#konrad wolff

[renemartens]

Hitler, Heidemann, Billy Idol, Madness

Ich finde die Dokuserie „Der Hitler-Fake: Geschichte einer Jahrhundertfälschung“ unbefriedigend. In dieser Rezension, die in epd Medien 18/23 erschienen ist, hebe ich vor allem auf die filmischen Schwächen ab. Weitere inhaltliche Kritik findet man bei Thomas Schuler (Übermedien).

Die Doku-Serie „Der Hitler-Fake“ ist der dritte ausführliche Beitrag der ARD anlässlich des 40. Jahrestages der Veröffentlichung von Teilen der „Hitler-Tagebücher“ in der Zeitschrift „Stern“. Im Februar hatten bereits die vom NDR fürs Erste produzierte Sendung „Reschke Fernsehen“ und die ebenfalls vom NDR verantwortete Online-Reihe „Strg_F“ das Thema wieder in den Blickpunkt gerückt. 

Der NDR ist auch an „Der Hitler-Fake“ beteiligt, und insofern fällt es auf, dass sich die Serie nur auf seltsam verdruckste Weise auf die „Reschke Fernsehen“-Folge zu den „Hitler-Tagebüchern“ bezieht. Anja Reschkes Team hatte im Rahmen der Ausstrahlung damals im Netz sämtliche 60 Bände der gefälschten Tagebücher zugänglich gemacht, die der Verlag Gruner + Jahr bis dato weggesperrt hatte. In „Der Hitler-Fake“ heißt es nun nur, das Material sei ��gegen den Willen“ des Verlags Gruner + Jahr „online veröffentlicht“ worden. Wem der Scoop gelang, wird nicht erwähnt.

Die drei Teile der Doku-Serie sind zwischen 30 bis 33 Minuten lang; am Starttag der Serie lief in der Reihe „ARD History“ auch eine 90-minütige Fassung, die in der Mediathek allerdings nur schwer auffindbar war und inzwischen schon nicht mehr online steht. Der Protagonist ist der frühere „Stern“-Reporter Gerd Heidemann, der die Tagebücher beschafft hat. 

In seinem riesig wirkenden Kellerarchiv in Hamburg gibt sich Heidemann redselig. Autor Christian Bock hält ihn für eine nicht sonderlich glaubwürdige Person. Der Filmemacher wirft zum Beispiel die Frage auf, ob Heidemann bei alten Nazis antichambrierte, „um sich in braunen Netzwerken beliebt zu machen“ und Türöffner für seine Artikel zu finden, „oder ob er selbst dazu gehörte“. Heidemann beteuert, dass Ersteres zutreffe. Dass der frühere Waffen-SS-General Karl Wolff sein Trauzeuge war, spricht zumindest nicht gegen die zweite Option.

Dennoch delektiert sich Bock an der Schrulligkeit Heidemanns, die auch darin zum Ausdruck kommt, dass er in seinem Mega-Archiv Material zu seiner Ex-Freundin Edda Göring aufbewahrt. Die Tochter des NS-Verbrechers Hermann Göring sei ihm „auf die Nerven gegangen“, klagt der 91-Jährige. Er habe ihr „immer Komplimente machen“ sollen.

Angesichts dessen, dass die Tagebücher an einigen Stellen Hitler als relativ judenfreundlich darstellen („Wir müssen unbedingt einen Platz im Osten finden, wo sich diese Juden selbst ernähren können“) stellt die Serie auch die Frage in den Raum, ob es bei der Fälschung um „den Versuch“ gegangen sei, „Hitler rein zu waschen?“ Der britische Historiker Richard Overy sagt dazu, es sei „schwer herauszufinden“, ob Konrad Kujau Teil eines Nazi-Netzwerks war, das „ein Dokument erschaffen wollten, das Hitler in einem besseren Licht zeigt“. Das wirke zwar „in sich plausibel, aber wir werden sehr viel mehr Beweise brauchen, als wir sie tatsächlich im Moment haben.“ Das ist aber vielleicht gar nicht entscheidend, interessanter ist die Frage, wie die Führungskräfte des „Stern“ und im Verlag Gruner + Jahr seinerzeit auf das durch das Tagebuch vermittelte Hitler-Bild reagierten. 

Ein tragendes Element der Doku-Serie sind Telefonate zwischen Heidemann und dem Tagebuch-Fälscher Konrad Kujau. Der einst renommierte Journalist hat sie alle aufgenommen und Serienautor Bock zur Verfügung gestellt. Diese Aufnahmen können überhaupt nicht richtig ihre Wirkung entfalten. Der Zuschauer wird ständig abgelenkt: Die Spielszenen, in denen nachgestellt wird, wie Heidemann telefonierte, sind im Prinzip noch hinnehmbar, nehmen aber zu viel Raum ein. Völlig verzichtbar sind die Animationen, in denen die Ausreden, die Kujau am anderen Ende der Leitung dafür erfindet, dass die Bücher noch nicht in Hamburg angekommen sind. Heidemann glaubte zu dem Zeitpunkt ja noch, dass es die Tagebücher wirklich gibt und es nur eine Frage der Zeit ist, bis Kujaus Kontaktleute liefern. Als einen der Gründe für die Verzögerung nannte der Fälscher zum Beispiel, dass in Polen die Gewerkschaft Solidarnosc mit ihren Protesten das Land lahm gelegt habe. In der Animation dazu sind dann hopsende Demonstrierende zu sehen.

Nicht nur bei den Animationen verliert sich die Serie in Abschweifungen, sondern auch in einer exzeptionell langweiligen Passage über Menschen, die NS-Artefakte sammeln (auch gefälschte) und danach in den Wäldern des Berchtesgadener Lands graben. Bock hat hier jedenfalls zu viel Zeit. Ein kompakter 45-Minüter, der das Wesentliche zusammenfasst und ein paar neue Einschätzungen einfließen lässt - das wäre bei diesem Stoff die bessere Option gewesen.

Ein Ärgernis ist auch die Musik in „Der Hitler-Fake“. Hits von Madness, OMD, Visage, Billy Idol, Blondie und noch vielen mehr werden hier eingestreut, als ob es sich um ein Jahrzehnt-Rückblicks-Format handelte. Einen Bezug zu den beschriebenen Ereignissen oder den dargestellten und interviewten Personen haben die kurz angespielten Songs allerdings nicht. Die Musik soll bloß nostalgische Affekte erzeugen, und das für eine politisch-historische Dokuserie dann doch ein bisschen billig.

Der Ton, den die Sprecherin Marion von Stengel anschlägt, erinnert ebenfalls eher an ein Jahrzehnt-Rückblicks-Format. Ihre Stimme strahlt eine tendenzielle Gutgelauntheit aus, die überhaupt nicht zu Passagen passt wie „der gute Hitler - von allen Fakes und Fälschungen die übelste“. So gibt es an mehreren Stellen eine Kluft zwischen dem Gesagten und der Art, wie es gesagt wird. 

Nicht zuletzt fragt man sich, warum bei einer Produktion, in der mehrere Monat Arbeit stecken, nicht einmal ein paar Minuten darauf verwendet werden, spätestens bei der Endabnahme die gröbsten sprachlichen Plattheiten heraus zu redigieren. Zu der Zeit, als Gerd Heidemann beim „Stern“ anfing, heißt es in der ersten Folge zum Beispiel: „Der ‚Stern‘ macht heiße Storys und große Geschichten.“

Die zahlreichen Makel dieser Doku-Serie irritieren auch insofern, als hier mit Thomas Michel beim federführenden SWR sowie Rolf Bergmann (RBB) und Marc Brasse (NDR) drei Redakteure beteiligt waren, die oft genug bewiesen haben, dass sie wissen, wie man hochwertiges dokumentarisches Fernsehen produziert. Hier scheinen sie aber von vielen guten Geistern verlassen gewesen zu sein.

