#Frank Brinkmann

[ulkaralakbarova]

In Venice Beach, naive Midwesterner JB bonds with local slacker KG and they form the rock band Tenacious D. Setting out to become the world’s greatest band is no easy feat, so they set out to steal what could be the answer to their prayers… a magical guitar pick housed in a rock-and-roll museum some 300 miles away. Credits: TheMovieDb. Film Cast: JB: Jack Black KG: Kyle Gass Lee: JR Reed Dio: Ronnie James Dio Open Mic Host: Paul F. Tompkins Lil’ JB: Troy Gentile Security Guard: Ned Bellamy Security Guard: Fred Armisen Car Chase Cop / Gang Leader: Kirk Ward Truck Stop Waitress: Amy Poehler The Stranger: Tim Robbins Satan: Dave Grohl Guitar Center Guy: Ben Stiller Girl: Lara Everly Girl: Brittany Eldridge Girl: Melissa-Anne Davenport Gang Member: John Ennis Gang Member: V.J. Foster Gang Member: Jay Johnston Drunk Frat Dude: Colin Hanks Al’s Bar Waitress: Stephanie Erb Gorgeous Woman: Amy Adams Tattooed Biker: Milos Milicevic Ecstatic Woman: Molly Bryant Poopy Guy: Michael Rivkin Stand Up Comic: Gregg Turkington Exploding Head Guy: Patrick M. Walsh Fainting Woman: Bevin Kaye KG’s Mother: Evie Peck Young KG: Mason Knight Bully: Erik Walker Betty Black: Cynthia Ettinger Billy Black: Andrew Lewis Caldwell Tarot Card Reader: Laura Milligan Frat Boy #1 (uncredited): Jason Segel Bud Black (uncredited): Meat Loaf Sasquatch (uncredited): John C. Reilly Film Crew: Casting: Jeanne McCarthy Executive Producer: Georgia Kacandes Songs: Jack Black Stunts: Jack Gill Executive Producer: Ben Stiller Original Music Composer: John King Makeup Designer: Barney Burman Second Unit Director of Photography: Paul Hughen Supervising Sound Editor: Elmo Weber Stunt Double: Cole S. McKay Visual Effects Supervisor: David D. Johnson Casting: Juel Bestrop Executive Producer: Cale Boyter Stunts: Mic Rodgers Songs: Kyle Gass Writer: Liam Lynch Producer: Stuart Cornfeld Editor: David Rennie Executive Producer: Toby Emmerich Executive In Charge Of Production: Erik Holmberg Second Assistant Director: Heather Grierson Production Design: Martin Whist Sound Effects Editor: Derek Vanderhorst Director of Photography: Robert Brinkmann Executive Producer: Richard Brener Original Music Composer: Andrew Gross Second Unit Director: Rick Avery Supervising Sound Editor: David Bach First Assistant Director: Milos Milicevic Stunts: Doug Coleman Stunts: Tim Trella Stunt Driver: Angelique Midthunder Art Department Coordinator: Mike Piccirillo Stunts: Robert Chapin Set Decoration: Don Diers Costume Designer: Dayna Pink Stunts: Terry Jackson Stunt Double: John Ashker Special Effects Makeup Artist: Toni G Stunts: Tom Elliott Special Effects Makeup Artist: Justin Stafford Special Effects Makeup Artist: Mike Smithson Stunt Double: Rick Miller Stunts: Larry Rippenkroeger Stunts: Sean Graham Art Direction: Maria Baker Stunts: Ian Quinn Script Supervisor: Pamela Alch Stunts: Brian Machleit Sound Effects Editor: Clayton Weber Still Photographer: Zade Rosenthal Stunts: Frank Torres Aerial Director of Photography: David B. Nowell Hair Department Head: Linda D. Flowers Key Hair Stylist: Merribelle Anderson Makeup Artist: Ralis Kahn Hairstylist: Yeşim “Shimmy” Osman Sound Effects Editor: Marc Glassman Visual Effects: Brent M. Bowen Camera Operator: Michael FitzMaurice Sound Effects Editor: Orada Jusatayanond Costume Supervisor: Hope Slepak Stunts: Dean Bailey Stunts: Eliza Coleman Makeup Department Head: Kate Shorter Stunt Coordinator: Scotty Richards Production Supervisor: Ralph Bertelle First Assistant Camera: Thomas Vandermillen Stunt Coordinator: Brian Avery Visual Effects: John Coats Stunts: Kevin Abercrombie Special Effects Makeup Artist: Scott Stoddard Stunts: Joni Avery Stunt Driver: Ed McDermott II Special Effects Makeup Artist: Michael Marino Second Second Assistant Director: Velvet Andrews-Smith Steadicam Operator: Jon Myers Stunt Driver: Jody Hart Stunts: Roger Richman Second Second Assistant Director: Ivan Kraljević Stunts: Danny Wynands Stunts: Jeff Brockton Stunt Double: Tad Griffith Stunts: Buck McDancer Special Effects Coordinator: Andy Weder Stunt...

[stephen-king-deutschland]

Stephen Kings Nebel im Planetarium Bochum

Stephen Kings Nebel im Planetarium Bochum

Die erfolgreiche Veranstaltungsreihe „Literatur der Nacht“ kehrt zurück ins Planetarium Bochum. Erlebt fast auf den Tag genau zu Stephen Kings 75. Geburtstag eines seiner fesselndsten Meisterwerke unter funkelnden Sternen. Live gelesen von der deutschen Kinostimme von Bradley Cooper. Gänsehaut garantiert! Zur Seite des Planetariums Bochum (more…)

[unidad-basica]

Danke Gut

Portable - A deeper love (Tofu Prod dub) Lena Willikens - Orutu run Frank Bretschneider - Mechanik Simply Minds - Thirty frames a second Inhalt - Working on glass Andi Arroganti - Cafe Future Eiskalte Angel - Kinder aus asbest Klangwerk - Klangwerk S.M. Nurse - Hot day in Istanbul Plastiktanz - Mir geht es Danke gut Thomas Brinkmann - Anna 4mod3 - Movement 03 Andrew Thomas - 02 Urbana Gerila - Proces Exek - Elevator etiquette

[craft2eu]

»Finissage« terra rossa Galerie: Leipzig bis 31.07.2020

»Finissage« terra rossa Galerie: Leipzig bis 31.07.2020

Wunderbare Galerieräume mit großen Schaufenstern – als Teil der eindrucksvollen Ringbebauung am Leipziger Roßplatz – unweit von Ausgustusplatz, Gewandhaus, Johannisplatz und GRASSI Museum, liegt die Keramikgalerie terra rossa.

Martin Möhwald: Ausstellung Galerie terrarossa Leipzig 2017 Foto: Schnuppe von Gwinner

Seit November 1998 sorgte  der Kunstverein terra rossa e.V. für den Betrieb der…

[suzylwade]

Vitra Schaudepot Industrial buildings used to be at the heart of the modernist project. So many of the great masterpieces of early modernism were factories — ‘Bata’s' city of shoes in Zlin, Albert Kahn’s industrial spaces for the ‘Ford Motor Company’, Walter Gropius’s ‘Fagus’ plant, Brinkmann and van der Vlugt’s ‘Van Nelle’ works in Rotterdam — that it became the foundational model of the movement. Today the factory is an anonymous shed on a generic industrial estate. Except one. ‘Vitra’s’ furniture factory campus, a few minutes’ drive from the Swiss city of Basel, across the German border, looks akin to a cultural complex. It boasts an incredible collection of contemporary architecture — this is the place where Zaha Hadid was commissioned for her first building and Frank Gehry made the transition from jumbled forms to curvaceous ones. It features one of ‘Herzog & de Meuron’s’ most striking structures and a public space and factory by Alvaro Siza. The main production and assembly buildings are by Sir Nicholas Grimshaw and ‘SANAA’ (the Japanese architects of the ‘Louvre’s Lens’ outpost) and now this site - which is effectively a museum of architecture (a new museum of furniture). Christened the ‘Schaudepot’ (or ‘Show Depot’), the building houses ‘Vitra’s' extensive collection, which has never before been on permanent display. The Gehry-designed ‘Vitra Design Museum’, built in 1989, hosts temporary exhibitions nearby on the site. The new building by ‘Herzog & de Meuron’ is severely functional, a blank brick façade, striking, not for its complexity or ambition - but for its stark simplicity. ‘Herzog & de Meuron’ also designed the visitor centre and shop. ‘Vitra' suffered a severe fire in 1981, which destroyed many of the original buildings. The reconstruction gave this design-conscious company an opportunity to work with some of the designers it had commissioned for its products. One of the pivotal structures - a fire station (the factory’s position between three countries had meant the fire engines got stuck at border posts). The building, designed to accommodate a new force of employee-firefighters, was both functional and symbolic. (at Vitra Design Weil am Rhein Deutschland) https://www.instagram.com/p/CiMxhp_sHnU/?igshid=NGJjMDIxMWI=

[dermontag]

