#Von Buelow

[dozydawn]

The Young Cosima by Henry Handel Richardson (the pen name of Ethel Florence Lindesay Richardson) 1976 edition.

Art by Graham Bryce.

[hoerbahnblog]

Literaturkritik.at: "Papierarbeiter" - Autoren und ihre Archive - von Ulrich von Bülow . Rezension von Anna Obererlacher

Literaturkritik.at: “Papierarbeiter” – Autoren und ihre Archive – von Ulrich von Bülow . Rezension von Anna Obererlacher Hördauer ca. 19 Minuten) https://literaturradiohoerbahn.com/wp-content/uploads/2023/07/Literaturkritik-AT-Papierarbeiter-v-Buelow-upload.mp3 Zeitkapsel. Ein Moment, der in die Zeit geschickt wird, von der Gegenwart in die Zukunft. Die Vorstellung einer Blechbüchse, die den…

[howardhawkshollywoodannex]

Erik von Buelow is credited as puppet master for Trilogy of Terror (1975). Erik was born in Prague and had two other film credits, as miniature designer on Food of the Gods and Empire of the Ants.

[thisdayinwwi]

Belgian Assassin

Sep 7 1914 #OTD  New-York Tribune

Belgian sniper shoots German General Von Buelow behind enemy lines. He then dons the general's uniform so he is able to pass through German checkpoints to get back to Belgian lines. Finds 135,000 Francs in Buelow's pockets.

Dozens of Generals were killed during #WWI. It could have been: Generalmajor Karl Hans Ulrich von Bülow and Generalmajor Friedrich von Wussow both died on Aug 6 1914 and Generalmajor Walter Scherbening was Killed in action at Etrépy (France) on Sep 6 1914

How General Von Buelow was Killed

Ostend, Sept. 6. From official sources arrived at to-day the exact circumstances surrounding the death of General Yon Buelow at the battle of Haelen were learned.

At this battle a lad of eighteen, standing alone in a mass of dead bodies, saw, about nine huudred yards distant, an officer studying a map. The youngster crawled quietly among the corpses of his comrades until he was within four hundred yards of the officer. Then he took careful aim and fired and the officer fell dead. Rushing up to the body, the Belgian discovered, to his surprise, it was that of General Von Buelow. Taking off the general's boots and donning his uniform, he managed to pass through the German lines. He discarded his German helmet and put on his own cap, in fear that he might be shot. A subsequent examination of Buelow's garments led to the finding of German notes to the value of 135,000 francs. These were discovered in a vest pocket, and this money King Albert turned over to the Red Cross organization. In the jacket was a secret pocket containing memoranda full of interesting details about the future intentions of the Germans. On hearing of the lad's brave deed, King Albert, after presenting him with the dead general's horse and pocket books, gave him on the spot the order of the Knight of Leopold. It is further reported that in the sacking of Louvain three priceless works of art were ruthlessly destroyed. They were Rogier van der Weyden's "Deccent from the Cross," Diedrich Bout's "The Last Supper," and "The Martyrdom of St. Erasmus." A wonderful screen dating from 1488 was in the cathedral. The second named work was in three sections and the central piece was destroyed. The two wings were seized, and one of them now is in Munich and the other in Berlin.

Rogier van der Weyden's "Deccent from the Cross

Diedrich Bout's "The Last Supper,"

Diedrich Bout's "The Martyrdom of St. Erasmus."

[1900scartoons]

He 'Beats the Dutch'

February 28, 1906

Secretary Root, having claimed an extension of reciprocal tariff rates to June 30th 1907, walks away from Chancellor Von Buelow satisfied; the sign behind Von Buelow reads "U.S. Take Notice - Tariff War - Assessment of the maximum schedules of the new Imperial tariff against American goods on and after March 1st 1906 (crossed out) June 1st 1907 - Germany."

The U.S. had reached a reciprocity agreement with Germany, forestalling a Tariff War.

See Also: Elihu Root

From Hennepin County Library

Original available at: https://digitalcollections.hclib.org/digital/collection/Bart/id/6824/rec/61

[santafeanmagazine]

Event

Don’t miss the 28th annual Eldorado Studio Tour!

May 18–19, 10 am–5 pm, free, various locations.

eldoradoarts.org.

Above: Patricia von Buelow shows off her studio and work during the Eldorado Studio Tour. Photograph by Daniel Quat.