[redlittle]

Little Shield and Sword

A Story from the Diaper Dimension

Chapter 1: The Checkpoint

As much as I hate getting stuffed into car seats, I’ve decided that I’d rather be in one than crammed under a hollow back seat.  I don’t know where “Mommy” and “Daddy” got this car, and I don’t know what it’s lined with, so I don’t know if it’ll get past the Antifascist Protection Barrier.  But here I am, in a ridiculous white frilly nightdress like the church would make babies wear just to take off them at the first opportunity, back before the liberation.  Oh yeah, and the diaper between my legs is inconvenient, too, as is the locking pacifier gag.  They’d said I needed to be quiet to get over the border (shudder), and they inflated it.  Quite frustrating really- trying to make any noise quickly made me retch as my soft palate was tickled by the bulb.

At least I’m awake- I didn’t swallow much milk from the bottle but it was enough to put me out.  Oh, and to make me wet while I was sleeping.  Damn, I really am a lightweight.  Probably have the least tolerance of anyone in all Berlin.  Or Leipzig, where we got in the car.  Come to think of it, I don’t know how long I was out.  We might be close to the border, and then…  West Berlin.

Ok, think.  Is there anything I can do?  This trunk is about 6 feet wide so I fit easily- small car to be driven by an Amazon though.  In a world where the average person is over 10 feet tall, I’m used to looking up at everything, including the massive cars the Amazon westerners always seem to drive.  

BUMP

That really hurt, rather a bit.  Hmmm- arms can’t reach the top of the seat-trunk, so I try to brace myself on the upholstered sides.  That seems to work better the next time we hit a bump.  At my level, a minor pothole feels like taking a speed bump at 60 kph.  My heart quickens, reaching a painful rate.  This is it.  This ride will determine if I’d be kept in captivity for the rest of my life, or if I walk free.  My entire future depends on the question- can I be seen?  Can I be heard?  Probably not; the seats seem extra thick.  There isn’t anything I can do; I just have to wait and see if the plan works.  And hope the blasted diaper doesn’t squish too much.

I feel the car stop.  I hear voices, “Passport…  Vehicle…  Safe Journey…”  I tense, this is clearly the moment of truth and this could go very badly, very very badly, and i can’t bear the waiting.  “Mommy” and “Daddy” promised that when I woke up I’d be in the “Golden West”.  If this trunk wasn’t pitchblack, as dark as my curls, I could see something, even seeing outside, that would be a huge relief, right?  I’d see the Amazons of the Border Troops, or at least their boots.  Wouldn’t it be better to know where they were?  Whether I’d see them now, or never again?

I hear a creaking and the top of my trunk is thrown open, light streaming in, and I blink, blinded.  The first thing I see is a round, green-brimmed hat I knew well, as a 4 meter-high amazon Grenzer leans into the car, and pointed down at me.  Captain Konrad Wolff!

“It seems, my western friends, that you’ve forgotten to mention your daughter.  Of course you’d have her papers, wouldn’t you?  Or maybe she’s got them- you know, our schools are first rate, and littles learn to be very responsible here.”  

“We don’t want any trouble, Captain.”  I heard “Daddy” say.  “We can make this go away, with some western currency, no problem at all, really she’s a very special girl and we need to get her home to her new friends.”

Captain Wolff nods, grinning as he looks at me.

“She’s a special girl, all right.  But she’s not yours.”  And he springs into the car and unlocks my pacifier gag with a practiced, fluid motion.  “Alles ok, Melanie?”  And he holds out his hand.  I reach out my little-sized hands, taking his big, callused amazon hand in both, as he pulls me up and out of my prison.  I see the “Mommy” and “Daddy” who had tried to steal me are sweating.  I don’t feel ridiculous anymore.

“Everything’s under control and we’re all fine, Captain.  Except their idea of freedom.  Apparently they think freedom means the right to kidnap littles.”  

“THAT’S OUTRAGEOUS” my self-appointed “Mommy” shrieks.  “This little has maturosis and needs to be adopted and regressed immediately!  I wouldn’t expect this commie hell-hole to understand what a little really needs!  She needs her mother’s milk, and to be kept out of trouble!”

Wolff leans into the front seat of the car.

“Things here are very different than in the west.  In the west, a policeman may have taken the bribe. In Selegnasol, he may even have caught the little for you.  In the west you may treat littles as pets to be traded, stolen, bred and mocked.  Here, on socialist soil, they are our fellow workers.  Little Melanie is one of our best Unofficial Collaborators.  Really, you should be more discerning.  Can’t you see she’s a good Little Pioneer, and won’t be taken without a fight?”  Grinning ear to ear, I speak up.

“The Stasi KNEW you were the ones stealing littles.  Just had to show you one you couldn’t resist so they’d catch you in the act.  Changing cars midway through was very clever, but not clever enough.  I hope getting me dressed up was worth it, because you won’t find many outfits like this in Siberia”- I bat my eyes.  “Captain, can I say it with you this time, please?”  Wolff scowls at my captors and scoops me up- wow!  Getting picked up by an amazon always seems to pop my ears.

“Sie sind…” He begins, meaning “You are…”

“VERHAFTET!- Arrested”  we finish together.  Wolff kisses my cheek as other grenzers swarm over the car, cuffing my kidnappers and dragging them away.  He puts me down gently and we walk (or waddle in my case) towards a guard house.

“‘Everything under control?’  So, you being bound, diapered, gagged and oh, also, DRUGGED inside their backseat was your idea?  In that case, mazel tov!”

“Ok, MOSTLY under control.  We just got really unlucky with the guard in Magdeburg, he didn’t check the car.  Believe me I’m going to talk to the chief about that.  I was out for most of the car ride, but I definitely got bumped about a bit.  Imagine if this was the west!  If we had THEIR speed limits I’d probably have broken a bone in there, they’re such irresponsible drivers.  But I wasn’t worried.”- I smile up at his blue eyes behind those sharp glasses, his dark hair cropped short and his improbably blond mustache, and how he pushes the brim of his hat back.  If I ever wanted to be adopted by anyone, Captain Wolff would be my choice.  Unfortunately, he knows this and teases me about it plenty, but this comes in handy at times.  I fling myself around his tall boot, legs and arms clasped behind his leg.

“I knew the border troops would search the car and save me!”

Konrad shakes his head and looks down at me.  “I don’t like using our littles as bait, least of all you.   You just got lucky they went to a checkpoint that has one of the new gamma scanners.  That trunk looks like it wouldn’t let infrared through.”

I giggle and shake my head.  “Wasn’t lucky.  Was confident.  Who wouldn’t be, with you as their friend?  And we’ve done this for five years, ever since I turned 18.  We know how to beat them, and we do it again and again!”

“You were lucky, and this”- he points to my clothes- “should show you how close you were to going over there.  Note you can’t take either that dress nor your diaper off without an Amazon.  They’re getting a lot more creative, and our boys are getting sloppy.  These people had multiple fake ids AND they changed cars with someone.  Do you realize that if it hadn’t been for the gamma scanner, I wouldn’t have known that car had a hollow backseat?  Let alone a little inside it?”  Tugging at my dress, I find he’s right that I can’t get it off.

“Oh, ja, there is that I suppose…”  I yawn.  “Can I get this damned thing off yet?”.  Captain Wolff grins down at me.

“Oh, I don’t know- I think you might need a reminder of how dangerous this line of work is for littles, besides, the capitalists do have a point: you’re super cute in that.”

“Ah, well, I certainly hope you don’t agree with those kulaks over there on anything else.” I pout.  “But there is a positive to this.”

Wolff looks down at his leg, and at the little wrapped around it.

“And that would be?”

“Well, if I’m not getting to change into clothes more befitting a free socialist woman, there’s no reason I have to let go.  Might just have a little nap here, all snuggled into my big strong soldier daddy.  Sleep while clinging.  Like sloth.  Zzzzzzz.”  I close my eyes.

Wolff sighs, and starts limping towards the guardhouse.

“Your grip is going to weaken at some point, little Melanie, and I have smugglers, saboteurs, and worse to catch.”

“My grip might weaken at any moment that I hear I’m getting changed.  Really it could be quite sudden.”

