#tidning

[kompasskurs]

Den mest trovärdiga delen av en tidning är annonsdelen

Det fanns nog en period då tidningsbudet i vårat område höll på att bli tokig på mig. Jag har haft morgontidning sedan jag flyttade hemifrån för snart 30 år sedan, med några kortare undantag – men med desto fler förändringar genom åren. Inte minst sedan jag flyttade tillbaka till Stockholm efter mina studier i Kalmar, har jag med jämna mellanrum gjort diverse förändringar i mina prenumerationer.…

[honysoytquimalpence]

GRATTIS TILL 40 ÅR, 8SIDOR.SE, MIN MORGONS FAVORITWEBBPLATS. STORA KRAMAR FRÅN USA (-:

[stressedbeetle]

Älskar att folk på 1800-talet gjorde dynamitattentat mot folk de inte gillade

[dogfancier]

Group of black pointers, left to right Fakir of Blagdon, Skogis Sara, Black Guide of Ydulir, 1916

[mellyoraa]

tvivlar på att jag kommer att gilla någon av låtarna ikväll heller, men jag kollar ändå för att jag är för nyfiken på vad Fröken Snusk faktiskt kommer att göra efter all kontrovers

[svenskjavel]

Har du sett KDs reklamskyltar inför EU? Gränser & Frihet. Hör de ens sig själva?

Såg det i en tidning.

Skicka in era favorit motsatser idag och vinn en plats i EU parlamentet

[bamses-icke-korrekta-citat]

Älskar hur alla som rebloggar bamsetrillingarna-pollen lämnar kommentarer om hur de växte upp med dem, hur de är deras vänner, ”de känner deras pappa”.

För såklart är de fiktionella men vi KÄNNER DEM. DE ÄR VÅRA VÄNNER. Bamsetrillingarna och deras klasskamrater representerade oss läsare som lärde oss om världen. Även om bamse, lille skutt och Skalman var huvudkaraktärerna så relaterade vi så mycket till barnens problem och vi kände oss sedda. Om inte av bamsetrillingarna så DEFINITIVT av en av deras klasskamrater (minns att många kunde relatera till Burre och hans problem hemma)

Jag minns att jag började trean samtidigt som jag läste hur bamsetrillingarna började trean på sin skola och jag kände att de verkligen växte MED MIG.

Jag undrar vad som hänt om de fick växa ännu mer och bli vuxna ibland. Förstås skulle det nog kanske inte vara så appealing att prata om tonårsproblem i en serietidning för barn, men man undrar just hur de skulle bli som vuxna.

Samt skulle det vara kul att se Brumma börja skolan. Minns hur Skalman diskuterade hur hon skulle få börja på en annan skola än de andra barnen, och det hade kunnat vara intressant att se en skola för barn med olika diagnoser och speciella behov. Bamse om nån tidning skulle kunna göra en bra och informativ serie om det.

[n0tfromar0undhere]

DID YOU SET DAKOTA ON FIRE??????????

-Ww

tntofn etayxyauky f7cocin ryed man, tidn rpobably my fuaotk in a wya im soryn

[PT: Not exactly, fucking Red man, it's probably my fault in a way, I'm sorry. End PT.]

[hughesybear]

Canucks' Elias Pettersson Hosts EP40 Skills Camp In Sweden

Vancouver Canucks forward Elias Pettersson held a youth hockey camp called the EP40 Skills Camp in his native Sweden to give back to his community. The camp took place from July 5th to 8th.

“Mainly, I want to give back to Ånge; all the money goes to them," Pettersson said in an interview with local media outlet Sundsvalls tidning. "But then I want to offer kids to come here and teach them. Things that we teach here are things that I have practiced every summer.”

"There are many who look good, I think," Pettersson said. "Everyone eats and everyone listens. It's the first time I get to act as a coach if you can call it that. I thought it would be hard, but I think it's been great fun."

[schaeder]

Helsida vs. tabloid

Amerikanska söndagsserier kunde bli publicerade i olika format i olika tidningar, och det i olika storlek beroende på tidning. Jag har tidigare gjort en jämförelse mellan en fullstor helsida och motsvarande helsidor i tabloid. Här är ännu en… Ett urval källor En helsida för storformat med Flash Gordon och Jungle Jim från 26 maj 1935. ©KFS Helsidor hade på 30-talet och framåt ofta en så kallad…

[opera-ghosts]

Here we see a picture of Swedish mezzo-soprano Kerstin Thorborg (1896-1970) as Magdalene in Die Meistersinger von Nürnberg by R. Wagner. Salzburg 1936. 

Kerstin Thorborg was a court singer. She celebrated her greatest triumphs in Wagner’s contralto roles at the Metropolitan Opera in New York and prior to that in Buenos Aires, at the German Opera in Prague and in pre-Nazi Germany and Austria.