„Nie wieder Krieg“ – der Auftritt von Tocotronic wird im Jahr des Krieges gegen die Ukraine den Schlusspunkt unter die re:publica 2022 setzen, wie Markus Beckedahl als Mitgründer der Berliner Veranstaltung am Dienstag sagte, um gleich danach den nächsten prominenten Teilnehmer der diesjährigen Ausgabe der Internet- und Medienkonferenz bekannt zu geben: Bundeskanzler Olaf Scholz wird die re:publica an Tag zwei besuchen. Er wird sich mit RTL-Moderatorin Linda Zervakis unter anderem über das Großthema Digitalisierung unterhalten. Die re:publica 2022, die in den beiden Vorjahren pandemie-bedingt nur virtuell stattfinden konnte, wird vom 8. bis zum 11. Juni an neuen Standorten als Live-Veranstaltung zurückkehren. Statt in der Station am Gleisdreieck, wo 2019 insgesamt 25000 Besucher gezählt wurden, wird die viertägige Veranstaltung nun in der Arena Berlin sowie im Festsaal Kreuzberg abgehalten. Zehn Bühnen bieten Platz für 400 Sessions mit rund 700 Sprechern, wie Programmleiterin Milena Mana da Costa ausführte. Bespielt werden auch das Glashaus, der Arena Club, die Flächen des Flutgraben, die Hoppetosse sowie das Badeschiff – inklusive Strandflächen. Wie sich das Besucherinteresse entwickelt, lässt sich schwer sagen. Möglich, dass diesmal ein Drittel weniger Besucher kommt, sagte Geschäftsführer Andreas Gebhard, zugleich bieten die neuen Locations eine Kapazität für bis zu 30 000 Besucher. [Alle aktuellen Nachrichten zum russischen Angriff auf die Ukraine bekommen Sie mit der Tagesspiegel-App live auf ihr Handy. Hier für Apple- und Android-Geräte herunterladen.] Ein Schwerpunkt ist die Nachhaltigkeit und der Klimawandel. Darüber wird nicht nur geredet, das will re:publica-Mitgründer Johnny Haeusler auch vorleben. Pappe und Holz werden die bestimmenden Werkstoffe sein, auf Fleisch wird beim Catering komplett verzichtet und auch beim Merchandising setzt die Veranstaltung auf Nachhaltigkeit. Ein weiterer Schwerpunkt beschäftigt sich mit den Medien. Von Desinformation und Hass im Netz über Begrenzung der Macht großer Tech-Konzerne bis hin zu einem „Media Parcours“ reicht die Bandbreite. Am Tag vor dem offiziellen Beginn läuft der ZDF-Thriller „Der Schwarm“ nach dem Roman von Frank Schätzing als Preview. Ein wenig Back-to-the-Roots Die Eröffnungs-Keynote hält die Transformationsforscherin Maja Göpel, die Philosophin Carolin Emcke diskutiert mit Klimaökonom Ottmar Edenhofer. Weitere Sprecher sind unter anderem die Wissenschaftsjournalistin Mai Thi Nguyen-Kim, die Virologin und stellvertretende Vorsitzende des Corona-ExpertInnenrats der Bundesregierung Melanie Brinkmann, Klima-Aktivistin Luisa Neubauer, Social-Media-Star El Hotzo und der Physiker James Beachem, der sonst auf TikTok über Schwarze Löcher spricht. Neu ist in diesem Jahr die Veranstaltung .txt am vierten Tag. Es gehe darum, wieder mehr über das geschriebene Wort zu reden, sagte Haeusler. Ein wenig Back-to-the-Roots zu den Jahren, als die re:publica noch als Familientreffen der Blogger-Szene galt, steckt darin, wobei das geschriebene Wort im positiven Sinne ebenso als Vorbereitung für aktuelle Podcasts benötigt werde. Der Krieg in der Ukraine wird insbesondere mit Blick auf die medialen Aspekte in bis zu 20 Vorträgen, Workshops und Diskussionen aufgegriffen. Es geht um Manipulation durch Fake News und Propaganda, um Cyberwar und IT-Sicherheit aber auch um die Flüchtlingsthematik, wie Beckedahl sagte. Quasi als „kleine Schwester der re:publica“ findet nach zweijähriger Pause die Tincon-Konferenz am 10. und 11. Juni statt, die sich als „Festival für digitale Jugendkultur“ an das U-25-Publikum richtet und 2022 erstmals im Festsaal Kreuzberg ausgerichtet wird. Zu den Themen gehören der Krieg in der Ukraine und die Pandemie, aber auch Tech-Themen wie Kryptowährungen und NFTs, TikTok und Instagram sowie Fragen zu Cannabis-Legalisierung, Identität oder Alkoholismus in der Familie.

[slcl]

Dr. Michelle Stevens discussed her book, “Scared Selfless: My Journey from Abuse and Madness to Surviving and Thriving” at Library Headquarters on Tuesday evening. Dr. Stevens, because of severe psychological trauma and multiple personality disorder, was deemed a “lost cause.” Not lost at all, Stevens spoke frankly about the years of abuse that she has now overcome.

Mark Utterback, President and CEO of Mental Health America and Jennifer Brinkmann, president of Alive and Well STL spoke before Dr. Stevens was introduced. As program sponsors, their organizations enthusiastically welcomed the frank discussion of mental illness and its treatment.

There is a full schedule of author visits this summer. Check the schedule.  

[responsivesites]

New Post has been published on Website Design Naples Florida Webmaster

New Post has been published on https://vinbo.com/wordpress-5-5-eckstine/

WordPress 5.5 “Eckstine”

Here it is! Named “Eckstine” in honor of Billy Eckstine, this latest and greatest version of WordPress is available for download or update in your dashboard.

Welcome to WordPress 5.5.

In WordPress 5.5, your site gets new power in three major areas: speed, search, and security.

Speed

Posts and pages feel faster, thanks to lazy-loaded images.

Images give your story a lot of impact, but they can sometimes make your site seem slow.

In WordPress 5.5, images wait to load until they’re just about to scroll into view. The technical term is ‘lazy loading.’

On mobile, lazy loading can also keep browsers from loading files meant for other devices. That can save your readers money on data — and help preserve battery life.

Search

Say hello to your new sitemap.

WordPress sites work well with search engines.

Now, by default, WordPress 5.5 includes an XML sitemap that helps search engines discover your most important pages from the very minute you go live.

So more people will find your site sooner, giving you more time to engage, retain and convert them to subscribers, customers or whatever fits your definition of success.

Security

Now you can choose to update plugins and themes automatically–or pick just a few–from the screens you’ve always used.

Auto-updates for Plugins and Themes

Now you can set plugins and themes to update automatically — or not! — in the WordPress admin. So you always know your site is running the latest code available.

You can also turn auto-updates on or off for each plugin or theme you have installed — all on the same screens you’ve always used.

Update by uploading ZIP files

If updating plugins and themes manually is your thing, now that’s easier too — just upload a ZIP file.

Highlights from the block editor

Once again, the latest WordPress release packs a long list of exciting new features for the block editor. For example:

Block patterns

New block patterns make it simple and fun to create complex, beautiful layouts, using combinations of text and media that you can mix and match to fit your story.

You will also find block patterns in a wide variety of plugins and themes, with more added all the time. Pick any of them from a single place — just click and go!

The new block directory

Now it’s easier than ever to find the block you need. The new block directory is built right into the block editor, so you can install new block types to your site without ever leaving the editor.

Inline image editing

Crop, rotate, and zoom your photos right from the image block. If you spend a lot of time on images, this could save you hours!

And so much more.

The highlights above are a tiny fraction of the new block editor features you’ve just installed. Open the block editor and enjoy!

Accessibility

Every release adds improvements to the accessible publishing experience, and that remains true for WordPress 5.5.

Now you can copy links in media screens and modal dialogs with a button, instead of trying to highlight a line of text.

You can also move meta boxes with the keyboard, and edit images in WordPress with your assistive device, as it can read you the instructions in the image editor.

For developers

5.5 also brings a big box of changes just for developers.

Server-side registered blocks in the REST API

The addition of block types endpoints means that JavaScript apps (like the block editor) can retrieve definitions for any blocks registered on the server.

Defining environments

WordPress now has a standardized way to define a site’s environment type (staging, production, etc). Retrieve that type with wp_get_environment_type() and execute only the appropriate code.

Dashicons

The Dashicons library has received its final update in 5.5. It adds 39 block editor icons along with 26 others.

Passing data to template files

The template loading functions (get_header(), get_template_part(), etc.) have a new $args argument. So now you can pass an entire array’s worth of data to those templates.

More changes for developers

The PHPMailer library just got a major update, going from version 5.2.27 to 6.1.6.

Now get more fine-grained control of redirect_guess_404_permalink().

Sites that use PHP’s OPcache will see more reliable cache invalidation, thanks to the new wp_opcache_invalidate() function during updates (including to plugins and themes).

Custom post types associated with the category taxonomy can now opt-in to supporting the default term.

Default terms can now be specified for custom taxonomies in register_taxonomy().

The REST API now officially supports specifying default metadata values through register_meta().

You will find updated versions of these bundled libraries: SimplePie, Twemoji, Masonry, imagesLoaded, getID3, Moment.js, and clipboard.js.

The Squad

Leading this release were Matt Mullenweg, Jake Spurlock, and David Baumwald. Supporting them was this highly enthusiastic release squad:

Editor Tech: Ella Van Durpe (@ellatrix)

Editor Design: Michael Arestad (@michael-arestad)

Core Tech: Sergey Biryukov (@sergeybiryukov)

Media Tech: Andrew Ozz (@azaozz)

Accessibility Tech: JB Audras (@audrasjb)

Docs Coordinator: Justin Ahinon (@justinahinon)

Marketing/Comms Coordinator: Mary Baum (@marybaum)

Joining the squad throughout the release cycle were 805 generous volunteer contributors who collectively worked on over 523 tickets on Trac and over 1660 pull requests on GitHub.

