate of protests in which copies of the Qur’an had been destroyed. Inevitably, the new law has been couched as a safety measure. This burning of the book, claims justice minister Peter Hummelgaard, “harms Denmark and Danish interests, and risks harming the security of Danes abroad and here at home”.

He has a point. Even unconfirmed accusations of Quran-burning can be sufficient to prompt extremist violence. In 2015, being accused of defiling the holy book, Farkhunda Malikzada was beaten to death by a ferocious mob in Afghanistan while bystanders, including police officers, did nothing to intervene. Many filmed the brutal murder on their phones and the footage was widely shared on social media. In 2022, a mentally unstable man called Mushtaq Rajput was similarly accused and tied to a tree and stoned to death in Pakistan. Earlier this year in Iran, it was reported that Javad Rouhi was tortured so severely that he could no longer speak or walk. He was sentenced to death for apostasy and later died in prison under suspicious circumstances.

But while we might anticipate that the desecration of the Quran would be proscribed in Islamic theocracies, it is troubling to see similar laws being passed in secular nations such as Denmark. The government had not been so faint-hearted when faced with similar problems in 2005. After cartoons of the Prophet Mohammed were published in Jyllands-Posten, a global campaign from Indonesia to Bosnia demanded that the Danish authorities take action. The government stood firm and the judicial complaint against the newspaper was dismissed.

In a free society this is the only justifiable response, albeit one that takes considerable courage. And the climate of intimidation that has descended since is a product of our collective failure to defend freedom of speech against the demands of militants. When the Ayatollah Khomeini pronounced his fatwa on Salman Rushdie for his novel The Satanic Verses, one would have hoped for a unified front on behalf of one of our finest writers. Instead, much of the literary and political establishment abandoned or even censured him. In the Australian television show Hypotheticals, the singer Yusuf Islam, formerly known as Cat Stevens, implied that he would have no objections to Rushdie being burned alive.

That a work of fiction such as The Satanic Verses could not even be published today gives us some indication of the extent to which we have forsaken the principle of free speech. If we are so squeamish about the burning of Qurans, why were so many of us indifferent to the burning of Rushdie’s book on the streets of Bolton and Bradford? Yusuf Islam’s remark about the author’s immolation might have been flippant but, as Heinrich Heine famously wrote: “Where they burn books, they will in the end burn people too.”

The ceremonial burning of books in Germany and Austria in the Thirties has ensured that the act will always have a unique charge, and a disquieting, visceral effect. It is why, for instance, the most memorable scene in Mervyn Peake’s Titus Groan is when the villain Steerpike sets fire to his master’s library. It is a gesture designed to repudiate the very heights of human achievement, to hurl his victim into a spiral of despair. When Rushdie saw his own novel publicly incinerated, he confessed to feeling that “now the victory of the Enlightenment was looking temporary, reversible”.

The burning of the Quran leaves many of us similarly troubled. We do not need to approve of the contents to sense that the destruction of a book is symbolic of a desire to limit the scope of human thought. When activists post footage of themselves gleefully setting fire to copies of Harry Potter, one cannot shake the similar suspicion that they would happily substitute the books with the author herself.

But while many of us find the burning of books instinctively rebarbative, to outlaw this form of protest is essentially authoritarian. And to reinstate blasphemy laws by specifying that only religious books are to be protected is fundamentally retrograde. Of course, such laws already exist in most Western countries in an unwritten form. In March, a 14-year-old autistic boy was suspended from his school in Wakefield, reported to the police, and received death threats after he accidentally dropped a copy of the Quran on the floor, causing some of the pages to be scuffed. He may not have committed a crime, but many people behaved as though he had.

And the same unwritten laws are in force in the fact that few would be brave enough to publish cartoons of the Prophet Mohammed after the massacre at the offices of French satirical magazine Charlie Hebdo in 2015. Five years later, the schoolteacher Samuel Paty was beheaded on the streets of Paris simply for showing the offending images during a lesson on free speech. Closer to home, a teacher at Batley Grammar School in West Yorkshire is still in hiding after showing the images to his pupils and stirring the ire of a righteous mob.

The failure of the school’s headmaster, as well as the teaching unions, to support this man against the demands of religious fundamentalists is revealing. Why must those who claim to be defending the dignity of Muslims treat them as irascible children? At the same time, as Sam Harris recently pointed out, there is an oddity in the fact that so many Muslims do not appear to be alarmed that “their community is so uniquely combustible”.

The bitter reality is that terrorism works, particularly when so many governments across the Western world are seemingly willing to fritter away our bedrock of liberal values. This has been actuated, in part, by an alliance of two very different forms of authoritarianism: ultra-conservative Islamic dogma and the safetyist ideology of “wokeness”. The latter has always claimed that causing offence is a form of violence, and the former has been quick to adopt the same tactics. This is why protesters outside Batley Grammar School asserted that the display of offensive cartoons was a “safeguarding” issue, and the Muslim Council of Britain criticised the school for not maintaining an “inclusive space”. The same censorious instincts have been updated, and are now cloaked in a more modish language.