“I’ve got a lot to do...”- he begins to shake his leg, but i cling on tightly.

“Ok, how’s this?  Get me some clean clothes and I’ll buy the pickles for the next three football games?”

“All right, fine.  I’ll help you change out of that if you bring the pickles.  Then you’ll go debrief and then you will go home.  Are you still coming for dinner?”

I spring up and hug him around the thigh.  

“For Captain Wolff’s famous puffer?  I’d never miss it!”

“I’m Jewish, so they’re called latkes when I make them.”

“Mmmmmm.  I’m German, so they’re called Puffer when i eat them.”

“Latkes.”

“Puffer.  Puffer and pickles?”  I bat my eyes upward from my perch on his boot.

“Weren’t you letting go of my leg as part of this deal?”

[hellogrinbearfilms]

REPORTERS WITHOUT BORDERS / The First Speech (DC) from Giordano Maestrelli on Vimeo.

Production Company - Stink Films, Berlin Director - Giordano Maestrelli Director of Photography - Konrad Losch Managing Director - Justin Stiebel Executive Producer - Moritz Merkel Executive Producer - Florian Hülbig Producer - Melody Micmacher Creative Assistant - Bruno Beserra Editor - Simon Klinkertz Colorist - Joseph Bicknell @ Company 3 Color Producer - Cassidy Conway Music & Sound Design - Satelite Audio Music Direction - Hurso Ambrifi Client Service - Fernanda Costa Post Production & Mixing - Carla Cornea, Andre Giannini, Vithor Moraes, Arthur Dossa Production Coordinator: Camila Guedes, Leticia Oliveira, Bea Vieira Sound Studio  - Studio Funk Berlin Executive Producer - Uta Wittchen & Katharina Knieling Sound Engineer / Audio & Music - Marius Wiechmann Storyboard Artist - Eilis Scally

Reporters Without Borders Germany (RSF): Head of Communications - Sylvie Ahrens-Urbanek Public Relations Officer - Prisca Martaguet

INNOCEAN Berlin: CCO - Gabriel Mattar ECD - Ricardo Wolff Head of Art - Maso Correa Heck Associate Design Director - Will Cega Art Director - Leon Celay Copywriter - Juan Andrés Kebork Motion Designers - Carlos Suárez and Alexander Aleksidze Head of Capacity Management - Paulina Gonzalez Producer / Head of Production - Fabian Barz Post Production Producer - Jan Scholz Strategy Director - Jörn Ballentin Sr. Strategist - Odile Breffa Senior Media Manager - Maja Lah

Service Production Georgia - Metro Productions Executive Producer - Aleksandre Gabilaia Head of Production - Maia Gurabanidze Head of Bidding - Mariam Tevdorashvili 1st AD - Sopio Parjiani 2nd AD - Mariami Gugushvili Production Manager - Tato Pantsulaia Production Coordinator - Nino Megrelishvili Unit Manager - Merab Rostomashvili Location manager - Natia Chomakhidze Location manager assistant - Zaza Chigladze Transportation Manager - Davit Peradze Transportation Manager - David Maghlakelidze PA / Chaperone - Mariam Tsiklauri PA - Irakli Kakabadze

Set Manager - Konstantine Chkhaidze Set helpers - Buba Kupatazde Set helpers - Lasha Kupatadze Set helpers - Saba Sagrishvili Cleaner - Svetlana Bagdasarian

Art Director - Sopo Bazghadze Set Dresser - Shota Bagalishvili Production Designer Assistant - Achiko Shamakhia Art Assistant - Nina Jandieri Art Assistant: MURAL - Giorgi Khavelashvili Art Assistant: MURAL - Erekle Gordeladze

Stylist - Ketevan Kalandadze Stylist Assistant - Nino Chkoidze MUA - Veriko Bedeladze HAIR - Nino Dashniani

Focus Puller - Irakli Jgenti Camera AC - Guram Mosikashvili Camera AC - Khatia Khalvashi Playback Assistant - Koba Rostiashvili DIT - Gosha Tabidze Gaffer - Shalva Leluashvili Key Grip - Tengo Kasradze Grip / Light - Mikheil Gvalia Grip / Light - Giorgi Gogbaidze Grip / Light - Davit Eremadze Grip / Light - Gia Guluashvili Grip / Light - Davit Gogichaishvili Grip / Light - Vako Leluashvili Grip / Light - Giorgi Eremadze Dolly Crew - Giorgi Zakaidze Dolly Crew - Lasha Gugushvili Dolly Crew - Teimuraz Kupradze

Driver - Gia Tetrazde Driver - Avto Ugulava Driver - Gigo Lomtatidze Driver - Zaza Magaldadze Driver - David Odishelidze Driver - Roland Gogokhia Driver - Giorgi Koshadze Driver - Anatoli Kliushnichenko Driver - Ramaz Davitiani Driver - Giorgi Gogashvili

Service Production Brazil - Stink Saõ Paulo / Yatta Films Executive Producer - Rafa Rocha Production Manager - Maria Eduarda Caldeira Brino Production Manager - Daniel Lombardi Production Assistant - Sofia Lombardi Production Assistant - Victoria Valenti Chaperone - Nahaiana Vieira Cardoso 1st AD - Jan Monczka 2nd AD - Juliana Dias Caldas

Set Manager - Marcelo de Menezes Cachapuz Set Manager Assist - Marcelo Pasin Set Manager Assist - Jones silva de Oliveira Set Manager Assist - Adriano Pereira

Location Manager - Bruno De Souza Palaoro Location Manager Assist - Marcelo Araujo Frangipani

Production Designer - Martino Piccinini Art Assistant - Alice Goulart Furtado Art Producer - Soraia De Matia Props Coordinator - Camila Vettorazi Franzen Set Decorator - Julia Perez Paiva Melgarejo Props Master - Andre Luiz Micael Valli Castilho Props master Assist - Rafael Serpa Gerchmann Props master Assist - Victoria Perez Paiva Melgarejo Props master Assist - Lucas Rodrigues Do Amaral Props master Assist - Joabel Fontoura De Azevedo [Biel] Props master Assist - Maria Vitória Reimundo Varante Props master Assist - João Vitor Copetti Teixeira Helper - Maurício Ignácio Silveira Helper - Alisson Barboza Maciel

Costume Designer - Isadora Bertolucci Costume Assist - Samara Raquel Pereira Da Silva Costumer - Adriana Talaveira [Mana] HMU - Luana Ramos Zinn HMU - Gabrielle Ávila de Oliveira HMU - Eduarda Lombardi Pellenz Brum [Dudinha]

1st AC - Marcelo Ostrovski Bevilacqua 2nd AC - Gabriela Bortolon De Oliveira Video Assist - Laurie Braatz DIT - Juliano Rodrigues Moreira

Gaffer - Roberto Ramos Best Boy - Flavio Pinheiro De Souza [Cabeça] Electrician - Frederico Barbosa Ramos Electrician - Jefferson dos Santos Oliveira Helper - Vinícius Rojas Lopes Helper - Filipe Rodrigues Alves

Key Grip - Andre Luis Da Cunha Campanhol Best Boy Grip - Fabio Da Silva Dias Grip - Rodrigo Lopes Espíndola Grip - Ismael Borges Santos Helper - Josué Da Costa Celaro Helper - Nicolas Gabriel Luciano Huf

Casting Producer - Amanda Michelini Schmitz Casting Assistant - Pedro Alberto Santana Sanhudo [Pepa]

[g-dvalle]

REPORTERS WITHOUT BORDERS / The First Speech (DC) from Giordano Maestrelli on Vimeo.