Put on a Billy Eckstine playlist, click that update button (or download it directly), and check the profiles of the fine folks that helped:

A2 Hosting, a4jp . com, a6software, Aaron D. Campbell, Aaron Jorbin, abderrahman, Abha Thakor, Achal Jain, achbed, Achyuth Ajoy, acosmin, acsnaterse, Adam Silverstein, Addie, addyosmani, adnan.limdi, adrian, airamerica, Ajay Ghaghretiya, Ajit Bohra, akbarhusen, akbarhusen429, Akhilesh Sabharwal, Akira Tachibana, Alain Schlesser, Albert Juhé Lluveras, Alex Concha, Alex Kirk, Alex Lende, Alex Shiels, Ali Shan, ali11007, Allen Snook, amaschas, Amit Dudhat, anbumz, andfinally, Andrea Fercia, Andrea Middleton, Andrea Tarantini, Andrei Draganescu, Andrew Duthie, Andrew Nacin, Andrew Nevins, Andrew Ozz, Andrey “Rarst” Savchenko, Andrés Maneiro, Andy Fragen, Andy Meerwaldt, Andy Peatling, Angela Jin, Angelika Reisiger, Anh Tran, Ankit Gade, Ankit K Gupta, Ankit Panchal, Anne McCarthy, Anthony Burchell, Anthony Hortin, Anton Timmermans, Antonis Lilis, apedog, archon810, argentite, Arpit G Shah, Arslan Ahmed, asalce, ashiagr, ashour, Atharva Dhekne, Aurélien Joahny, aussi, automaton, Ayesh Karunaratne, BackuPs, Barry, Barry Ceelen, Bart Czyz, bartekcholewa, bartkalisz, Bastien Ho, Bastien Martinent, bcworkz, bdbch, bdcstr, Ben Dunkle, Bence Szalai, bencroskery, Benjamin Gosset, Benoit Chantre, Bernhard Reiter, BettyJJ, bgermann, bigcloudmedia, bigdawggi, Bill Erickson, Birgir Erlendsson (birgire), Birgit Pauli-Haack, BjornW, bonger, Boone Gorges, Boris Brdarić, Boy Witthaya, Brandon Kraft, Brandon Payton, Brent Swisher, Brian Krogsgard, bruandet, Bunty, Burhan Nasir, caiocrcosta, Cameron Voell, cameronamcintyre, Carike, Carl Wuensche, Carlos Galarza, Carolina Nymark, Caroline Moore, Carrigan, ceyhun, Chad, Chad Butler, Charles Fulton, Chetan Prajapati, Chintan hingrajiya, Chip Snyder, Chloé Bringmann, Chouby, Chris Van Patten, chriscct7, Christian Chung, Christian Jongeneel, Christian Sabo, Christian Wach, Christoph Herr, Christopher Churchill, cklee, clayray, Clifford Paulick, codeforest, Commeuneimage, Copons, Corey McKrill, cpasqualini, Cristovao Verstraeten, Csaba (LittleBigThings), Curtis Belt, Cyrus Collier, D.PERONNE, d6, Daniel Bachhuber, Daniel Hüsken, Daniel James, Daniel Llewellyn, Daniel Richards, Daniel Roch, Daniele Scasciafratte, Danny, Darko G., Darren Ethier (nerrad), Dave McHale, Dave Whitley, David A. Kennedy, David Aguilera, David Anderson, David Artiss, David Baumwald, David Binovec, David Brumbaugh, David E. Smith, David Herrera, David Ryan, David Shanske, David Smith, davidvee, dchymko, Debabrata Karfa, Deepak Lalwani, dekervit, Delowar Hossain, demetris, Denis Yanchevskiy, derekakelly, Derrick Hammer, Derrick Tennant, Diane Co, Dilip Bheda, Dimitris Mitsis, dingo-d, Dion Hulse, Dixita Dusara, djennez, dmenard, dmethvin, doc987, Dominik Schilling, donmhico, Dono12, Doobeedoo, Dossy Shiobara, dpacks, dratwas, Drew Jaynes, DrLightman, DrProtocols, dsifford, dudo, Dustin Bolton, dvershinin, Dylan Kuhn, Earle Davies, ecotechie, Eddie Moya, Eddy, Edi Amin, ehtis, Eileen Violini, Ekaterina, Ella van Durpe, elmastudio, Emanuel Blagonic, Emilie LEBRUN, Emmanuel Hesry, Enej Bajgoric, Enrico Sorcinelli, Enrique Piqueras, Enrique Sánchez, Eric, Eric Andrew Lewis, Eric Binnion, Erik Betshammar, Erin ‘Folletto’ Casali, esemlabel, esoj, espiat, Estela Rueda, etoledom, etruel, Ev3rywh3re, Evan Mullins, Fabian Kägy, Fabian Todt, Faisal Ahmed, Felix Arntz, Felix Edelmann, ferdiesletering, finomeno, Florian Brinkmann, Florian TIAR, Florian Truchot, florianatwhodunit, FolioVision, Francesca Marano, Francois Thibaud, Frank Goossens, Frank Klein, Frank.Prendergast, Franz Armas, Gabriel Koen, Gabriel Maldonado, Gabriel Mays, gadgetroid, Gal Baras, Garavani, garethgillman, Garrett Hyder, Gary Cao, Gary Jones, Gary Pendergast, Geert De Deckere, Gemini Labs, Gennady Kovshenin, geriux, Giorgio25b, gisselfeldt, glendaviesnz, goldsounds, Goto Hayato, Govind Kumar, Grégory Viguier, gradina, Greg Ziółkowski, gregmulhauser, grierson, Grzegorz.Janoszka, gsmumbo, Guido Scialfa, guidobras, Gunther Pilz, gwwar, H-var, hakre, Halacious, hankthetank, Hapiuc Robert, Hareesh Pillai, haukep, Haz, Hector F, Helen Hou-Sandi, Henry Wright, hlanggo, hommealone, Hoover, Howdy_McGee, Hronak Nahar, huntlyc, Ian Belanger, Ian Dunn, Ian Stewart, ianjvr, ifrins, infinum, Ipstenu (Mika Epstein), Isabel Brison, ishitaka, J.D. Grimes, jackfungi, jacklinkers, Jadon N, jadpm, jagirbahesh, Jake Spurlock, James Koster, James Nylen, Jan Koch, Jan Reilink, Jan Thiel, Janvo Aldred, Jarret, Jason Adams, Jason Coleman, Jason Cosper, Jason Crouse, Jason LeMahieu (MadtownLems), Jason Rouet, JasWSInc, Javier Casares, Jayson Basanes, jbinda, jbouganim, Jean-Baptiste Audras, Jean-David Daviet, Jeff Chandler, Jeff Farthing, Jeff Ong, Jeff Paul, Jen, Jenil Kanani, Jeremy Felt, Jeremy Herve, Jeremy Yip, jeryj, Jesin A, Jignesh Nakrani, Jim_Panse, Jip Moors, jivanpal, Joe Dolson, Joe Hoyle, Joe McGill, Joen Asmussen, Johanna de Vos, John Blackbourn, John Dorner, John James Jacoby, John P. Green, John Watkins, johnnyb, Jon Quach, Jon Surrell, Jonathan Bossenger, Jonathan Champ, Jonathan Christopher, Jonathan Desrosiers, jonkolbert, Jonny Harris, jonnybot, Jono Alderson, Joost de Valk, Jorge Bernal, Jorge Costa, Joseph Dickson, Josepha Haden, Josh Smith, JoshuaWold, Joy, Juanfra Aldasoro, juanlopez4691, Jules Colle, julianm, Juliette Reinders Folmer, Julio Potier, Julka Grodel, Justin Ahinon, Justin de Vesine, Justin Tadlock, justlevine, justnorris, K. Adam White, kaggdesign, Kailey (trepmal), Kaira, Kaitlin Bolling, KamataRyo, Kantari Samy, Kaspars, Kavya Gokul, keesiemeijer, Kelly Dwan, kennethroberson5556, Kevin Hagerty, Kharis Sulistiyono, Khokan Sardar, kinjaldalwadi, Kiril Zhelyazkov, Kirsty Burgoine, Kishan Jasani, kitchin, Kite, Kjell Reigstad, Knut Sparhell, Konstantin Obenland, Konstantinos Xenos, ksoares, KT Cheung, Kukhyeon Heo, lalitpendhare, Laterna Studio, laurelfulford, Laurens Offereins, Levdbas, Lew Ayotte, Lex Robinson, linyows, lipathor, Lisa Schuyler, liuhaibin, ljharb, logig, lucasbustamante, luiswill, Luke Cavanagh, Luke Walczak, lukestramasonder, M Asif Rahman, M.K. Safi, Maarten de Boer, Mahfoudh Arous, manojlovic, Manuel Schmalstieg, maraki, Marcin Pietrzak, Marcio Zebedeu, Marco Pereirinha, MarcoZ, Marcus, Marcus Kazmierczak, Marek Dědič, Marek Hrabe, Mario Valney, Marius Jensen, Mark Chouinard, Mark Parnell, Mark Uraine, markdubois, markgoho, Marko Andrijasevic, Marko Heijnen, MarkRH, markshep, markusthiel, Martijn van der Kooij, martychc23, Mary Baum, Matheus Martins, Mathieu Viet, Matias Ventura, matjack1, Matt Cromwell, Matt Mullenweg, Matt Radford, Matt van Andel, mattchowning, Matthew Boynes, Matthew Eppelsheimer, Matthew Gerring, Matthias Kittsteiner, Matthias Pfefferle, Matthieu Mota, mattyrob, Maxime Culea, Maxime Pertici, maxme, Mayank Majeji, mcshane, Mel Choyce-Dwan, Menaka S., mensmaximus, metalandcoffee, Michael, Michael Arestad, Michael Arestad, Michael Fields, Michael Nelson, Michele Butcher-Jones, Michelle, Miguel Fonseca, mihdan, Miina Sikk, Mikael Korpela, mikaumoto, Mike Crantea, Mike Glendinning, Mike Haydon, Mike Schinkel [WPLib Box project lead], Mike Schroder, Mikey Arce, Milana Cap, Milind More, mimi, mislavjuric, Mohammad Jangda, Mohammad Rockeybul Alam, Mohsin Rasool, Monika Rao, Morgan Kay, Morten Rand-Hendriksen, Morteza Geransayeh, moto hachi ( mt8.biz ), mrgrt, mrmist, mrTall, msaggiorato, Muhammad Usama Masood, Mukesh Panchal, munyagu, Nadir Seghir, Nahid Ferdous Mohit, Nalini Thakor, Naoko Takano, narwen, Nate Gay, Nathan Rice, Navid, neonkowy, net, netpassprodsr, Nextendweb, Ngan Tengyuen, Nick Daugherty, Nicky Lim, nicolad, Nicolas Juen, NicolasKulka, Nidhi Jain, Niels de Blaauw, Niels Lange, nigro.simone, Nikhil Bhansi, Nikolay Bachiyski, Nilo Velez, Niresh, nmenescardi, Noah Allen, ntsekouras, NumidWasNotAvailable, oakesjosh, obliviousharmony, ockham, Olga Gleckler, Omar Alshaker, onokazu, Optimizing Matters, ovann86, overclokk, p_enrique, Paal Joachim Romdahl, Pablo Honey, palmiak, Paresh Shinde, Parvand, Pascal Birchler, Pascal Casier, Paul Bearne, Paul Biron, Paul Fernhout, Paul Gibbs, 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zieladam, and Česlav Przywara.