In a civilised and pluralistic society, the burning of a holy book might provoke a variety of responses — anger, disbelief, or just a shrug of the shoulders — but it should never lead to violence. Back when The Onion still had some bite, the website satirised this “unique combustibility” through the depiction of a graphic sexual foursome between Moses, Jesus, Ganesha and Buddha. The headline said it all: “No One Murdered Because Of This Image”.

Freedom of speech and expression still matters, and if that means a few hotheads and mini-Tamburlaines might burn their copies of the Quran then so be it. It is unfortunate that we have reached the point where Islam must be ring-fenced from ridicule or criticism, whether due to fear of violent repercussions or a misguided and patronising effort to promote social justice. But for this state of affairs we ultimately have only ourselves to blame, and in particular our tendency to capitulate to religious zealots when they seek exemption from the liberal consensus.

==

[brookstonalmanac]

Birthdays 12.13

Beer Birthdays

Jim Parker (1960)

Colby Chandler (1967)

David Hopwood (1968)

Five Favorite Birthdays

Steve Buscemi; actor (1957)

Ed Koren; cartoonist (1935)

Christopher Plummer; actor (1929)

Rick Reynolds; comedian (1951)

Dick Van Dyke; comedian, actor (1925)

Famous Birthdays

John Anderson; country singer (1954)

Lester Bangs; music critic (1948)

Jeff Baxter; rock guitarist (1948)

Ben Bernanke; economist, Fed chairman (1953)

Emily Carr; Canadian artist (1871)

William Drummond; Scottish poet (1585)

Steve Forbert; rock singer, songwriter (1954)

Jamie Foxx; actor (1967)

Van Heflin; actor (1910)

Heinrich Heine; German writer (1797)

Lynn-Holly Johnson; ice skater (1958)

Curt Jurgens; actor (1915)

Mary Todd Lincoln; first lady (1818)

Ross MacDonald; writer (1915)

Wendie Malick; actor (1950)

Clark Mills; sculptor (1810)

Carlos Montoya; flamenco guitarist (1903)

Archie Moore; boxer (1913)

Ted Nugent; rock guitarist, right-wing nutjob (1948)

Ann Richards; actor (1917)

Taylor Swift; pop singer (1989)

Tom Verlaine; rock singer, guitarist (1949)

[melancholicflat]

16.06.24 | things done today:

🌻 English

clozemaster

advanced vocabulary

read Salvation on Sand Mountain by Dennis Covington (ch. 1)

🌻 Spanish

clozemaster

watched Nana (cap. 7 | spanish dub w/o subs)

writing challenge

🌻 French:

inverted questions + essay writing on pets (textbook level A2/B1)

mass media vocabulary (textbook grammar & lexicon)

clozemaster

🌻 German

read & translated a paragraph on the clergy (textbook literature & history)

read & translated a paragraph on the commoners (textbook literature & history)

babadum

📖: Von allem Anfang an by Christoph Hein

[intellectures]

Frustriert und abgestempelt

Wer sind die Ostdeutschen und woher kommt ihr Unmut? Die Ethnologin Juliane Stückrad, der Literaturwissenschaftler Dirk Oschmann und eine Sammlung von Briefen aus der Wendezeit geben auf ganz unterschiedliche Art und Weise Antworten.

Wer sind die Ostdeutschen und woher kommt ihr Unmut? Die Ethnologin Juliane Stückrad, der Literaturwissenschaftler Dirk Oschmann und eine Sammlung von Briefen aus der Wendezeit geben auf ganz unterschiedliche Art und Weise Antworten. Dabei wird deutlich, dass der Osten keine Zukunft hat, wenn die Ostdeutschen nicht endlich als Individuen mit Sorgen und Ambitionen ernst genommen werden. (more…) “”

[endlich-allein]

Rammstein, Waldbühne, Berlin, Germany, 11-07-2016 © Olaf Heine

[manuelamordhorst]

Einladung zur Ausstellung FarbGeSCHICHTEN - Heinrich-Heine-Haus Lüneburg am 1.8.2024

Am 1. August 2024 startet mit einer Vernissage die Ausstellung “FarbGeSchichten – 4 Wege – 4 Perspektiven” im Heinrich-Heine-Haus in Lüneburg um 18Uhr. Frauke Biermann und ich wurden von KunstPunkt (Heike Engler und Christoph Fuchs) eingeladen an dieser Ausstellung zu partizipieren und die wunderbaren Räume des historischen Gebäudes zu füllen. Wir freuen uns sehr über ein reges Interesse,…

[derwahnsinn]

31 Days Idol Challenge - Day 25: On the Field

I thought perhaps field would be difficult, but it wasn't. For this challenge, I picked the photo of Rammstein's drum'n'bass, Oliver Riedel and Christoph Schneider walking in a grass field. The photo is from Schneider's Instagram account, posted in 2019, and the caption is "Im Gleichschritt". I wonder if Armee der Tristen was made back then...?