Production Company - Stink Films, Berlin Director - Giordano Maestrelli Director of Photography - Konrad Losch Managing Director - Justin Stiebel Executive Producer - Moritz Merkel Executive Producer - Florian Hülbig Producer - Melody Micmacher Creative Assistant - Bruno Beserra Editor - Simon Klinkertz Colorist - Joseph Bicknell @ Company 3 Color Producer - Cassidy Conway Music & Sound Design - Satelite Audio Music Direction - Hurso Ambrifi Client Service - Fernanda Costa Post Production & Mixing - Carla Cornea, Andre Giannini, Vithor Moraes, Arthur Dossa Production Coordinator: Camila Guedes, Leticia Oliveira, Bea Vieira Sound Studio  - Studio Funk Berlin Executive Producer - Uta Wittchen & Katharina Knieling Sound Engineer / Audio & Music - Marius Wiechmann Storyboard Artist - Eilis Scally

Reporters Without Borders Germany (RSF): Head of Communications - Sylvie Ahrens-Urbanek Public Relations Officer - Prisca Martaguet

INNOCEAN Berlin: CCO - Gabriel Mattar ECD - Ricardo Wolff Head of Art - Maso Correa Heck Associate Design Director - Will Cega Art Director - Leon Celay Copywriter - Juan Andrés Kebork Motion Designers - Carlos Suárez and Alexander Aleksidze Head of Capacity Management - Paulina Gonzalez Producer / Head of Production - Fabian Barz Post Production Producer - Jan Scholz Strategy Director - Jörn Ballentin Sr. Strategist - Odile Breffa Senior Media Manager - Maja Lah

Service Production Georgia - Metro Productions Executive Producer - Aleksandre Gabilaia Head of Production - Maia Gurabanidze Head of Bidding - Mariam Tevdorashvili 1st AD - Sopio Parjiani 2nd AD - Mariami Gugushvili Production Manager - Tato Pantsulaia Production Coordinator - Nino Megrelishvili Unit Manager - Merab Rostomashvili Location manager - Natia Chomakhidze Location manager assistant - Zaza Chigladze Transportation Manager - Davit Peradze Transportation Manager - David Maghlakelidze PA / Chaperone - Mariam Tsiklauri PA - Irakli Kakabadze

Set Manager - Konstantine Chkhaidze Set helpers - Buba Kupatazde Set helpers - Lasha Kupatadze Set helpers - Saba Sagrishvili Cleaner - Svetlana Bagdasarian

Art Director - Sopo Bazghadze Set Dresser - Shota Bagalishvili Production Designer Assistant - Achiko Shamakhia Art Assistant - Nina Jandieri Art Assistant: MURAL - Giorgi Khavelashvili Art Assistant: MURAL - Erekle Gordeladze

Stylist - Ketevan Kalandadze Stylist Assistant - Nino Chkoidze MUA - Veriko Bedeladze HAIR - Nino Dashniani

Focus Puller - Irakli Jgenti Camera AC - Guram Mosikashvili Camera AC - Khatia Khalvashi Playback Assistant - Koba Rostiashvili DIT - Gosha Tabidze Gaffer - Shalva Leluashvili Key Grip - Tengo Kasradze Grip / Light - Mikheil Gvalia Grip / Light - Giorgi Gogbaidze Grip / Light - Davit Eremadze Grip / Light - Gia Guluashvili Grip / Light - Davit Gogichaishvili Grip / Light - Vako Leluashvili Grip / Light - Giorgi Eremadze Dolly Crew - Giorgi Zakaidze Dolly Crew - Lasha Gugushvili Dolly Crew - Teimuraz Kupradze

Driver - Gia Tetrazde Driver - Avto Ugulava Driver - Gigo Lomtatidze Driver - Zaza Magaldadze Driver - David Odishelidze Driver - Roland Gogokhia Driver - Giorgi Koshadze Driver - Anatoli Kliushnichenko Driver - Ramaz Davitiani Driver - Giorgi Gogashvili

Service Production Brazil - Stink Saõ Paulo / Yatta Films Executive Producer - Rafa Rocha Production Manager - Maria Eduarda Caldeira Brino Production Manager - Daniel Lombardi Production Assistant - Sofia Lombardi Production Assistant - Victoria Valenti Chaperone - Nahaiana Vieira Cardoso 1st AD - Jan Monczka 2nd AD - Juliana Dias Caldas

Set Manager - Marcelo de Menezes Cachapuz Set Manager Assist - Marcelo Pasin Set Manager Assist - Jones silva de Oliveira Set Manager Assist - Adriano Pereira

Location Manager - Bruno De Souza Palaoro Location Manager Assist - Marcelo Araujo Frangipani

Production Designer - Martino Piccinini Art Assistant - Alice Goulart Furtado Art Producer - Soraia De Matia Props Coordinator - Camila Vettorazi Franzen Set Decorator - Julia Perez Paiva Melgarejo Props Master - Andre Luiz Micael Valli Castilho Props master Assist - Rafael Serpa Gerchmann Props master Assist - Victoria Perez Paiva Melgarejo Props master Assist - Lucas Rodrigues Do Amaral Props master Assist - Joabel Fontoura De Azevedo [Biel] Props master Assist - Maria Vitória Reimundo Varante Props master Assist - João Vitor Copetti Teixeira Helper - Maurício Ignácio Silveira Helper - Alisson Barboza Maciel

Costume Designer - Isadora Bertolucci Costume Assist - Samara Raquel Pereira Da Silva Costumer - Adriana Talaveira [Mana] HMU - Luana Ramos Zinn HMU - Gabrielle Ávila de Oliveira HMU - Eduarda Lombardi Pellenz Brum [Dudinha]

1st AC - Marcelo Ostrovski Bevilacqua 2nd AC - Gabriela Bortolon De Oliveira Video Assist - Laurie Braatz DIT - Juliano Rodrigues Moreira

Gaffer - Roberto Ramos Best Boy - Flavio Pinheiro De Souza [Cabeça] Electrician - Frederico Barbosa Ramos Electrician - Jefferson dos Santos Oliveira Helper - Vinícius Rojas Lopes Helper - Filipe Rodrigues Alves

Key Grip - Andre Luis Da Cunha Campanhol Best Boy Grip - Fabio Da Silva Dias Grip - Rodrigo Lopes Espíndola Grip - Ismael Borges Santos Helper - Josué Da Costa Celaro Helper - Nicolas Gabriel Luciano Huf

Casting Producer - Amanda Michelini Schmitz Casting Assistant - Pedro Alberto Santana Sanhudo [Pepa]

[fygmo]

REPORTERS WITHOUT BORDERS / The First Speech (DC) from Giordano Maestrelli on Vimeo.

Production Company - Stink Films, Berlin Director - Giordano Maestrelli Director of Photography - Konrad Losch Managing Director - Justin Stiebel Executive Producer - Moritz Merkel Executive Producer - Florian Hülbig Producer - Melody Micmacher Creative Assistant - Bruno Beserra Editor - Simon Klinkertz Colorist - Joseph Bicknell @ Company 3 Color Producer - Cassidy Conway Music & Sound Design - Satelite Audio Music Direction - Hurso Ambrifi Client Service - Fernanda Costa Post Production & Mixing - Carla Cornea, Andre Giannini, Vithor Moraes, Arthur Dossa Production Coordinator: Camila Guedes, Leticia Oliveira, Bea Vieira Sound Studio  - Studio Funk Berlin Executive Producer - Uta Wittchen & Katharina Knieling Sound Engineer / Audio & Music - Marius Wiechmann Storyboard Artist - Eilis Scally

Reporters Without Borders Germany (RSF): Head of Communications - Sylvie Ahrens-Urbanek Public Relations Officer - Prisca Martaguet

INNOCEAN Berlin: CCO - Gabriel Mattar ECD - Ricardo Wolff Head of Art - Maso Correa Heck Associate Design Director - Will Cega Art Director - Leon Celay Copywriter - Juan Andrés Kebork Motion Designers - Carlos Suárez and Alexander Aleksidze Head of Capacity Management - Paulina Gonzalez Producer / Head of Production - Fabian Barz Post Production Producer - Jan Scholz Strategy Director - Jörn Ballentin Sr. Strategist - Odile Breffa Senior Media Manager - Maja Lah