  Many thanks to all of the community volunteers who contribute in the support forums. They answer questions from people across the world, whether they are using WordPress for the first time or since the first release. These releases are more successful for their efforts!

Finally, thanks to all the community translators who worked on WordPress 5.5. Their efforts bring WordPress fully translated to 46 languages at release time, with more on the way.

If you want to learn more about volunteering with WordPress, check out Make WordPress or the core development blog.

Original source: https://wordpress.org/news/2020/08/eckstine/

[larryland]

CHATHAM, NY—The Mac-Haydn Theatre concludes its 51st season with the Rodgers and Hammerstein classic, Oklahoma!, running August 22 through September 1.

The road to true love is anything but smooth in this musical that paved the way for American musical theatre. Set in the western territory on its way to becoming a state, Oklahoma! contains some of the most popular music ever written for the stage—songs including “Oh What a Beautiful Morning,” “People Will Say We’re in Love,” and the title song “Oklahoma.”

James Benjamin Rodgers returns to the Mac-Haydn stage as Curly, following his performance last season as Quasimodo in The Hunchback of Notre Dame. Born in Wellington, New Zealand and based in New York, James has performed with The MDR Sinfonieorchester, The Kurt Weill Festival, The Ravinia Festival, The Argento Ensemble, The Merola Opera Program, The Paul Dresher Ensemble, and New Zealand Opera. Roles include the title roles in Candide, Young Frankenstein, and Jekyll and Hyde, Jean Valjean: Les Misérables, Anthony Hope: Sweeney Todd, Kudrjash: Kátya Kabanová, Captain Von Trapp: Sound of Music, Frank Butler: Annie Get Your Gun, Camille: The Merry Widow.

  Meredith Lustig makes her Mac-Haydn debut as Laurey. Praised for her “radiant soprano” and “outstanding dramatic presence,” Meredith’s past roles include: Blanche DuBois/A Streetcar Named Desire (Opera Company Middlebury), Gianetta/L’Elisir D’Amore, Cephisia/Orpheus (New York City Opera), Eurydice/Orpheus in the Underworld (Virginia Opera), Fiona/Brigadoon (Gulfshore Opera), Megan/The Whole Truth (American Modern Ensemble), Musetta/La Boheme (Syracuse Opera), Daisy/The Great Gatsby (Aspen Opera Theater). She has held residence at the Ravinia Steans Institute, Caramoor, New York Festival of Song, Town Hall Theatre, Glimmerglass, and Pittsburgh Opera.  Symphonic appearances include Bernstein’s Mass (Philadelphia Orchestra), Carmina Burana (Erie Philharmonic),Serenade to Music (Chicago Symphony), and as a headliner for the Dallas Symphony and Detroit Symphony.

Rob Brinkmann also makes his Mac-Haydn debut as Jud Fry. Off-Broadway: The Red Room (Barrow Group Theater). Regional: Peter and The Starcatcher (Black Stache, Jenny Wiley Theater), Cabaret (Cliff, Pentangle Arts Center), An American in Paris (Ogunquit Playhouse), Searching for Signal (A.R.T.’s Oberon). Acoustica Electronica (House of Yes).

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  Rounding out the cast are Rachel Pantazis as Ado Annie Carnes, Andrew Burton Kelley as Will Parker, Cathy-Lee Visscher as Aunt Eller, William Taitel as Ali Hakim and Jesse Lynn Harte as Gertie Cummings.

  Oklahoma! is directed by John Saunders, choreographed by Katie Johannigman and music directed by Jillian Zack Rodgers, with costume design by Bethany Marx, wig and makeup design by Matthew Oliver, scenic design by Kevin Gleason, lighting design by Andrew Gmoser, props by Joshua Gallagher and sound design by Nathan Schilz.

For tickets and details please visit www.machaydntheatre.org or call the box office at (518) 392-9292.

“Oklahoma!” Closes Mac-Haydn 2019 Season CHATHAM, NY—The Mac-Haydn Theatre concludes its 51st season with the Rodgers and Hammerstein classic, Oklahoma!, running August 22 through September 1.

[mezitli33]

VORSTADTKROKODILE DOWNLOADEN

Stream Amazon Instant Video. Jean-Marc Lesguillons , Gabriele Unverdross. Kai — im Buch Kurt — ist durch einen Unfall beim Spiel mit seinem Vater querschnittgelähmt, was zusätzliche Spannungen in die ohnehin als schwierig dargestellte Familiensituation bringt. Verleiher Constantin Film Verleih. Navigation Hauptseite Themenportale Zufälliger Artikel. Die Filmmusik wurde ausnahmslos, wie in den Produktionen Wolfgang Beckers jener Zeit häufig üblich, [9] der zeitgenössischen Pop- und Rockmusik entlehnt. Kurt, zu dem Hannes und Maria mittlerweile einen guten Kontakt haben, schlägt den Krokodilern vor, ein neues Lager auf dem Gelände der alten Ziegelei einzurichten, und sein Vorschlag wird angenommen.

Name: vorstadtkrokodile Format: ZIP-Archiv Betriebssysteme: Windows, Mac, Android, iOS Lizenz: Nur zur personlichen verwendung Größe: 62.73 MBytes

Kais Vater Martin Semmelrogge: Die Erstausstrahlung fand am Olaf Weissmann Rita Ramachers: Stanley Kubrick — Meister der Distanz. Weitere Bedeutungen siehe unter Vorstadtkrokodile Begriffsklärung. Vorstadtkrokodile ist ein Kinderbuch von Max von der Gründas erschien und noch heute oft an Schulen gelesen wird.

Die lakonische Erzählweise des Buches trifft der Film aber nur selten. Messerscharf sind aber nicht nur seine Bilder, messerscharf ist auch sein Humor.

Vorstadtkrokodile () – Wikipedia

Diese Seite wurde zuletzt am 6. Rudolf Strehl Heinz Bäther: Dieser Artikel behandelt den Fernsehfilm Die Vorstadtkrokodile von Stream Amazon Instant Video. Ein Rückblick auf die Ära Kosslick. Kurts Vater Rosel Zech: Stanley Kubrick — Meister der Distanz.

Inhaltsangabe & Details

Der drohte – an einer Regenrinne hängend – in die Tiefe zu stürzen, doch Kai hat das mit seinem Fernrohr beobachtet und rechtzeitig die Feuerwehr gerufen. Während im Buch und in der ersten Verfilmung nur deutsche Vosrtadtkrokodile Mitglieder der Bande waren, gehört jetzt auch ein Grieche zu den Vorstadtkrokodilen.

Die dramatische Situation wird jedoch von Kurt, der auf einen Rollstuhl angewiesen ist, von zu Hause aus durch sein Fernrohr beobachtet.

Max von der Grün. Möglicherweise unterliegen die Inhalte jeweils zusätzlichen Bedingungen. Gedreht wurde vom Für Vorstadtkrokkdile ist dieser Vorstadtkrokodilr das Signal, jetzt endlich zur Polizei zu gehen und die Beobachtungen zu den Einbrechern zu melden — bislang hat die Bande aus Rücksicht auf Frank und weil die endgültigen Beweise fehlten, dies immer vosrtadtkrokodile abgelehnt. Otto Brinkmann Josef Sieger: Hannes rutscht beim Wiederabstieg auf dem Dach ab und kann sich in schwindelnder Höhe gerade noch an der maroden Dachrinne festhalten.

Durch die Nutzung dieser Website erklären Sie sich mit den Nutzungsbedingungen und der Datenschutzrichtlinie einverstanden. Literatur [ Bearbeiten Quelltext bearbeiten ] Max von der Grün: So bleibt Kai auf seine Kontakte über schuelerVZ etc.