At the 28th annual Eldorado Studio Tour, catch an intimate look into the creative spaces of artists working in a variety of media, including woodworking, glass, paper and printmaking, photography, digital art, painting, drawing, fiber, and wearable art. This spring studio tour event boasts the largest number of participating artists and artisans in New Mexico. You can peruse a list of the dozens of participants on the event’s website and print out a brochure and a map to each studio before hitting the road.—Sarah Eddy.

Above: A turquoise and bead necklace by Eldorado artist Joan Babcock.  

[wildwechselmagazin]

22. Kasseler Weltmusikfestival - Im Fokus steht Gemeinschaft

Yael ist mit dabei beim 22. Kasseler Weltmusikfestival | Foto: (c) Asaf_Eini “Das Beste in der Musik steht nicht in den Noten“. Mit diesem Zitat des Komponisten Gustav Mahler wird das ausgedrückt, wofür das „22. Kasseler Musikweltfestival“ steht. Musik bedeutet nicht nur Noten und Text, sondern Gemeinschaft. Es geht um die Künstler hinter der Musik. Künstler, die berühren. Künstler, die verbinden. Auch in diesem Jahr haben sich die künstlerischen Leiter Catharina Nieland, Marcel Klier und Co. wieder allerlei Künstler heraus gesucht um die Menschen in Kassel zusammenzubringen. Es geht bei diesem Festival nicht nur um Musik, sondern um die Verbindung zwischen allen Menschen, unabhängig von Alter, Geschlecht und Kultur, durch die Musik. Die interkulturelle Kommunikation wird gefördert und es wird zum Nachdenken angeregt.

Monsieur Doumani (c) Michalis Ashickas

NES | Foto: Nerea Coll

Santi Tugce

Jarlee

Diego Jascalevich Quartett

Gasandji

Rasga

DOTA | Foto: Annika_Weinthal

Ashia Bison Rouge | Foto: (c) Nadja Buelow

LaYegros | Foto: (c) Guilhem CANAL Nachdenken darüber, dass diese Musik nur dank Migration und gesellschaftlichem Wandel überhaupt möglich ist, und wie wichtig Aufklärung in diesem Bereich ist. Stellvertretend dafür stehen auch zwei der diesjährigen Künstlerinnen: Ashia Bison Rouge und Yael Deckelbaum. Besonders die israelische Sängerin Yael Deckelbaum bewegt mit ihrer Musik. Als musikalische Stellvertreterin der „Women Wage Peace“, eine Bewegung aus Frauen gegen die Gewalt zwischen Israel und Palästina, zeigt sie, dass Musik oft mehr sagt als tausend Worte. Wer also eine Verbindung aus traditionellen und modernen musikalischen Elementen bevorzugt und außerdem von Musik berührt werden möchte, sollte hier richtig sein. Das Ganze findet in den Tagen zwischen dem 26. April und dem 10. Mai 2019 an verschiedenen Spielorten in Kassel statt. Die meisten Auftritte werden im Kulturzentrum Schlachthof Kassel gespielt, der endlich wieder eröffnet wurde. Neben den genannten Künstlerinnen treten auch Talente wie Monsieur Doumani, die Musikgruppe Rasga Rasga und das Trio NES auf. » 26.4.2019-10.5.2019, 22. Kasseler Musikweltfestival, Kassel Das Programm in der Übersicht 26. April, 20:00 Uhr, Foyer der Kasseler Sparkasse | Ashia Bison Rouge (Cellistin) | Yael Deckelbaum (israelisch-kanadische Sängerin) 27. April, 20:00 Uhr, Foyer der Kasseler Sparkasse | Nes (Trio mit Musikstilen von Jazz bis arabischer Musik) | La Yegros (argentinische Band) 30. April, 20:00 Uhr, Schlachthof | Monsieur Doumani (CYP) Zyprischer Folk 02. Mai, 20:00 Uhr, Schlachthof | Dota (GER) Liedermacherin 03. Mai, 20:00 Uhr, Schlachthof | RasgaRasga (GER) Worldbeat/Pop 04. Mai, 20:00 Uhr, Schlachthof | Gasandji (COD/FRA) Afro-Soul-Pop 05. Mai, 12:00 Uhr, Schlachthof | Feria de Abril - Großes spanisches Frühlingsfest 08. Mai, 20:00 Uhr, Schlachthof | Diego Jascalevich Quartett (ARG/ECU/BRA/GER), Argentinischer Charangovirtuose 09. Mai, 20:00 Uhr, Adventskirche Kassel | Die Akkordeonale - ein Festival im Festival 10. Mai, 22:00 Uhr, Schlachthof | Clubnacht mit Santi und Tuğçe, Orange und Jarlée » Website zum Weltmusikfestival-Kassel » Weitere Veranstaltungen im Schlachthof Kassel Read the full article