Service Production Georgia - Metro Productions Executive Producer - Aleksandre Gabilaia Head of Production - Maia Gurabanidze Head of Bidding - Mariam Tevdorashvili 1st AD - Sopio Parjiani 2nd AD - Mariami Gugushvili Production Manager - Tato Pantsulaia Production Coordinator - Nino Megrelishvili Unit Manager - Merab Rostomashvili Location manager - Natia Chomakhidze Location manager assistant - Zaza Chigladze Transportation Manager - Davit Peradze Transportation Manager - David Maghlakelidze PA / Chaperone - Mariam Tsiklauri PA - Irakli Kakabadze

Set Manager - Konstantine Chkhaidze Set helpers - Buba Kupatazde Set helpers - Lasha Kupatadze Set helpers - Saba Sagrishvili Cleaner - Svetlana Bagdasarian

Art Director - Sopo Bazghadze Set Dresser - Shota Bagalishvili Production Designer Assistant - Achiko Shamakhia Art Assistant - Nina Jandieri Art Assistant: MURAL - Giorgi Khavelashvili Art Assistant: MURAL - Erekle Gordeladze

Stylist - Ketevan Kalandadze Stylist Assistant - Nino Chkoidze MUA - Veriko Bedeladze HAIR - Nino Dashniani

Focus Puller - Irakli Jgenti Camera AC - Guram Mosikashvili Camera AC - Khatia Khalvashi Playback Assistant - Koba Rostiashvili DIT - Gosha Tabidze Gaffer - Shalva Leluashvili Key Grip - Tengo Kasradze Grip / Light - Mikheil Gvalia Grip / Light - Giorgi Gogbaidze Grip / Light - Davit Eremadze Grip / Light - Gia Guluashvili Grip / Light - Davit Gogichaishvili Grip / Light - Vako Leluashvili Grip / Light - Giorgi Eremadze Dolly Crew - Giorgi Zakaidze Dolly Crew - Lasha Gugushvili Dolly Crew - Teimuraz Kupradze

Driver - Gia Tetrazde Driver - Avto Ugulava Driver - Gigo Lomtatidze Driver - Zaza Magaldadze Driver - David Odishelidze Driver - Roland Gogokhia Driver - Giorgi Koshadze Driver - Anatoli Kliushnichenko Driver - Ramaz Davitiani Driver - Giorgi Gogashvili

Service Production Brazil - Stink Saõ Paulo / Yatta Films Executive Producer - Rafa Rocha Production Manager - Maria Eduarda Caldeira Brino Production Manager - Daniel Lombardi Production Assistant - Sofia Lombardi Production Assistant - Victoria Valenti Chaperone - Nahaiana Vieira Cardoso 1st AD - Jan Monczka 2nd AD - Juliana Dias Caldas

Set Manager - Marcelo de Menezes Cachapuz Set Manager Assist - Marcelo Pasin Set Manager Assist - Jones silva de Oliveira Set Manager Assist - Adriano Pereira

Location Manager - Bruno De Souza Palaoro Location Manager Assist - Marcelo Araujo Frangipani

Production Designer - Martino Piccinini Art Assistant - Alice Goulart Furtado Art Producer - Soraia De Matia Props Coordinator - Camila Vettorazi Franzen Set Decorator - Julia Perez Paiva Melgarejo Props Master - Andre Luiz Micael Valli Castilho Props master Assist - Rafael Serpa Gerchmann Props master Assist - Victoria Perez Paiva Melgarejo Props master Assist - Lucas Rodrigues Do Amaral Props master Assist - Joabel Fontoura De Azevedo [Biel] Props master Assist - Maria Vitória Reimundo Varante Props master Assist - João Vitor Copetti Teixeira Helper - Maurício Ignácio Silveira Helper - Alisson Barboza Maciel

Costume Designer - Isadora Bertolucci Costume Assist - Samara Raquel Pereira Da Silva Costumer - Adriana Talaveira [Mana] HMU - Luana Ramos Zinn HMU - Gabrielle Ávila de Oliveira HMU - Eduarda Lombardi Pellenz Brum [Dudinha]

1st AC - Marcelo Ostrovski Bevilacqua 2nd AC - Gabriela Bortolon De Oliveira Video Assist - Laurie Braatz DIT - Juliano Rodrigues Moreira

Gaffer - Roberto Ramos Best Boy - Flavio Pinheiro De Souza [Cabeça] Electrician - Frederico Barbosa Ramos Electrician - Jefferson dos Santos Oliveira Helper - Vinícius Rojas Lopes Helper - Filipe Rodrigues Alves

Key Grip - Andre Luis Da Cunha Campanhol Best Boy Grip - Fabio Da Silva Dias Grip - Rodrigo Lopes Espíndola Grip - Ismael Borges Santos Helper - Josué Da Costa Celaro Helper - Nicolas Gabriel Luciano Huf

Casting Producer - Amanda Michelini Schmitz Casting Assistant - Pedro Alberto Santana Sanhudo [Pepa]

[mistermixmania]

Kolja Goldstein | Sein neues Album „GLOBAL“ lüftet Geheimnis 📣 https://mister-mixmania.com/de/news/musik-news/kolja-goldstein-sein-neues-album-global-lueftet-geheimnis/ Tagged as Kolja Goldstein Ganz Deutschrap rätselt seit Jahren, wer hinter der Kunstfigur Kolja Goldstein steckt. Sein neues Album „GLOBAL“ lüftet das Geheimnis – zumindest zum Teil. Der Amsterdamer erzählt auf seinem zweiten Longplayer ..... : #musiknews #musik #KoljaGoldstein Foto Credits: Konrad Wolff

[kats-chaotic-wonderland]

Alright, the decision has been made, I am doing this.

Information below the cut

I'll have the images up as I finish them, but this is the list of who you can currently expect from the Kickstarter. I'll be putting out a list of the ones I'll be doing for sure on the first year of patreon as well. I'll have the roster decided early, but I'll leave the large standee release order up to a poll each month.

For Kickstarter, I'll be asking for the manufacturing costs for both the samples and how much it would take to get about 10 of each figure stocked, as well as the manufacturing costs for a few items for the shop and rewards for patreon. It's probably be a big goal, so I'll be doing them in batches. First wave will be six primearchs and six clones. Once those are funded I'll reveal the next six. And after those the last set. And anything past that I'll have a few extras set up. These designs will be Kickstarter exclusive, and won't be restocked after the campaign is over. I will have the same characters later, but they'll be different designs. Now if we get through the first wave but not the other two, after everything is settled on the first one and I'm able to do another Kickstarter I'll open up the second and third until they run their course. If everything goes as planned I'll be putting a number of standees and other items in my shop and have the funds to start the production on patreon.

The lists for the characters in each wave are

Wave 1

Lion el Johnson, leaman Russ, Konrad Curze, Roboute Guilliman, Rogal Dorn, Mortarion

Rex, Cody, Hunter, Crosshair, Fox, Wolffe

Wave 2

Vulkan, Corvus Corax, Sanguinius, Horus, Fulgrim, Angron

Boss, Sev, Scorch, Fixer, Tech, Wrecker

Wave 3

Ferris, Magnus, Jaghatai Khan, Perturabo, Alpharius and Omegon, Lorgar

Fives, Echo, Gree, Bly, Gregor, Fordo

Extra models

Tyberos , Howzer, probably at least one droid

Patreons list has yet to be fully planned, but I know it will include mostly popular space marines, clones, and a few characters I enjoy drawing.

My schedule for the year is

Per month

1x clone full standee

1x Warhammer full standee

1x assorted full standee

2x Warhammer chibi standee/keychain/sticker

2x clone chibi standee/keychain/sticker

2x assorted extra chibi standee/keychain/sticker

Per year

12x clone standee

12x Warhammer standee

12x assorted standee

24x Warhammer chibi

24x clone chibi

24x assorted chibi extras

I've also been requested to do some battle droid pin ups, so those will be worked into the schedule soon as well. At least one will come up in the first month of patreon for sure.