Kritik zu Vorstadtkrokodile | epd Film

Ihre Stärke ist auch optisch sichtbar; Maria überragt vorstadtkrokoddile meisten Vorztadtkrokodile der Bande um Kopfeslänge. Kurt ruft die Feuerwehrdie Hannes auch gerade noch rechtzeitig rettet. Allerdings rührt diese Ablehnung in erster Linie von der Unsicherheit im Umgang mit dem Andersartigen her.

Dabei geraten sie verschiedenen Zweiradfahrern in die Quere, insbesondere Dennis, dem älteren Bruder des Bandenmitglieds Frank, und seinen vorstsdtkrokodile Freunden Kevin und Achmed. Aus den italienischen Gastarbeitern im Buch sind Albaner geworden.

Kritik zu Vorstadtkrokodile

August [3] in der Nähe der Handlungsorte der früheren Verfilmung: Willy Semmelrogge — spielte in der Verfilmung von den Minigolfplatzbesitzer.

In der bewegenden Schlussszene des Films muss der Schauplatz der dramatischen Geschehnisse, die alte Ziegelei, Sanierungsvorhaben weichen Zitat: Verständigungs- und Integrationsversuche bleiben vrostadtkrokodile, was aber zum Teil ebenfalls dem damaligen Zeitgeist geschuldet ist.

Die besten Filme der Welt — Das Die Wortführer der Krokodiler nehmen sie nicht als gleichberechtigte Individuen wahr, lösen damit aber auch Kontroversen innerhalb der Gruppe aus Zitat: Deshalb muss der zehnjährige Hannes auf das Dach eines alten Ziegeleigebäudes klettern. Aaron Fotheringham doubelte den Darsteller des Kai in der Szene mit der Verfolgungsjagd; an einigen Stellen der Aufnahmen kann man erkennen, dass er für die Stunts nicht den Rollstuhl benutzte, in dem der Darsteller des Kai agiert.

In vordtadtkrokodile Annahme, dass die Diebe, beunruhigt durch die Anwesenheit der Kinder auf dem Ziegeleigelände, ihre Beute auf die Borstadtkrokodile schaffen wollen, lauern die Krokodiler den Einbrechern an der Ziegelei auf.

Sie ist allerdings das einzige weibliche Mitglied der Vorstadtkrokodi,e.

The post VORSTADTKROKODILE DOWNLOADEN appeared first on Mezitli.

source http://mezitli.info/vorstadtkrokodile-60/

[spamzineglasgow]

SPAM Cuts Special:  ONE FOR JOHN JAMES (1938-2018)

As the year draws in past midwinter day, we bring you a SPAM Cut festive special. Luke Roberts invites us to dwell upon the warmth of elegy, craft and sheer radiance in the work of Welsh poet John James, who passed away earlier this year. 

> John James died in May, true to his word: ‘best to die in summer / when everything is bright / & the earth turns over lightly’. At his final reading in London in April, very ill, he struggled to stand and had trouble holding his book. It was painful to watch but it was beautiful to listen to, and now it’s December and I can still hear his voice. A little Welsh inflection, fragile, but the music coming through clear and exact. I only really met him once, at a reading organised by graduate students in Cambridge in 2010. We took him to the pub beforehand and I bought him a glass of wine. He winced at the options: only New World varieties. From the 2000s onwards he lived part of the year in France, ‘territory of the vine’, writing his exquisite late work. Someone came to our table collecting for charity and he turned to me and quoted Frank O’Hara: ‘a lady asks us for a nickel for a terrible / disease but we don’t give her one we / don’t like terrible diseases’.

> I want to write about John James because he was truly great, but it’s hard to write about John James because if you can’t see it there’s no hope, and if you get it you already know. In Cambridge the older poets talked in hushed tones about his line, how great his line was. And it’s true. From The Small Henderson Room (1969) through to Berlin Return (1983) James worked out a poetry of rigorous sweetness, poised vulgarity, incredible attitude. After that he could do whatever he wanted. He makes it look effortless, but he also shows you over and over the discipline. Style takes work. Early in his correspondence with The English Intelligencer — one of the ‘rowdies’ as J.H. Prynne affectionately called him — he discourses on craft and writes that the whole point of poetry is to be memorable, to be worthy of commitment to memory. Craft is whatever aids this commitment, nothing more nothing less. And the lines come back: ‘Fresh bread can taste so good, it’s so rare / we eat it together’; ‘My shoulders / have learned to be / tense in the night’; ‘& I haven’t a thought in my head that could / sound like a line of Hölderlin’. And more: ‘Pure Chainsaw feeling in the Vat of TLP’; ‘I like to dance so much & a kind of mania / lures me’; ‘A glass of volvic could have made me happy forever’; ‘you’ve just come back / I definitely love you’; ‘art is a balm to the brain / & gives a certain resolution’. The whole of A Theory of Poetry (1977). The great late poem ‘Intersection’, with the wild opening lines: ‘Mao taught us it is a narrative / we must tell of ourselves each day’. They’re the kind of lines you share with your friends, springing to thought with regular buoyancy. They never went away.

> In 1975 James memorialised the German poet Rolf Dieter Brinkmann, killed in a traffic accident in London aged 35. He died on April 23rd, shortly after reading with James and John Ashbery at the Cambridge Poetry Festival. Veronica Forrest-Thomson died a few days later, and the two were commemorated in a volume published by Andrew Crozier’s Ferry Press. James wrote two poems for Brinkmann: one I already quoted in the opening sentence, and another longer work titled ‘One for Rolf’. It begins with ‘displaced April / air in May’, as if the poet’s death has interrupted the seasons. The whole opening stanza turns around subtleties of appearance, the precise quality of dissolution, where ‘we expire like the breeze at evening’. The expiration brings us back to the air, the poet’s breath still lingering in May-time. Erwin Panofsky says somewhere that poets invented the evening, and I believe this to be true. John James writes:

               (the struggle for what is light                 in what is dark

               shone to advantage                in our own backyard

The first couplet could almost be Brecht. If this isn’t an image of political commitment I don’t know what is. James was a socialist from first to last, and his poems are littered with references to strikes, to reading The Morning Star, going out to meetings, hating the Government, to say nothing of his ferocious Irish Republican poems of the late 1970s and 1980s. But this doesn’t explain why the lines are so masterful. It’s something to do with the movement of articulation: ‘light’ and ‘advantage’ come to rest high in the mouth, at least if you read ‘advantage’ with a hard A. You tense your face a little to hold the line at the moment of its breaking. But ‘dark’ and ‘backyard’ are open-mouthed, exhalation, release.

> I think these lines, like many of James’s, have a double-function. I read them allegorically as an image of optimism, commitment, even faith. But since this is ‘in our own backyard’ I also picture a distinct physical space. And since this is about darkness and the struggle for what is light, I imagine that the poet has lost something and is looking for something in the night. I imagine light from a window in the rooms above the yard. I think about specific places I’ve lived and specific people I’ve known. Forrest-Thomson would call this bad naturalization: but since this is an elegy, I take licence in my feelings. I think of a beautiful line Andrew Crozier was writing around the same time: ‘In torchlight to know where you are / and then switch the beam off’.

> The poem, which moves through 10 short sections, is organised around images of light and around images of the accident. James walks through Cologne in the ‘silvery grey light’, sees a ‘torso on the grass / discarded’ with ‘the shadow trickling / across the road’. Sometimes the two coalesce, as with the ‘Traffic lights, tall / lamp-standards, thin trees’. He quotes Ed Dorn, from Gunslinger: ‘“Speed” says Ed “is not necessarily fast”’. There are other quotations: parts of O’Hara’s dictum ‘the slightest loss of attention leads to death’, and a slightly-switched repeat of a line from the earlier ‘Rough for Rolf Dieter Brinkmann’ I’ve already mentioned: ‘& I haven’t a line in my head that could / sound like a thought of Hölderlin’. The most plaintive line in the poem sounds itself like a quotation or translation, but I can’t trace it: ‘there has been an accident in my life o my life’. And so these lines are like reaching out for support, to steady and further the poem, to do the work of mourning.      

> In the conclusion of the poem James gathers his friends closer. Crozier appears ‘in the new good morning day’, looking out of his window in his back-yard in Lewes. He recalls a reading by Ted Berrigan, from ‘Three Sonnets & A Coda for Tom Clark’:

                                   & Ted I heard him                  read the words “Tomorrow you die”                  & me I say,                             “Are you kidding? See you later!”

And in the elegiac mode this poem from 1975 becomes an elegy in advance for Ted — translated by Brinkmann in Guillaume Apollinaire Ist Tod — and for Ed Dorn, and for Crozier, who died in Lewes in 2008, and why not for Tom Clark, too, who himself was fatally struck by a car earlier this year. And why not for Douglas Oliver and David Chaloner and everybody else, gathered beside Rolf and Veronica as the air switches back from May into April.

> Towards the conclusion, light becomes more wholly the medium of consolation:

               the history of your life                a pagination of existence in which I partly live                a slow exposure to the radiance left by you                by you & all others

This gesture towards the others, to everyone, is hard to pull off. Sometimes poets do it to get themselves out of trouble, or else it’s a cheap move of bombast designed to cover the cracks. But James always manages it: the movement is measured, controlled, and authentic, the slow burn of feeling. So we have the radiant pagination of existence, and it’s still radiant.