[militariacollectibles]

Germany WWI General Feldmarschall von Buelow Artist Signed Portrait Publis 77371 BUY IT NOW – Germany WWI General Feldmarschall von Buelow Artist Signed Portrait Publis 77371

[docrotten]

Trilogy of Terror (1975) – Episode 108 – Decades of Horror 1970s

"-- Zuni doll gibberish --" You might not know what he’s saying, but you’re definitely not hanging around to find out! Join your faithful Grue Crew - Doc Rotten, Chad Hunt, Bill Mulligan, and Jeff Mohr - as they relive the impact they experienced when they first watched Trilogy of Terror (1975) from Dan Curtis.

Decades of Horror 1970s Episode 108 – Trilogy of Terror (1975)

Three bizarre horror stories all of which star Karen Black in four different roles playing tormented women.

IMDB

  Director: Dan Curtis

Writers: William F. Nolan, Richard Matheson

Music: Bob Cobert

Film Editing: Les Green

Special Effects:

Richard Albain , special effects (as Richard Albaine)

Erik von Buelow, puppet master (as Erik M. von Buelow)

Segments

"Julie" - Julie Eldridge is a sexually-repressed college teacher who is blackmailed by one of her students for a past indiscretion in which she played an unwilling part.

Teleplay by William F. Nolan, based on a Richard Matheson story, “The Likeness of Julie.” as by Logan Swanson in the anthology Alone by Night (1962) ed. Don Congdon, Michael Congdon, Ballantine Books; then in Shock II (1964), Dell.

Karen Black as Julie

Robert Burton as Chad Rogers

Jim Storm as Eddie Nells

Gregory Harrison as the New Student

Kathryn Reynolds as Anne Richards

Orin Cannon as Motel Clerk

"Millicent and Therese" - Millicent Larimore is a plain-looking, almost reclusive woman who lives with her amoral twin sister Therese who delights in tormenting her.

Teleplay by William F. Nolan from the Richard Matheson story “Therese” (aka “Needle in the Heart”) (1969), Ellery Queen's Mystery Magazine, October 1969, Shock Waves - Oct 1970

Karen Black as Millicent / Therese

John Karlen as Thomas Amman

George Gaynes as Dr. Chester Ramsey

Tracy Curtis as Tracy

"Amelia"  - Amelia, in a solo horror story monologue, is a mother-dominated woman who buys a Zuni fetish doll for her latest boyfriend.

Written by Richard Matheson based on his own story, "Prey" (1969), Playboy, April 1969, Shock Waves - Oct 1970

Karen Black as Amelia

Frank Welker and Walker Edmiston (uncredited) as the voice of the Zuni doll

Each of the members of the Grue-Crew for this episode viewed Trilogy of Terror during its television premiere in 1975 and it made an indelible mark on each of their psyches. Of course, that mark, the one that created nightmares and lost sleep, is left by the final segment in which the Zuni doll runs amok. The Grue-Crew also has a heightened appreciation for Karen Black’s acting abilities after rewatching the film and her four performances therein. They also all agree that the terror in the final segment is just as strong and effective as it was in 1975. If you haven’t seen Dan Curtis’ Trilogy of Terror recently, you owe yourself a rewatch. It’s that good. At least, the Zuni-warrior doll piece is that good!

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror 3-week rotation with The Classic Era and the 1980s. In three weeks, the next episode in their very flexible schedule will be Frankenstein: The True Story (1973). 

We want to hear from you – the coolest, grooviest fans:  leave us a message or leave a comment on the site or email the Decades of Horror 1970s podcast hosts at docrotten@decadesofhorror.com. 

Check out this episode!

[ivanstarenkome-blog]

Post #13

1. Wagner was 13 when Beethoven died. He copied the scores of his heroes’ works, including Beethoven’s, as a means of self-educating. This influence played out in Wagner’s own compositions later, especially with Beethoven’s use of perfect fifth intervals at the opening of his Ninth Symphony which greatly moved Wagner. Wagner considered Beethoven to be a supernatural artist, akin to Shakespeare or Goethe.  

1. Wagner had less training than any of the other great composers before him and his first releases in theater were disastrous. His first two operas were never performed in his lifetime and his next two, after he harrowingly immigrated to Paris, were only lukewarmly received there. When he finally found success in Dresden, Wagner wasn’t satisfied with the creative control and capabilities he was allowed and he was forced to flee after being suspected of being a revolutionary.