There's still a lot of preparation to be done for this, but I want to make sure everyone who backs gets something they feel is worth it. If this works and I'm able to do my art full time, I'll be incredibly grateful. I'm a while off from that, but I'm working towards that goal. I want everyone to have fun with my work and hopefully enjoy my other content as well, between the art, the books, and the videos I'm working on. These next few months are going to be interesting.

Hey I'm looking to quit my day job, anyone interested in Warhammer or clone wars pin ups and assorted standees/pins/keychains ect? If enough people are willing to join a Kickstarter for some projects I'm planning I can pretty much dive into them full time. Like genuinely my total bills are like $700 for everything. And I mean everything.

This is mostly a shot in the dark but legitimately if I got enough traction I'd be happy to send out a new full body standee every month for people.

[las-microfisuras]

Ilse Bing

Konrad Wolff and Staccato, 1955

[elmartillosinmetre]

Brendel cultiva su jardín

Nacido en la Checoslovaquia de entreguerras, el pianista austriaco Alfred Brendel (Vízmberk, 1931) pertenece a esa estirpe de los músicos humanistas, menos común de lo que pudiera pensarse, capaces de dirigir su voraz curiosidad hacia todo lo que tenga que ver con el mundo de las artes y del pensamiento. Brendel lo hace además desde puntos de vista muy diferentes, la del analista profundo, la del divulgador y conversador erudito y ameno, siempre cargado de sentido del humor, la del perspicaz reseñista de arte y literatura o la del poeta, faceta esta aún prácticamente inédita en español.

Retirado de los conciertos en el año 2008, su casa de Londres no deja de recibir visitas de jóvenes interesados en su forma de concebir el arte musical, tan alejado del exhibicionismo estéril como de la abstrusa pedantería o la trascendencia tramposa y vacua. Como pianista, las maneras de Brendel fueron siempre las de un espíritu clásico, capaz de mantener sus interpretaciones en perfecto equilibrio entre forma y emoción. En Brendel todo tiende a la claridad, al desentrañamiento de los complejos procesos que conducen a la creación, para presentar esta de la forma más comprensible al espectador, y eso es aplicable tanto a su manera de tocar el piano como a su forma de escribir. Brendel escribe como tocaba.

Acantilado había publicado ya un librito encantador del músico en el que esto quedaba meridianamente claro, De la A a la Z de un pianista, obra en la que llegaba a exclamar en medio de una diatriba contra los extremismos: "¡Cultívense los espacios intermedios!". El cuidado que el pianista ponía en destacar las voces medias para clarificar lo más posible las texturas de las obras que interpretaba es el mismo que el ensayista pone en desbrozar la hojarasca analítica para ir directo al meollo de lo que le interesa, que expone con absoluta claridad, sin medias tintas, sin metáforas infantiles, pero sin oscurecer innecesariamente lo que ya es de por sí complejo. Una claridad que, obviamente, funciona a varios niveles: hay ensayos pensados para los músicos y otros que pueden llegar incluso a los aficionados menos eruditos, pero incluso de los textos más especializados cualquier persona con interés puede sacar provecho. Uno lee, por ejemplo, los ensayos sobre Beethoven o sobre las últimas sonatas de Schubert y, si lo hace con atención, entre los ejemplos y las referencias estrictamente técnicos halla una cantidad de información y de detalles de carácter o expresión que de la lectura sale necesariamente enriquecida su visión de esas obras.

No están aquí todos los ensayos sobre música de Brendel, pues la edición de Acantilado parte de una publicación muniquesa de 2007 (de título en alemán idéntico al de este volumen español), y desde entonces se han publicado bastantes más, pero el contenido (que abarca piezas escritas a lo largo de medio siglo, en concreto, entre 1954 y 2004) es más que significativo, y permite hacerse una idea del pensamiento de un músico que, sencillamente, habla de lo que sabe, profundizando en la obra de los compositores que más interpretó desde el piano: Mozart, Beethoven, Schubert (el amplio y lúcido ensayo sobre las últimas sonatas del vienés puede considerarse el centro neurálgico de todo el libro) y Liszt, aunque también hay espacio para Haydn o Schumann y para sus reivindicaciones de autores y obras no tan célebres ni prestigiosos, como Busoni o el Concierto para piano de Schoenberg.

De hecho, el texto más antiguo está dedicado precisamente a Busoni. Fue escrito en 1954, en el trigésimo aniversario de la muerte del compositor, y en él, un Brendel de 23 años reivindica la figura de Busoni justamente, y entre otras cosas, porque "su ejecución pianística es el triunfo de la reflexión sobre la bravura". Este ensayo de apenas siete páginas admira tanto por la penetración del juicio como por la limpieza de la escritura del entonces joven pianista, lo que será ya una marca de identidad de toda su obra ensayística. Contemplado desde su retiro actual, puede afirmarse que Brendel ha pasado estos 60 años cultivando su jardín con la misma limpieza formal y la formidable claridad mental que mostraba ya a los 23.

La ordenación de los ensayos no es cronológica, sino temática. A los dedicados a los compositores y sus obras, que ocupan aproximadamente el 80% del volumen y se presentan en estricto orden temporal (de Mozart a Schoenberg), siguen algunos sobre intérpretes: el director Wilhelm Furtwängler y el pianista Edwin Fischer, a los que Brendel admira. Luego, una miscelánea en la que caben desde la reseña denostadora de un descuidado diccionario de música al elogio de una joven violinista (Lisa Batiashvili, 22 años cuando fue escrito el artículo, en 2001). La obra se cierra con varios textos en formato entrevista (una de ellas, una conversación interesantísima con Konrad Wolff sobre la escuela de interpretación de otro pianista célebre, Arthur Schnabel) y diversos discursos de agradecimiento. La traducción de Juan Luis Milán es impecable en todo lo que atañe a la terminología musical, algo tan descuidado más veces de lo razonable por algunos editores españoles. Acantilado vuelve a aportar nervio y hondura a la magra industria de la edición de libros de música en español.

[Diario de Sevilla. 12-02-2017]

Sobre la música. Ensayos completos y conferencias. Alfred Brendel. Traducción de Juan Luis Milán. Acantilado, Barcelona, 2016. 535 páginas. 29 euros.

[allpartofthejob]

the new woman #5: Ilse Bing (Photographer, 1899-1989).

She lived in Germany, France and the U.S. and focused on architectural photography, photo essays and experimental photography. Some called her "Queen of the Leica".

She was married to Konrad Wolff (Composer).

(self portrait, 1931; Rue du Valois, 1932)

[justinunlocd]

STORY TIME!!!

When I was in the sixth grade, I started playing in band. We had two days to look at the band and orchestra instruments, and for some reason percussion chose me; probably because of the few years before playing in Mr. Kevin Downie’s Orff Ensemble. If my memory serves me correct, Mrs. Carolyn Valiquette, my band director at the time, assigned us the task of writing a short piece for our band with a classmate; I was partnered with John Case. We wrote this piece called “Immortal,” and she liked it so much, we were able to play it at the last sixth grade band concert. I remember my older brother and grandmother being there to watch me play...

Later in middle school, eight grade year actually, I played a little solo at contest and got a “I” rating on it. It was a Handel violin sonata in F and Mrs. Celeste Smith gave me the opportunity to play it during the last band concert. I remember distinctly saying, right before I was about to play, “you ain’t gon say something?” She chuckled and obliged me a short introduction about me working on that piece and how proud she was of me. I was elated...

Ninth grade was the start of high school, which meant marching band, and I was playing snare drum with Amy, Drew, Pauline and Collin. That was the same year I started working on four-mallet technique and went to play in the front ensemble the next year. Sophomore year was also the same year the Derby High School Wind Ensemble was severed to play at KMEA. That year, I made it into the top band and was one of the four percussionists featured on our performance of David R. Gillingham’s “Concertino for Four Percussion and Wind Ensemble.” That was such a fun piece! I got to play this chromatic xylophone part in unison with Jason Lord. Glenn Woolard and Pauline Kennedy were the other feature soloists. That was probably the highlight of my high school music experience honestly, at least on the concert percussion side...