> A couple of weeks ago I showed my students a short poem from the 1990s:

               Confession

               I throw myself on a                eating utensil a nail                a tin of lemonade                my head against a wall                & smash a window                no one had asked me to do this

We talked about the Catholic imagery, the act of confession, the tin of lemonade as a kind of parody sacrament, the nail as holy reliquary. We tried to elaborate the elusive humour of the whole thing. We decided that if you switch the eating utensil for a writing utensil, it works as a metaphor for poetry itself: the comic frenzy, the damage, the pushing up against constraints, the struggle. The poet is answerable to no-one. There’s something adolescent and helpless about it, finally inscrutable. And I think of this as the other side of the coin: there’s control and discipline, there’s the line and there’s craft; but there’s also accident, panic, and fervour. And John James did it again and again. There were quiet years following his Collected Poems in 2002, but after In Romsey Town in 2011 he published poems and pamphlets with regularity until the end. You can read some of them in Sarments: New and Selected Poems, the book he was holding on to back in April. You can read it in the Collected Poems. I love it all the way through.

                                                                                         December 19th 2018

~

Text & Image: Luke Roberts

[korkep-blog]

29 éve történt: 1989. november 9. – A nap, amikor leomlott a berlini fal

1989-ben a Német Demokratikus Köztársaságot (NDK) elhagyó állampolgárok száma drasztikusan megemelkedett. A nyár folyamán a Balatonnál üdülő keletnémetek megindultak Ausztria felé, amikor a vasfüggöny – ha rövidebb időre is, de – megnyílni látszott.

1989-ben a Német Demokratikus Köztársaságot (NDK) elhagyó állampolgárok száma drasztikusan megemelkedett. A nyár folyamán a Balatonnál üdülő keletnémetek megindultak Ausztria felé, amikor a vasfüggöny – ha rövidebb időre is, de – megnyílni látszott. A hírre újabb embertömeg hullámzott Magyarország felé, azonban a határellenőrzés ismételt megerősítésével a Nyugatra menekülés esélyei is lecsökkentek. A keletnémet menekültek ezt követően Nyugat-Németország (NSZK) budapesti ill. prágai nagykövetségeinél várták sorsuk jobbra fordulását.

  Szeptember 11-én Magyarország véglegesen megnyitotta nyugati határait az NDK polgárai előtt, így az NDK vezetése kutyaszorítóba került. Részben ezért, részben a csehszlovák kormány nyomására a keletnémet döntéshozók a polgárok kiutazását könnyítő intézkedések bevezetése mellett döntöttek. Ami azonban kezdetben óvatos reformnak indult, egy elszólás miatt igazi lavinává alakult: az élőben közvetített sajtótájékoztatót vezető keletnémet politikus, Günter Schabowski, ugyanis idő előtt jelentett be olyasmit, amire a hatalom biztonsági szervei nem voltak felkészülve.

  Az NDK fennállásának 40. évfordulójára a szocialista rezsim krémje megjelent Kelet-Berlinben. Egy hónappal később a fal leomlott (wikicommons; Bundesarchiv, Klaus Franke)

  Isten éltessen NDK?

  Valamivel több mint egy hónappal az események előtt, 1989. október 7-én, a Német Demokratikus Köztársaság fennállásának 40. évfordulóját ünnepelte. A szocialista világ színe-java megjelent a nagy napon, köztük a Szovjetunió új pártfőtitkára Mihail Sz. Gorbacsov. A látványos katonai parádét követő banketten az NDK mindenkori vezetője, a „brezsnyev-csókos”-ként ismert Erich Honecker, a forgó kamerák előtt kifejtette: „Biztosítani szeretném barátainkat a világ minden táján, hogy a szocializmus német földön, Marx és Engels szülőhazájában, megingathatatlan alapokon áll.”

  Ekkora azonban az NDK már komoly gondokkal küzdött, amit tetézett a nyári menekülthullám. Honecker emellett gyanakvással tekintett a reformistának tartott Gorbacsovra is, aki szerinte elárulta a szocializmust. Míg a kommunista elit a berlini Köztársasági palotában („Palast der Republik”) ünnepelt, az utcákon egy felkelés volt kibontakozóban.

  November 4-én addig soha nem látott embertömeg gyűlt össze a berlini Alexanderplatz-on (wikicommons; Bundesarchiv, Bernd Settnik)

  Az Alexanderplatz-on 3.000 berlini gyülekezett, majd a Prenzlauer Berg városrészben tüntető kb. 2.000 emberhez csatlakozott. Drezdában a főpályaudvar környékén a tüntetők már napokkal azelőtt összecsaptak a kivezényelt rendőrökkel, Lipcsében október 9-ére a tömeg 70.000-re duzzadt. Bár a biztonsági szervek több géppuskát is felállítottak, a lipcsei megmozdulások békések maradtak. Egy akkori keletnémet rendőr visszaemlékezése szerint 70.000 embert már nem lehet elhallgattatni. Bár Honecker október 18-án lemondott, a kommunista elit agóniája folytatódottt.

  Berlinben november 4-én az NDK történetének legnagyobb tüntetésére került sor, amelyen a legóvatosabb becslések szerint is több mint félmillió ember vett részt. A tömeg a „Mi vagyunk a nép!” („Wir sind das Volk!”) és az „Egy nép vagyunk!” (Wir sind ein Volk!”) rigmusokat skandálta. Hogy a kedélyeket valamelyest csillapítsa, a keletnémet vezetés a kiutazás megkönnyítését ígérte, amelyet egy sajtótájékoztató keretében terveztek bejelenteni november 9-én.

  Az elszólás

  Günter Schabowski alig pár nappal korábban vette át a Német Szocialista Egységpárt ún. Tájékoztatási Osztályának vezetését. Rá várt a feladat, hogy a november 9-én 18:00-kor kezdődő és élőben közvetített sajtótájékoztatón bejelentse a párt kiutazásról szóló döntéseit. Röviddel este 19:00 után az olasz Riccardo Ehrman tört németséggel arra volt kíváncsi, hogy a határozat miért csak most került nyilvánosságra:

  „Tisztelt Schabowski Úr, Ön hibákról beszélt. Nem gondolja, hogy épp az volt nagy hiba, hogy a (utázás megkönnyítését érintő) határozatot csak most hozták nyilvánosságra?” Schabowski, aki úgy tudta, hogy a szabályozás már pár napja nyilvános, tanácstalanul a magával hozott iratokat böngészve egy passzussal válaszolt. Ennek utolsó mondatára, miszerint „[…] a kiutazás az NDK és az NSZK összes határátkelőhelyén, beleértve Nyugat-Berlint, lehetséges […]”, a hamburgi „Bild” újság riportere, Peter Brinkmann, újabb kérdéssel reagált: „Mikor lép ez (a határozat) életbe?” A láthatóan megzavarodott Schabowski újfent az iratait bújva válaszolt: „Tudomásom szerint ez … (kis pihenő) … most, azonnali hatállyal lép életbe.”

  Leomlik a fal

  Schabowski szavai villámgyorsan terjedtek el a Reuters és AP hírügynökségeknek hála, így nemcsak a nyugat- ill. keletnémet nézők, de az egész világ számára is nyilvánvalóvá vált, hogy a határ nyitva áll. Este 21:30 környékén, tehát másfél órával a ominózus elszólás után, a berlini határátkelőknél megjelentek az első kisebb csoportok. A Brandenburgi kapunál, már a nyugati területen felállított „kilátóra” tucatnyi nyugatnémet mászott fel és hangos „Kaput nyiss, kaput nyiss!” („Tor auf!”) kiáltásokkal „jeleztek” a keletnémet határőröknek.

  A nagy elszólás. Günter Schabowski (a pultnál jobbról a második) az újságírók kereszttüzében hamar elvesztette az irányítást (wikicommons; Bundesarchiv, Thomas Lehmann).

  A keleti oldalon a határőség és rendőrség emberei – akiket nem tájékoztattak időben – eleinte megpróbáltak ellenállni a gyarapodó és egyre feszültebben viselkedő tömegnek. A rendőrök az átkelést vízumhoz kötötték ill. különféle paragrafusok felolvasásával „kontráztak”, mígnem a Schabowski szavait idéző keletnémetek „győzedelmeskedtek”.

  Egy a Bornholmer Straße-i átkelőnél álló fiatal nő, aki szüleit akarta meglátogatni Nyugat-Berlinben, miután meghallgatta a rendőr száraz és monoton tájékoztatását, visszakérdezett: „Most akkor emberi nyelven: az anyám és az apám odaát (Nyugat-Berlin) vannak, átmehetek most hozzájuk … meglátogatni őket, igaz?” – „Természetesen” – válaszolta a rendőr. Erre a nő nagy örömujjongás közepette megcsókolta a rendőrt, aki zavartan mosolygott.

  Az első „trabi“-k átgördülnek Nyugat-Berlinbe; a képen a Checkpoint Charlie átkelőnél (wikicommons; publicdomain).

  Éjjel 23 környékén már a kék NKD-s útlevéllel is átengedtek mindenkit, odaát ünneplő csoportok várták az átjutott kelet-berlinieket. Röviddel éjfél előtt a tömeg óriásira növekedett, így a láthatóan tanácstalan keletnémet határőrök a sorompókat megnyitva már az útlevélellenőrzéssel is felhagytak. Nagy ujjongás és tapsvihar között töménytelen mennyiségű pezsgő és dudaszó jelezte a fal végét. 00:15-kor a Brandenburgi kapunál az örömmámorban és –könnyekben úszó tömeg „lerohanta” a falat, többen felmásztak az építményre és azt bontani kezdték.

  Ilyen és ehhez hasonló jelentek a fővároson kívül is lejátszódtak. A Helmstedt-Marienstadt határátkelőnél végeláthatatlan kocsisor torlódott fel. Az autópályákon 80-100 km-es dugók alakultak ki. Visszaemlékezéseikben több akkor szolgáló rendőr is kiemelte, hogy a Trabantok és Wartburgok kipufogógázai valóságos felhőként szálltak le a környékre.