2. A Leitmotif is practice in opera that Wagner developed in which a short musical theme is used to represent a character, thing or idea, one example being the leitmotif that represents . The characteristics of the leitmotif evokes characteristics of what it represents. Berger writes about Ludwig II, “loneliness remained the great leitmotiv of his life.” 

3. Wagner’s second wife was Liszt’s daughter Cosima who was married to Hans von Buelow, a student of her father’s. She met Wagner on her honeymoon with Buelow. Cosima and Wagner’s relationship started, however, when she and Buelow moved to Munich so Buelow could collaborate with Wagner, who had been recently employed by Ludwig II. 

4. Ludwig II ordered that Rheingold be performed in Munich before the full saga of the Ring of the Niebelungen was finished-- Wagner was still banished to Switzerland and working on it. He had intended that it premiere in its entirety under his scrutiny. I think the argument of legal ownership vs. creative ownership is an interesting one and I generally believe that the artist and the fans own the work in a way that no contract can touch or sum of money can buy but, in this case, both people are so immature and frivolous it doesn’t really seem to merit the discussion.

5. Wagner wanted his festival to be in Bayreuth because it was in the center of Germany and in Bavaria but remote from Munich. He applied to the Kaiser for funding but was told to make a proposal to Reichstag, which he refused to do. A crowdfunding campaign was set up but also failed. He also got offers from donors to have the festival in Berlin, but he refused that as well. Ludwig eventually footed the bill. 

1. Wagnerian style is the quality of his music that obsessed musicians and made many call it “the music of the future.” However, many felt it was too heavy, long and overblown and most composers in the wake of Wagner reacted by creating works that were distinctly unlike his. Some modern composers like Schoenberg pushed his use of chromaticism further with their atonality and 12-tone music but it was still in a spirit different from Wagner’s.

2. I think everyone and no one is a normal person and everyone also fancies them self a “music expert.” I would be pretty skeptical of anyone who, in all seriousness, calls them self a “music expert.” Who does that even apply to? Musicians (if so, what kind? “High art” ones?) or critics or both? I just love music and all different kinds of it and I want to understand it and explore it and be able to creatively express myself with it and I think “high” and “low” art is stupid. Young Thug is an icon and Beethoven is an icon and one can appreciate both; there’s nothing really constructive in comparing them by ranking them with some “objective” scale for art. 

3.  Wagner’s granddaughter in-law Winifred befriended Hitler and he was treated like family. Winifred looked to Hitler for support when she took over the festival in 1930 and he began to take interest in it. Wagner was one of Hitler’s favorite composers and their was considerable overlap in their ideals, even if Wagner contradicted just about everything he said that was consistent with Nazi ideology. This didn’t matter since Nazi ideology is also contradictory and isn’t really an ideology anyway.

4. Winifred’s sons reopened the festival in 1951 and produced stripped-back, minimalist renditions of Wagner’s operas that were meant to be universal and free of any fascist connotations.

[mechanicalcurator]

Image from 'Deutsch-Südwestafrika. Drei Jahre im Lande Hendrik Witboois. Schilderungen von Land und Leuten ... Mit zahlreichen Abbildungen ... und zwei Karten', 000520363

Author: BUELOW, Franz Josef von.

Page: 100

Year: 1896

Place: Berlin

Publisher:

View this image on Flickr

View all the images from this book

Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.

[melbynews-blog]

Andreas von Bülow über die Arbeit eines BND-Mitarbeiters

Neuer Beitrag veröffentlicht bei https://melby.de/andreas-von-buelow-ueber-die-arbeit-eines-bnd-mitarbeiters/

Andreas von Bülow über die Arbeit eines BND-Mitarbeiters

KenFM-Spotlight: Ausschnitt aus dem Gespräch mit Andreas von Bülow – in voller Länge hier zu sehen:

Teil 1: https://kenfm.de/andreas-von-bulow/ Teil 2: https://kenfm.de/kenfm-im-gespraech-mit-dr-andreas-von-buelow-teil-2/

Das Gespräch wurde ursprünglich im August 2013 veröffentlicht.

1964 veröffentlichte der kanadische Medientheoretiker Marshall McLuhan ein Buch mit dem Titel „Die Magischen Kanäle – Understanding Media“.

McLuhan war damals eine Art Superstar, der Einstein in der noch sehr jungen Wissenschaft der Kommunikationstheorie.