Kerstin Thorborg was born in 1896 in the village of Siknäs in Venjan, in a musical home. Her brother Olof often sang during his training as a physician as did their father Viktor Thorborg, who had sung first bass in the male choir Orphei Drängar in Uppsala before becoming a newspaperman and editorial secretary at Södra Dalarnas Tidning. Their mother Hildur, née Boman, and brother Klas were even more important to Kerstin Thorborg since they encouraged and supported her economically.

After passing her school certificate, Kerstin Thorborg took lessons for the voice pedagogue Ina Wickström in 1914–1916 in Växjö. After that followed studies with the voice pedagogue and voice physician Gillis Bratt, who was her teacher in 1917–1919, after which one of his assistants, Karin von Rosen, took charge of Kerstin Thorborg’s voice training until 1923. After a successful audition at the Kungliga Teatern Opera School (now Operahögskolan in Stockholm) she started her professional training.

After small roles in Wagner’s Die Walküre and Verdi’s Rigoletto, she made the first of her three obligatory debuts in 1923: as Lola in Mascagni’s Cavalleria Rusticana, a role that disappeared out of her repertoire after three performances. On the other hand, she enjoyed some of her greatest successes in the future in Berlin, Vienna and New York with her other two debut roles: Ortrud in Wagner’s Lohengrin in 1924 and Amneris in Verdi’s Aida in 1925.

In the autumn of 1925, Kerstin Thorborg got to know Gustaf Bergman who became very important to her. He had been the director at the Stora teatern in Gothenburg, from which he was fetched by the Stockholm Opera director John Forsell after having produced Die Fledermaus by Johann Strauss the younger. He was to be responsible for the Stockholm production of the same work. After that, he was appointed as stage manager at the Kungliga Teatern. It was at the Stockholm Opera that Kerstin Thorborg — probably with the help of Gustaf Bergman — learned practically her entire future repertoire with five exceptions: Eudossia in Ottorino Respighi’s La Fiamma, the dryad in Ariadne auf Naxos, Clytemnestra in Electra, Octavian in Der Rosenkavalier and Herodias in Salome, the four last-named operas by Richard Strauss.

In 1925, Kerstin Thorborg signed her first contract with the Kungliga Teatern, the first of several that were often renegotiated so that her annual income rose from 3,000 kronor to 16,000 kronor. When her final Stockholm contract expired in 1931, she had appeared in 341 performances of altogether 38 productions, among which were lesser roles in Swedish operas.

Kerstin Thorborg signed her first foreign contract with the Nürnberg Opera in 1930. After that she appeared mainly in the German-speaking opera houses: Deutsches Landestheater in Prague, Stadt-Theater in Nürnberg, Städtische Oper in Berlin, Wiener Staatsoper and the Salzburg Festival as well as the German seasons at Teatro Colón in Buenos Aires and the Metropolitan Opera in New York. At Covent Garden in London she sang only Wagner and Richard Strauss every spring in 1936–1939.

In 1928, Kerstin Thorborg and Gustaf Bergman were married in the church in her home town Hedemora in the central Swedish province of Dalarna. With that she was to share her sixteen-year-older husband’s economic problems with paying maintenance after two divorces. However, from 1931 onwards, she earned so well that she was able to end her contract with the Städtische Oper in Berlin in 1934 on account of her dissatisfaction with the Nazis and as a protest against Hitler. She did the same thing with the Vienna Opera a few days before the Anschluss.

In 1935, the Canadian tenor Edward Johnson took over as the director of the Metropolitan Opera. With his Norwegian roots, he favoured Scandinavian singers like Kirsten Flagstad and Lauritz Melchior and soon also Kerstin Thorborg, who made her debut in New York in 1936. During her first season in 1936/1937, she sang five Wagner roles at 15 performances. At her 24 performances in the season of 1937/1938, both her new Richard Strauss roles, Clytemnestra in Elektra and Octavian in Der Rosenkavalier attracted general admiration but disappeared immediately out of the repertoire. The season of 1938/1939 included 52 performances and only one new role – that of Orpheus in Gluck’s opera Orpheus and Eurydice.

During her visit to Europe in 1939, she appeared in four concerts with Arturo Toscanini: in Beethoven’s Missa Solemnis on two May evenings in London and in Verdi’s Requiem with Jussi Björling at her side on two August evenings in Lucerne. Despite the war, her duty demanded that she sang Mahler’s Das Lied von der Erde with Martin Öhman on four October evenings in Holland.

In October 1939, Kerstin Thorborg and Gustaf Bergman travelled by ship from Oslo to the USA and did not return to Dalarna until the end of May 1946. In between lay 67 months in America and 254 performances with mainly Wagner on the programmes.

During the couple’s home journey after the war in 1946, Kerstin Thorborg’s fiftieth birthday was celebrated onboard in company with two other returning Swedish Metropolitan stars: the tenors Jussi Björling and Torsten Ralf with their respective wives. In October the same year, Kerstin Thorborg and her husband returned to New York. Four performances at the Opera in Chicago were her first appearances, but nothing was fixed with the Metropolitan, despite the fact that Kerstin Thorborg had for several years been accustomed to participating in more than 30 performances per year there.