  A Brandenburgi kapu 1989 decemberében (wikicommons; publicdomain).

  Egy héten belül négymillió keletnémet igyekezett átjutni Nyugatra, hogy ott a NSZK által felajánlott 100 márkányi „üdvözlőpénz”-t („Begrüßungsgeld”) felvegye és elköltse. A berlini fal leomlása után 11 hónappal az egykori NDK tartományai 1990. október 3-án az NSZK tagjai lettek. November 9-ét azóta is az egyesült Németország jelenkori történetének egyik legmeghatározóbb napjaként tartják számon.

  A helmstedti határátkelő a berlini fal leomlása utáni napokban. Az NSZK-ba vezető sávokban 100 km-es torlódások sem voltak ritkák (wikicommons; G. Mach)

  Ünneplő nyugatnémetek várják a keletiek Trabant- és Wartburg-karavánjait Helmstedt-nél 1989 novemberében (wikicommons; G. Mach).

  https://www.youtube.com/watch?v=7dlfPeeY8mM

  Orbán Gábor

A szerző felvidéki magyar hadtörténész

Nyitókép: wikicommons; Bundesarchiv, Bernd Settnik

[nofomoartworld]

Hyperallergic: Why We Need to Start Seeing the Classical World in Color

Large polychrome tauroctony relief of Mithras killing a bull, originally from the mithraeum of S. Stefano Rotonodo (end of 3rd century CE), now at the Baths of Diocletian Museum, Rome (photo by Carole Raddato/Flickr, CC BY-SA 2.0)

Modern technology has revealed an irrefutable, if unpopular, truth: many of the statues, reliefs, and sarcophagi created in the ancient Western world were in fact painted. Marble was a precious material for Greco-Roman artisans, but it was considered a canvas, not the finished product for sculpture. It was carefully selected and then often painted in gold, red, green, black, white, and brown, among other colors.

A number of fantastic museum shows throughout Europe and the US in recent years have addressed the issue of ancient polychromy. The Gods in Color exhibit travelled the world between 2003–15, after its initial display at the Glyptothek in Munich. (Many of the photos in this essay come from that exhibit, including the famed Caligula bust and the Alexander Sarcophagus.) Digital humanists and archaeologists have played a large part in making those shows possible. In particular, the archaeologist Vinzenz Brinkmann, whose research informed Gods in Color, has done important work, applying various technologies and ultraviolet light to antique statues in order to analyze the minute vestiges of paint on them and then recreate polychrome versions.

The Archer from the western pediment of the Temple of Aphaia on Aigina, reconstruction, color variant A from the Gods of Color exhibit (photo by Marsyas/Wikimedia, CC BY-SA 2.5)

Acceptance of polychromy by the public is another matter. A friend peering up at early-20th-century polychrome terra cottas of mythological figures at the Philadelphia Museum of Art once remarked to me: “There is no way the Greeks were that gauche.” How did color become gauche? Where does this aesthetic disgust come from? To many, the pristine whiteness of marble statues is the expectation and thus the classical ideal. But the equation of white marble with beauty is not an inherent truth of the universe. Where this standard came from and how it continues to influence white supremacist ideas today are often ignored.

Most museums and art history textbooks contain a predominantly neon white display of skin tone when it comes to classical statues and sarcophagi. This has an impact on the way we view the antique world. The assemblage of neon whiteness serves to create a false idea of homogeneity — everyone was very white! — across the Mediterranean region. The Romans, in fact, did not define people as “white”; where, then, did this notion of race come from?

A painted Romano-Egyptian mummy mask of a man (late 2nd century CE), plaster, paint, glass, now at the Rhode Island School of Design (photo by the author for Hyperallergic)

In early modern Europe, taxonomies were all the rage. What would later be termed the “scientific revolution” was marked by a desire to categorize, label, and rank everything from plants to minerals. It was only a matter of time before humans were similarly subjected to such manmade systems of classification. At the same time, artists began to engage with mathematics and anatomy and to use classical sculpture as a means of addressing the question of replicable beauty through proportions.

One of the most influential art historians of the era was Johann Joachim Winckelmann. He produced two volumes recounting the history of ancient art, Geschichte der Kunst des Alterthums (1764), which were widely read and came to form a foundation for the modern field of art history. These books celebrate the whiteness of classical statuary and cast the Apollo of the Belvedere — a Roman marble copy of a Hellenistic bronze original — as the quintessence of beauty. Historian Nell Irvin Painter writes in her book The History of White People (2010) that Winckelmann was a Eurocentrist who depreciated people of other nationalities, like the Chinese or the Kalmyk.

The Apollo Belvedere, now at the Vatican Museums, was viewed in the 18th century as the model of beauty. Artists became fascinated with the statue after its discovery in the late 15th century, including Albrecht Dürer. (photo by Marie-Lan Nguyen/Wikimedia)

“Color in sculpture came to mean barbarism, for they assumed that the lofty ancient Greeks were too sophisticated to color their art,” Painter writes. The ties between barbarism and color, civility and whiteness would endure. Not to mention Winckelmann’s pronounced preference for sculptures of gleaming white men over women. Regardless of his own sexual identity — which may have been expressed in this preference — Winckelmann’s gender bias would go on to have an impact on white male supremacists who saw themselves as upholding an ideal.

Winckelmann wasn’t the only man obsessed with the Apollo Belvedere. The Dutch anatomist Pieter Camper believed that he could find the formula for perfect beauty through facial angles and used the statue as a standard to be attained. He began to measure human and animal facial features, particularly the lines running from the nose to the ear and the forehead to the jawbone. Those ratios were later used by others to create the racist “cephalic index,” which categorized humans based on the width and length of their facial features. The Nazis drew on the index to support notions of Aryan superiority in Germany during the Third Reich.

Page from Pieter Camper, The Works of the late Professor Camper, on The Connexion [sic] between the Science of Anatomy and The Arts of Drawing, Painting, Statuary &c. &c. (London: Charles Dilly, 1794) (image via the Metropolitan Museum of Art)

Camper’s successors perpetuated and reshaped many of his ideas to be even more biased towards newly constructed races. As classicist Christopher B. Krebs wrote in A Most Dangerous Book, his work on the Third Reich’s manipulation of the classical author Tacitus, “Throughout the nineteenth century, scientists would scour far and wide mismeasuring human anatomy. The more data that was compiled, the less significant the result became. Where science failed, prejudice stepped in and observation yielded to opinion.” This prejudice was seen particularly in the diagramming of beauty within anatomical textbooks of the 19th and early 20th centuries. The son of a famous botanist, Mathias Marie Duval developed numerous anatomical models that were broadly used in medical schools and perpetuated ideas of whiteness that never existed in the ancient world. They were derived from examples of classical sculpture, particularly (you guessed it) the Apollo Belvedere.

Duval’s diagram of the facial angle of an antique head, based on Camper’s work with the Apollo Belvedere; fig. 63 in Matthias Duval’s Artistic Anatomy: Completely Revised, with Additional Original Illustrations. Edited and Amplified by A. Melville Paterson, M.D. (1919) (screenshot via Internet Archive)

Too often today, we fail to acknowledge and confront the incredible amount of racism that has shaped the ideas of scholars we cite in the field of ancient history. For example, I recently, came across Tenney Frank’s disturbing article “Race Mixture in the Roman Empire” while looking through an edited volume. First published in The American Historical Review in July 1916, the article sees Frank attempting to count extant inscriptions (mostly epitaphs) in order to gauge whether “race mixing” contributed to the decline of the Roman empire. It was then reprinted without comment in Greek historian Donald Kagan’s 1962 collection of articles on the fall of Rome.

I am not suggesting that Kagan is a racist (far from it), but, at the least, he should have contextualized Frank’s essay in his introduction to the volume and highlighted it as an example of the virulent racism built into the foundation of the Classics field. As Denise Eileen McCoskey points out in her excellent book Race: Antiquity and Its Legacy, Frank’s argument is not only untrue, it is dangerous. It provides further ammunition for white supremacists today, including groups like Identity Europa, who use classical statuary as a symbol of white male superiority. It also continues to buttress the false construction of Western civilization as white by politicians like Steve King.

Seattle has never looked better. #FashTheCity http://pic.twitter.com/UA3DjDKKnq

— IDENTITY EVROPA (@IdentityEvropa) November 4, 2016

How can we address the problem of the lily white antiquity that persists in the public imagination? What can classicists learn from the debate over whiteness and ancient sculpture?

First, we must consider why we are such a homogenous field. According to the Society for Classical Studies, the leading association for Classics in the United States, in 2014, just 9% of all undergraduate Classics majors were minorities. This number decreases the higher into academia you go. Just 2% of tenured full-time Classics faculty were minorities, according to the study.

Do we make it easy for people of color who want to study the ancient world? Do they see themselves in the ancient landscape that we present to them? The dearth of people of color in modern media depicting the ancient world is a pivotal issue here. Movies and video games, in particular, perpetuate the notion that the classical world was white. This is an issue when 70% of my students tell me that games such as Ryse: Son of Rome (which uses white statues to decorate the city of Rome and white Roman soldiers as lead characters), as well as films like Gladiator (which has a man from New Zealand playing the Spaniard Maximus) and the 300 (which has xenophobic depictions of Persians) led them to take my courses.