Bonus material: 1) Oliver in a field, my screenshot from the In Amerika documentary. 2) Rammstein on the football field, by Olaf Heine 2004. This is the photo shoot where Oliver shaved during the shoot - so he is cleaned shaved on some of the photo sets, while he has facial hair on some. I would really like to see Oliver without his beard again, but I'm not sure that will ever happen. 3) Rammstein on a field, by Olaf Heine 2004. 4) Finally, sad Oliver in a field in the Zeit music video.

-- Tinnike's 31 Days Idol Challenge

Day 1: At the Airport Day 2: Barefoot Day 3: Climbing Day 4: Cycling Day 5: Dancing Day 6: Fav. Boots/Shoes Day 7: Fav. Casual Outfit Day 8: Fav. Hat/Headgear Day 9: Fav. Music Video Outfit Day 10: Fav. Role in Music Video Day 11: Fav. Stage Make-Up Day 12: Fav. Stage Outfit Day 13: Favourite Quote Day 14: Favourite Socks Day 15: Favourite Sunglasses Day 16: Hiking Day 17: Hugging Day 18: In the Bed Day 19: In the Car Day 20: In the City Day 21: In the Forest Day 22: In the Restaurant Day 23: Naked Day 24: On the Beach

-- See also: Richard idol challenge: @kitthefox Schneider idol challenge: @cynoodn Till idol challenge: @singfurmich Paul idol challenge: @anwiel13

[byneddiedingo]

The Tales of Hoffmann (Michael Powell and Emeric Pressburger, 1951)

Cast: Robert Rounseville, Moira Shearer, Ludmila Tchérina, Ann Ayers, Pamela Brown, Léonide Massine, Robert Helpmann, Frederick Ashton, Mogens Wieth, Lionel Harris, Philip Leaver, Meinhart Maur, Edmond Audran. Screenplay: Michael Powell, Emeric Pressburger, Dennis Arundell, based on a libretto by Jules Barbier for an opera by Jacques Offenbach based on stories by E.T.A. Hoffmann. Cinematography: Christopher Challis. Production design: Hein Heckroth. Costume design: Ivy Baker, Hein Heckroth. Film editing: Reginald Mill.

Opera and film are two well-nigh incompatible media, with different ways of creating characters, evoking mood, and telling stories. The handful of good opera films are those that find ways of replicating the operatic experience within a cinematic framework, the way Ingmar Bergman does in his film of Mozart's The Magic Flute (1975), which takes liberties with the original libretto and casts the action in a theatrical setting. For their film of the Offenbach opera The Tales of Hoffmann, Michael Powell and Emeric Pressburger also tinker with the libretto, and with perhaps somewhat more justification: Offenbach didn't live to see his opera performed, and it exists in several variants. Opera companies rearrange and cut its various parts, and even interpolate music from other works by Offenbach. Like The Magic Flute, Hoffmann has fantasy elements that lend themselves to the special-effects treatment available to the movies, and Powell and Pressburger took full advantage. It is usually thought of as a companion piece to their film The Red Shoes (1948), in large part because it used many of the stars of that earlier film, including Moira Shearer, Robert Helpmann, Léonide Massine, and Ludmilla Tchérina, as well as production designer Hein Heckroth. The film version is as much ballet as opera, choreographed by Frederick Ashton, with many of the characters played by dancers whose voices are supplied by singers. The only singers who actually appear on screen are Robert Rounseville as Hoffmann and Ann Ayars as Antonia. Unfortunately, some of the singers whose voices are used aren't quite up to the task: Dorothy Bond sings both Olympia and Giulietta, and the difficult coloratura of the former role exposes a somewhat acidulous part of her voice. Bruce Dargavel takes on all four of the bass-baritone villains played on-screen by Helpmann, but his big aria, known as "Scintille, diamant" in the French version, lies uncomfortably beyond both ends of his range. Rounseville, an American tenor, comes off best: He has excellent diction, perhaps because he spent much of his career in musical theater rather than opera -- though he originated the part of Tom Rakewell in Stravinsky's The Rake's Progress in 1951. He is also well-known for his performance in the title role of Leonard Bernstein's Candide in the original Broadway production in 1956. The film is overlong and maybe over-designed, and it sort of goes downhill after the Olympia section, in which Heckroth's imagination runs wild.