Was McLuhan ’64, aber auch schon davor und immer wieder danach publizierte, war vor allem die Erkenntnis, dass die Welt, wie die Menschen sie bisher kannten, explodieren würde, wie eine Person, die man ohne Raumanzug im Weltall aussetzen würde.

Der Grund dieser Explosion sei das Eintreten des Computers in die Kommunikation. Wenn es erst einmal Computernetze gäbe, die die Welt umspannen würden, wenn die Digitalisierung der Gesellschaft alle Bereiche erfasst hätte, dann wäre die Pyramide der Macht, für Jahrtausende nur stabil durch die Verknappung von Wissen, diese Pyramide wäre dann ein Gebäude, das über sich zusammenbricht.

Dieser Zusammenbruch und die damit verbundene Neuorientierung würde sämtliche Lebensbereiche des Menschen erfassen. Überall. Zu jeder Zeit. Ohne Ausnahme.

McLuhan war ein Visionär. Er hatte das Internetzeitalter und den damit einhergehenden Zerfall der Machtpyramide vorausgesagt. McLuhan kannte George Orwell, aber er teilte nicht dessen Pessimismus bezüglich der Frage, wer am Ende den Kampf um die Macht gewinnen würde. Das alte Machtzentrum, oder eine Staatsform, die eben ohne echtes Zentrum auskommt, da sie das Zentralnervensystem kopiert. Laufend ein Back-Up erstellt.

Das, was wir im Moment mit der NSA-Affäre erleben, ist der vorhergesagte Kampf McLuhans Optimismus gegen den Orwell’schen Pessimismus.

Alte Machtstrukturen ziehen alle Register, um sich gegen eine Open-Source-Demokratie zur Wehr zu setzen. Jüngstes Beispiel: Die erzwungene Zerstörung von Laptops und Festplatten bei der britischen Zeitung Guardian, durch den britischen Geheimdienst GCHQ.

http://www.spiegel.de/netzwelt/netzpolitik/zerstoertes-guardian-macbook-britische-pressefreiheit-a-917798.html

Im zivilen Leben nennt man so etwas Erpressung, Nötigung, Landfriedensbruch und das Vernichten von Beweismaterial, das illegale Abhörmaßnahmen beweisen könnte.

Vor dieser Zerstörung durch den Geheimdienst Ihrer Majestät, hatten die US-Dienste die Maschine des Präsidenten von Bolivien über europäischem Luftraum gezwungen, in Wien notzulanden, da sie Edward Snowden an Bord wähnten.

Immunität von Staatsoberhäuptern und Botschaftern? Fehlanzeige.

Geheimdienste sind eine Art Hand. Diese kann sanft streicheln, schubsen oder zur Faust geballt werden.

Geheimdienste handeln nie autark. Es handelt sich um streng durchstrukturierte Behörden mit einer DNA, die dem Militär gleicht. Die, die den Diensten dann sagen, was sie im Falle X zu tun haben, lernen wir nie wirklich kennen.

Die, die für uns dann ab und an zur Verantwortung gezogen werden, sind nur Dummies. Köpfe, die rollen müssen, um die Öffentlichkeit zu täuschen. Bauernopfer.

Das ist das Kerngeschäft aller Geheimdienste. Tarnen und Täuschen. Und weil es zusammen besser geht als alleine, arbeiten Geheimdienste, je nachdem, welchem Wirtschaftssystem sie angehören, zusammen.

NSA GCHQ BND MOSSAD CIA MAD ETC.

Kurz bevor die Methoden von NSA & Co. aufflogen, traf KenFM Andreas von Bülow in Bonn.

Von Bülow saß von 1969 bis 1994 für die SPD im Deutschen Bundestag. Er war von 1976 bis 1980 parlamentarischer Staatssekretär im Verteidigungsministerium.

Zeitweise war er zudem Mitglied der parlamentarischen Kontrollkommission der Nachrichtendienste.

Also jenem Gremium, vor dem dieser Tage der aktuelle Kanzleramtsminister Ronald Pofalla immer wieder die Wahrheit über den Status Quo der NSA-Affäre derart verbiegt, dass man von dreist sprechen muss.

Was Pofalla und von Bülow auf den ersten Blick voneinander unterscheidet, ist, dass von Bülow es sich leisten kann, die Wahrheit zu sagen. Er ist pensioniert.

+++

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[militariacollectibles]

Germany WWI General Feldmarschall von Buelow Artist Signed Portrait Publis 77371 BUY IT NOW – Germany WWI General Feldmarschall von Buelow Artist Signed Portrait Publis 77371