Then we get to Twelve Grade, I audition for the solo competition with the Wichita Youth Symphony. Unfortunately I only get a runner-up spot because [redacted] although I had the better performance of the excerpt I chose, Ney Rosauro’s “Concerto for Marimba and Orchestra No. 2.” However, it would only be a few years later I would be able to play the piece’s first movement, and cutting in the cadenza from the third, with the WSU Symphony Orchestra as a soloist for their Concerto-Aria Competition. That was Junior Year, and don’t we love a good vindication story?...

But I’m getting ahead of myself, sophomore year of college was the year I had a realignment of my purpose, and for the first time, chose to purposefully and intentionally move in that direction. It was November 22, 2010. We had a percussion ensemble concert that night, with guest artist, the one and only, and Wichita State University School of Music Alum, Kevin Bobo! We played his piece “Boboland,” where I got to play on the same marimba as him for a moment, it was hilarious and I still remember that moment fondly...

Funny enough, I was still an engineering major Sophomore year. At the same time, I was leaving my Physics class early to go to steel band rehearsal, and skipping Statics altogether to hang out with Patrick, Da’Kneisha and Sparkle LOL. It wasn’t until the end of that concert, where my mom sent me a text message that said something to the effect of, “if you change your major to music, we support you,” and so I decided to change my major to music, and also choose to put my pursuit of happiness above everything else...

Oh yeah, and then the percussion ensemble I was in, Impulse Percussion Group, won second place in the Konrad Wolff-Ilse Bing Chamber Music Competition to a bit of controversy à la “is percussion a chamber group/instrument...” yup, even in 2013, that was a scandal that we even participated, let alone placed...

Then for my second senior year, I finally played my senior recital and graduated college with my music degree. I already had a job setup at my church that I went into full-time one week after I graduated. (I do NOT recommend jumping from college immediately into job, it was a horrible mistake, but life happens fast.) I worked as the music director for the church for only three years before I realized my mental health was taking a toll. I became less of myself when I was at the office, I despised having to appear busy when I already completed my daily tasks (especially when I asked my supervisor for work to do, because according to him, “no one here has down time,” and he had nothing for me to do...) anyway, while on Facebook, I saw a post for an emergency percussion GTA position at WSU and I immediately contacted my old percussion professor, Jerry Scholl, on what I needed to submit to apply. Within a few weeks, I worked up the excerpts, recorded them all, and was accepted to begin my masters degree at WSU. And yes, I was fleeing a toxic work environment...

Cut to August 13, 2020. I’ve graduated with my Masters in Music. I’m a year and some change out of school and still only working gigs as to not get into a 9-5/M-F job. I’ve started modeling seriously and got signed to not one, but two agencies. But my focus wasn’t honed in with music, what do I seriously do with this degree and the accomplishments I’ve earned and worked for after college? And then I reconnected with my old best friend Da’Kneisha Nikoyle Blount. We had a conversation the day before and also on the day of our friend’s wedding. We talked about how we should do music again, we just talked about it, almost in jest, but also in a reminiscence. Who knew what we got ourselves into...

Our first music video.

Then a few articles here and there.

An inauguration.

Then a billboard.

An MLK event.

Contacted for a premiere piece.

Then our first concert.

A benefit concert.

A church service.

Recording in the studio.

A fundraising event.

A video shoot...

And now, as of May 5, 2021, I’ve performed and premiered my first wind symphony piece as a member of @tupacmeetsbach with @dnikoyle. The piece is called, “Stained with Beauty - for Solo Soprano, Solo Marimba, Wind Ensemble and Choir” and is an elaboration and development of the original song written by Da’Kneisha. The piece comprises of four movements, and is roughly 25 minutes in length. This piece is our baby and as Renee would say, “one of the most honest and innovative music projects.” I’m so thankful to all the musicians who rehearsed for months to make this performance happen!

Thank you to Dr. Timothy Shade for reaching out to us and providing us an ensemble to realize this piece. Thank you to the choir who became a nice supportive background for Da’Kneisha. Thank you to the stage techs and sound engineers for filming and recording this premiere. Thank you to my parents for financially supporting me during the pandemic to allow me to sustain while working fervently on this piece. And a special thank you to my best friend and partner in rhyme, Da’Kneisha, for your heart, your mind, and your friendship!❤️❤️❤️

Y’all have really made my dreams come true and I can’t wait to start working on the next piece already!!!

[barcarole]

Hi! I am such a huge fan of your blog and admire your vast knowledge of classical music. I wanted to ask you if you have any recommendations for books on Bach? I started reading Peter Williams’ “A life in music”, but while enjoying it, I find it a bit too biographical for my needs, as I want to read something that analyses his music in depth, rather than focusing primarily on his life. Also, if you have any non-fiction classical music books to recommend, that would also be very helpful. Thanks!

Hello! I haven’t read A Life in Music, but these are some of my favorite Bach books that focus on his work:

Bach’s Musical Universe, the Composer and his Works, Christoph Wolff

Bach’s Major Vocal Works: Music, Drama, Liturgy, Markus Rathey

Bach and the Patterns of Invention, Laurence Dreyfus

Bach and the Meanings of Counterpoint, David Yearsley

The Creative Development of Johann Sebastian Bach, Richard D. P. Jones (Vol. I, II)

The New Bach Reader, Christoph Wolff

Below, there are some recommended texts. I’ve still yet to read Swafford’s newest Beethoven biography, Fischer’s book on Mahler, a definitive Schubert biography, Debussy’s complete collection of letters and many others, but I enjoyed and learned much from these. In most cases, they don’t require a technical knowledge of music. I tried to cover various areas, depending on which composer/period may interest you more. I hope I’ve helped!

Music Appreciation

The Joy of Music, Leonard Bernstein

Music Here and Now, Ernst Krenek

Poetics of Music in the Form of Six Lessons, Igor Stravinsky

Chamber Music: A Listener’s Guide, James Keller

What to Listen for in Music, Aaron Copland

A Composer’s World: Horizons and Limitations, Paul Hindemith

Biographies

Mozart: His Character, His Work, Alfred Einstein

Monteverdi, Paolo Fabbri

Handel in London: The Making of a Genius, Jane Glover

Beethoven: The Music and the Life, Lewis Lockwood

Schubert: A Biography, Elizabeth Norman McKay

Mendelssohn: A Life in Music, R. Larry Todd

The Life and Music of John Field, Patrick Piggott

Robert Schumann: The Life and Work of a Romantic Composer, Martin Geck

The Schumanns and Johannes Brahms: The Memoirs of Eugenie Schumann

Brahms: A Biography, Jan Swafford

Fryderyk Chopin: A Life and Times, Alan Walker

Franz Liszt: The Virtuoso Years | The Weimar Years | The Final Years, Alan Walker

Memoirs, Hector Berlioz

Wagner: As Man and Artist, Ernest Newman

Debussy: A Critical Biography, François Lesure

Ravel: Man and Musician, Abbie Orenstein

A Great Russian Tone-Poet: Scriabin, Arthur Hull

Sibelius: A Composer’s Life and the Awakening of Finland, Glenda Dawn Goss

Mahler: A Life, Jonathan Carr

Alban Berg: Music as Autobiography, Constantin Floros

Writings on Music: Russian and Soviet Music and Composers, Nicolas Slonimsky

Theme and Variations, Bruno Walter

Sergei Prokofiev: Diaries

Shostakovich: A Life, Laurel, E. Fay

Theory/Analysis

Essay on the True Art of Playing Keyboard Instruments, C.P.E. Bach

Schumann on Music: A Selection from the Writings 

Berlioz on Music: Selected Criticism 1824-1837

Treatise on Instrumentation, Hector Berlioz (rev. Richard Strauss)