If we want to see more diversity in Classics, we have to work harder as public historians to change the narrative — by talking to filmmakers, writing mainstream articles, annotating our academic writing and making it open access, and doing more outreach that emphasizes the vast palette of skin tones in the ancient Mediterranean. I’m not suggesting that we go, with a bucket in hand, and attempt to repaint every white marble statue across the country. However, I believe that tactics such as better museum signage, the presentation of 3D reconstructions alongside originals, and the use of computerized light projections can help produce a contextual framework for understanding classical sculpture as it truly was. It may have taken just one classical statue to influence the false construction of race, but it will take many of us to tear it down. We have the power to return color to the ancient world, but it has to start with us.

Painted terra cotta cinerary urn (150–100 BCE), originally from Chiusi, now at the British Museum (photo by the author for Hyperallergic)

Detail of painted terra cotta cinerary urn (150–100 BCE), originally from Chiusi, now at the British Museum (photo by the author for Hyperallergic)

The post Why We Need to Start Seeing the Classical World in Color appeared first on Hyperallergic.

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[dermontag]

20 Jahre "Tatort Münster" 20 Fakten über Boerne, Thiel & Co. Von Ingo Scheel 06.03.2022, 22:26 Uhr Mit "Der dunkle Fleck" fing es anno 2002 an, mittlerweile haben Axel Prahl und Jan Josef Liefers alias Kommissar Thiel und Professor Boerne 41-mal im "Tatort" aus Münster ermittelt. Zum runden Jubiläum zwanzig runde Fakten über das Duo infernale. 1. Den Boerne gibt es wirklich: Rechtsmediziner Professor Bernd Brinkmann war die Inspiration für diese TV-Figur, der 1939 geborene Hamburg war von 1981 bis 2007 Direktor der Rechtsmedizin an der Uni in Münster. 2. In der Folge "Der Frauenflüsterer" (2005) standen Jan Josef Liefers und Anna Loos nicht nur gemeinsam vor der Kamera, ssie haben während der Dreharbeiten auch geheiratet. 3. Als WDR 4 im September 2012 im Rahmen der Radiosendung "Hallo NRW" Komparsenrollen in Aussicht stellte, meldeten sich über 120.000 Hörerinnen und Hörer. 4. Die Bundesvereinigung Lebenshilfe hat den Münsteraner "Tatort" 2013 mit einem BOBBY für sein vorbildliches Engagement im Umgang mit behinderten Menschen ausgezeichnet. 5. 2017 führte Guido Cantz Prahl und Liefers im Rahmen der Sendung "Verstehen Sie Spaß?" aufs Glatteis - der Moderator lag bei den Dreharbeiten als lebende Leiche auf dem Seziertisch. 6. Im Fall "Der doppelte Lott" (2005) hatten die Kölner Kollegen Max Ballauf (Klaus J. Behrendt) und Freddy Schenk (Dietmar Bär) einen Gastauftritt. 7. In der Folge "Rhythm and Love" (2021) sollte der populäre Rechtsmediziner Professor Michael Tsokos einen Gastauftritt haben - wurde dann aber herausgeschnitten. Mit seiner RTL+-Serie "Obduktion" hätte Tsokos nicht mehr ins Öffentlich-Rechtliche gepasst. Der fand das gar nicht witzig und sprach von "Zensur". Danke für alles, Christine Urspruch. (Foto: WDR/Martin Valentin Menke) 8. Die Folge "Schlangengrube" (2018) war tierisch gut besetzt: In einer Nebenrolle war das Brillenpinguin-Weibchen Sandy aus dem Allwetterzoo Münster zu sehen. 9. Für die Rolle des Professor Boerne war zunächst Ulrich Noethen angedacht. 10. Die Idee zum Münsteraner "Tatort" stammt von Jan Hinter und Stefan Cantz. Von Cantz stammte einst das Drehbuch zum Film "Manta, Manta". Hinter war bislang an über 20 "Tatort"-Produktionen als Autor beteiligt. 11. Als "bestes Krimi-Team"gewannen Prahl und Liefers 2011 eine Goldene Kamera. 12. Christine Urspruch gelang der Durchbruch 2001, in der Rolle des Sams'. 13. Claus Dieter Clausnitzer, der Thiels Vater spielt, war 1976/77 in einigen Loriot-Produktionen dabei, u.a. als Regisseur im legendären Lotto-Sketch mit Heinz Meier als Erwin Lotte … äh … Lindemann. 14. Legendär sind auch die Gaststars, die bislang in Münster dabei waren, unter anderem gaben sich Frank Zander, Roland Kaiser und Jörg Pilawa ein Stelldichein. 15. Das Münsteraner Team ist abseits vom "Tatort" musikalisch unterwegs, Axel Prahl und Jan Josef Liefers mit eigenen Bands, Christine Urspruch tritt zuweilen mit einem Saxofonisten auf. 16. Im Video zu "Wenn es passiert" von Wir sind Helden spielte Axel Prahl einen Handelsvertreter. 17. In seinem Kinodebüt "Die Besteigung des Chimborazo" spielte Liefers 1989 den Forscher Alexander von Humboldt. 18. In der Rolle der Staatsanwältin ist Mechthild Großmann zu sehen, ihr Geburtsort: Münster! 19. Noch einmal Mechthild Großmann: Ihre rauchige Stimme kommt nicht etwa von einer Schachtel Overstolz am Tag, die soll schon als Kind so geklungen haben. 20. Anno 2011 durften sich Liefers in Prahl ins Goldene Buch der Stadt Münster eintragen.

[gilbertineonfr2]

3 ways to outsmart attackers by using their own playbook

This blog post was authored by Andrej Budja, Frank Brinkmann, Heath Aubin, Jon Sabberton and Jörg Finkeisen from the Cybersecurity Protection Team, part of the Enterprise Cybersecurity Group.

The security landscape has changed.

Attackers often know more about the target network and all the ways they can compromise an organization than the targeted organization itself. As John Lambert writes in his blog, “Defenders think in lists. Attackers think in graphs. As long as this is true, attackers win”.

Attackers do think in graphs. Unfortunately, most organizations still think in lists and apply defenses based on asset value, rather than the security relationships between the assets.

So, what can you do to level the playing field? Use the attackers’ playbook against them!

Get ahead by creating your own graph

Start by reading John Lambert’s blog post, then do what attackers do – graph your network. At Microsoft, we are using graphs to identify potential attack paths on our assets by visualizing key assets and security relationships.

While we have not published our internal tools (you can find some similar open source tools on the Internet), we have created a special cybersecurity engagement delivered by our global Microsoft Services team, called Active Directory Hardening (ADH).

The ADH offer uses our tools to help discover and analyze privileged account exposure and provide transition assistance for deviations from the privileged administration recommendations used at Microsoft. The ADH provides assistance by reducing the number of highly privileged Active Directory (AD) administrative accounts and transitioning them into a recommended AD administration model.

Break connections in your graph

Once you have the graph for your AD accounts, you will notice clusters as well as the different paths attackers can use to move laterally on your network. You will want to implement security controls to close those paths. One of the most effective ways to reduce the number of paths is by reducing the number of administrators (this includes users that are local administrators on their workstations) and by using dedicated, hardened workstations for all privileged users – we call these Privileged Access Workstations (PAWs).

These PAWs are deployed from a clean source and make use of modern security controls available in Windows 10. Because PAWs are not used as general purpose workstations (no email and Internet browsing allowed), they provide high security assurances for sensitive accounts and block popular attack techniques. PAWs are recommended for administration of identity systems, cloud services, and private cloud fabric as well as sensitive business functions.

You can develop and deploy PAWs on your own by following our online guide, or you can engage Microsoft Services to help accelerate your adoption of PAWs using our standard PAW offering.

Bolster your defenses

PAWs provide excellent protection for your privileged users. However, they are less effective when your highest privileged accounts (Domain Administrators and Enterprise Administrators) have already been compromised. In this situation, you need to provide Domain Administrators a new, clean, and trusted environment from which they can regain control of the compromised network.

Enhanced Security Administrative Environment (ESAE) builds upon guidance and security controls from PAWs and adds additional controls by hosting highly-privileged accounts and workstations in a dedicated administrative forest. This new, minimal AD forest provides stronger security controls that are not possible in the production environment with PAWs. These controls are used to protect your most privileged production domain accounts. For more information about the ESAE administrative forest and security concepts, please read ESAE Administrative Forest Design Approach.

Conclusion

“If you know your enemy and know yourself you need not to fear the results of hundreds of battles”, Sun Tzu, Chinese general, military strategist, 6th Century BCE.

Protecting your valuable assets against sophisticated adversaries is challenging, but it can be made easier by learning from attackers and using their playbook. Our teams are working daily on the latest cybersecurity challenges and sharing our knowledge and experience. Discover more information in the following resources:

Privileged Access Workstation

ESAE Administrative Forest Design Approach 

How to Harden Your Enterprise in Today’s Threat Landscape video

The Credential Tier Model 

The Clean-Source Principle 

The Ten Immutable Laws of Security Administration 

Sticking with Well-Known and Proven Solutions 

Responding to IT Security Incidents

About the Cybersecurity Protection Team

Microsoft invests more than a billion dollars each year to build security into our products and services. One of the investments is the global Enterprise Cybersecurity Group (ECG) which consists of cybersecurity experts helping organizations to confidently move to the cloud and modernize their enterprises.

The Cybersecurity Protection Team (CPT) is part of ECG, and is a global team of Cybersecurity Architects that develops, pilots, and maintains cybersecurity offerings that protect your critical assets. The team works closely with other Microsoft teams, product groups, and customers to develop guidance and services that help protect your assets.

from Microsoft Secure Blog Staff