Principles of Orchestration, Nikolai Rimsky-Korsakov

Style, Genre, and Meaning in Telemann’s Instrumental Works, Steven Zohn  

The Classical Style: Haydn, Mozart, Beethoven, Charles Rosen

Mozart and His Operas, David Cairns

Beethoven and His Nine Symphonies, George Grove

Prokofiev’s Piano Sonatas, Boris Berman

Mahler: A Musical Physiognomy, Theodor Adorno

Retracing a Winter’s Journey: Franz Schubert’s “Winterreise”, Susan Youens

Schumann’s Piano Cycles and the Novels of Jean Paul, Erika Reiman

The Songs of Hugo Wolf, Eric Sams

Gustav Mahler and the Symphony of the 19th Century, Constantin Floros

A Study of Wagner | The Wagner Operas, Ernest Newman

Sound Figures of Modernity: German Music and Philosophy, Jost Hermand, Gerhard Richter

Musical Symbolism in the Operas of Debussy and Bartok

Style and Idea, Arnold Schönberg

Alban Berg: Master of the Smallest Link, Theodor Adorno

A Mammal’s Notebook: The Writings of Erik Satie

Richard Strauss and His World, Bryan Gilliam

Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera, Bryan Gilliam

Olivier Messiaen: Journalism 1935-1939, Stephen Broad

Letters

Mozart: A Life in Letters | The Letters of W.A. Mozart: Vol. I, II

Beethoven’s Letters, Vol. I, II

Chopin’s Letters

Letters of Robert Schumann

The Complete Correspondence of Clara and Robert Schumann

Correspondence of Wagner and Liszt, Vol. I, II

The Life and Letters of Pyotr Ilyich Tchaikovsky, Modest Tchaikovsky

Antonín Dvořák: Letters and Reminiscences

Intimate Letters: Leos Janáček to Kamila Stösslová

Debussy’s Letters to Inghelbrecht

The Mahler Family Letters 

Theodor W. Adorno & Alban Berg: Correspondence 1925-1935

Story of a Friendship: The Letters of Dmitry Shostakovich to Isaak Glikman

History

Music in the Middle Ages, Suzanne Lord

Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays, Nino Pirrotta

Music and the French Enlightenment: Rameau and the Philosophes in Dialogue, Cynthia Vera

Dance and Drama in French Baroque Opera: A History, Rebecca Harris-Warrick

Beyond Bach: Music and Everyday Life in the Eighteenth Century, Andrew Talle

Chamber Music: An Essential History, Mark A. Radice

Music and Literature in German Romanticism, Siobhán Donovan, Robin Elliot

Music in Vienna: 1700, 1800, 1900, David Wyn Jones

German Modernism: Music and the Arts, Walter Frisch

Debussy’s Paris: Piano Portraits of the Belle Époque, Catherine Kautsky

On Russian Music, Richard Taruskin

Russian Music and Nationalism: From Glinka to Stalin, Marina Frolova-Walker

Schönberg & Kandinsky: An Historic Encounter, Konrad Boehmer

Women and Music: A History, Karin Pendle

[vm4vm0]

BEING BOSS (2019) | HUGO BOSS from Sinan Sevinç on Vimeo.

What does it mean to be a boss? And what does a boss actually look like? On the basis of this question, the spot is discussing the image of the modern, successful Muslim woman and fundamentally questions the social definition of a boss.

CREDITS

CAST Israa Fouani Susanne Wolff Marlene Demmin

CREW: Director: Sinan Sevinç Cinematography: Christopher Behrmann Executive Producer: Ben Turlach, Konrad Sulzmann, Pauline Nier Editing: Vincent Sylvain Narrator/Voice Actor: Kikelomo Oludemi Co-Autorin Voice Over: Alma Buddecke Film Music: Alexander Wolf David Sound: Franziska Arndt VFX Supervision: Tom Tolle Motion Design: Leon Monschauer Grading: Mai Lasan Production Design: Johanna Teichmann Costume Design: Lea Winkler Make­‐Up: Heike Walter-Thomae Production Assistant: Lotta Schmelzer Assistant Cinematographer: Wesley Salamone Location Management: Jana Klingseisen Gaffer: Holger Enck Lighting Technician: Sebastian Ganschow Production Company: Filmakademie Baden-Württemberg GmbH

[taylorfennersbookishworld]

“Nothing to do but admit that—obnoxious smirk or not—this boy is sexy af. A little wicked, a lot wild, and all dangerous.” ― Tracy Wolff, Crave • • Hey again Bookdragons. I’m in a better mood than I was this morning thankfully and I’m sipping a vanilla shake while watching a rerun of Law and Order. • • I finally got my copy of Crave last weekend and it’s on my TBR list for next month. I didn’t read as many books as I wanted this month but I did read: ⚜️ The Return by Rachel Harrison - 5🌟 ⚜️The Winter Witch Karpov-Konrad & Heather Hildenbrand - 5 🌟 ⚜️ The Alien’s Future by Ella Maven - 4 🌟 ⚜️ The Mist by Stephen King - 4 🌟 ⚜️Reborn Yesterday by Tessa Bailey - 3.75🌟 ⚜️ The Betrothed by Kiera Cass - 4.75 🌟 ⚜️ Don’t Go Stealing My Heart by Kelly Siskind - 4 🌟 • • Q: How many books did you read in April? • • #aprilwrapup #aprilreads #crave #tracywolff #entangledteen #entangledpublishing #vampirebooks #twilightvibes #bookstagram #bookstagramfeature #bookish #bookworm #booknerd #booklover #bookaddict #bookaholic #bibliophile #booksofinstagram #bookobsessed #bookobsession #bookphotography #bookblogger #booklove #reader #bookgram #igbooks #instabook #bookporn #bookphotography #bookphoto (at Clintonville, Wisconsin) https://www.instagram.com/p/B_oA-gkgP6B/?igshid=5kl3cvakubqh

[amaruaaa-blog]

Ilse Bing (Fráncfort, 23 de marzo de 1899 - Nueva York, 10 de marzo de 1998)1​ fue una fotógrafa alemana. Su familia era una exitosa y acomodada saga de comerciantes judíos.

Estudió Historia del Arte en la Universidad de Fráncfort, aunque había iniciado sus estudios universitarios en los campos de matemáticas y física. Como importante complemento a su formación, durante el curso 1923/-24 estudió en la Academia de Bellas Artes de Viena. Su aprendizaje de la fotografía lo realizó de modo autodidacta en 1925 con el fin de ilustrar su tesis sobre el arquitecto Friedrich Gilly, cuatro años después se compró una cámara Leica que empleó durante veinte años como su máquina principal.

En 1930 se trasladó a París donde conoció a André Kertész, Emmanuel Sougez y Florence Henri y realizó reportajes para diversas revistas como Das Illustrierte Blatt, Ars et Métiers Graphiques, Photo-Graphie, Vu y Harper's Bazaar. Sougez le dio el nombre de "Reina de la Leica".4​ Realizó su primera exposición en la galería Julien Levy de Nueva York en 1932 formando parte de una muestra de fotografía europea y en 1937 participó en la exposición organizada en el Museo de Arte Moderno de Nueva York por Beaumont Newhall con el título de Photography (1839-1937).

En 1937 se casó con el pianista Konrad Wolff con quien emigró en 1941 a Estados Unidos, ya que eran judíos y la Alemania Nazi dominaba Europa. Se establecieron en Nueva York. En 1946 Ilse adoptó la nacionalidad estadounidense. Aunque viajó en diversas ocasiones a París en los años cincuenta su actividad fotográfica perdió contenido experimental y se hizo más convencional. No obstante continúo realizando fotografías en blanco y negro hasta 1957 que comenzó a realizar fotografías en color que ella misma revelaba.

En 1959 abandonó la fotografía para dedicarse a la poesía, la pintura y el collage. Su trabajo fue valorado de nuevo tras una exposición colectiva realizada en 1976 en el Museo de Arte Moderno de Nueva York y en Instituto de Arte de Chicago. Desde entonces su trabajo ha estado expuesto en museos de todo el mundo como en Nueva Orleans en 1985, en el Museo Carnavalet en 1987, en el Museo Folkwang en 1994, en el Museo Ludwig en 1996, en el Museo de Victoria y Albertoen 2004, en París en 2007 y en Barcelona en 2009.