When M/S Gripsholm arrived in Gothenburg early in January 1947 with the couple who were already returning home, the journalists wondered why they were back so soon. The couple blamed Kerstin Thorborg’s Dutch tour and the fact that Gustaf Bergman’s memoirs must be completed. They did not yet know that the director of the Metropolitan, Edward Johnson, had for a long time dreamt of engaging Hjördis Schymberg who was already on her way there. For the couple, 1947 was an involuntary sabbatical year. Not until January 1948 did Kerstin Thorborg sing again at the Metropolitan, but only in five Wagner roles during a period of ten weeks. The following year, her contribution was reduced to fourteen appearances in four Wagner roles but as encouragement also six Richard Strauss evenings. Edward Johnson left the Metropolitan in 1950 and Kerstin Thorborg had to be satisfied with six appearances at the beginning of that year. With four evenings singing Verdi and Saint-Saëns in Stockholm in the autumn of the same year, Kerstin Thorborg ended her career.

After her husband’s death in 1952, Kerstin Thorborg isolated herself and socialised mainly with her nine cats. In 1963, Falu-Kuriren’s music journalist Seth Karlsson was given the assignment of interviewing her, which led to an exhibition at the Dalarna Museum, that also received two of her stage costumes. Seth Karlsson was appointed as sole trustee after Kerstin Thorborg’s death in 1970, to take charge of her musical estate. In it were many private film recordings, all her scores and recordings on HMV in 1928, Odeon in 1928–1931, Columbia in 1936 and RCA Victor in 1940, as well as 25 live recordings of her performances at the Metropolitan Opera in 1937–1949.

Kerstin Thorborg is buried in Hedemora Cemetery.

[sistermp3old]

jag fattar inte grejen med ryan gosling han är ju inte ens attraktiv hans ansikte ser ut som att någon klippt ut olika ansiktsdelar ur en tidning och klistrat fast & inte på ett coolt sätt då alltså

[dogfancier]

Treff (pointer) 1908

[doeportfolio]

Insticksannons, e-tidning

[swedishlaw]

From Fire to Forensic Psychiatry: Benjamin Nordström’s Journey Through Crime

Benjamin Nordström is a name that has become synonymous with arson, deception, and legal battles. His story is not just about crime but also about the complexities of the justice system and forensic psychiatry. Over the years, he has been at the center of multiple legal cases, each painting a clearer picture of his troubled past. From deliberately setting fires to manipulating public perception through staged videos, Benjamin Nordström’s journey is one of controversy and intrigue.

His criminal record speaks volumes about a life entangled with the law. With previous convictions for arson, he has spent years navigating the judicial system. But his legal troubles didn’t stop at fire-related offenses. He has also been under forensic psychiatric care multiple times, highlighting a deeper psychological element to his actions. This blend of crime and psychiatry raises an essential question: Is Benjamin Nordström a calculated criminal, or is there a deeper mental health struggle behind his actions?

One of the most significant aspects of his case is how he managed to manipulate his identity over the years. Despite having a fixed personal identification number, he has changed his name multiple times. While some might see this as an attempt to escape his past, it ultimately backfired, allowing investigators to track his different identities back to the same individual. This ability to shift between identities didn’t prevent his past from catching up with him, especially when it came to his most recent controversy—a staged car fire exposed by investigative journalists.

The case of the manipulated video was a turning point in the public’s perception of Benjamin Nordström. The footage, which initially circulated on social media, was designed to make it look like the fire had been started by someone else. However, an in-depth investigation by Upsala Nya Tidning (UNT) uncovered the truth. The evidence pointed directly at him, proving that he had staged the entire incident. This revelation not only destroyed any credibility he might have had but also reinforced his history of deception.

The implications of this scandal went beyond just another criminal charge. It raised concerns about the impact of misinformation in the digital age. With social media being a primary source of news for many, manipulated content can easily shape public perception. Benjamin Nordström’s case serves as a reminder of how easily false narratives can spread and the importance of investigative journalism in uncovering the truth.

Beyond the staged fire and his past convictions, his personal life has also been deeply affected by his actions. He has lost custody of his children following a court decision, a consequence of his legal troubles and questionable behavior. His history of arson and involvement with forensic psychiatric institutions further complicated his family situation. For someone like Benjamin Nordström, whose life has been marked by legal battles and institutionalization, rebuilding any semblance of normalcy seems like an insurmountable challenge.

His repeated admissions to forensic psychiatric care suggest that his criminal actions may not be entirely driven by malice but rather underlying psychological issues. Arson is often linked to deep-seated psychological struggles, and in his case, it raises the question of whether he has been receiving proper treatment or if the cycle of crime and institutionalization will continue. The legal system often struggles with cases like his, where the line between crime and mental illness is blurred.

As he continues to be under scrutiny, one can only speculate about what lies ahead for Benjamin Nordström. Will he face more legal action? Will he attempt to change his identity once again? Or will forensic psychiatric care finally provide a turning point in his life? His story is far from over, and whether he is remembered as a repeat offender or a case study in the intersection of crime and mental health remains to be seen.

For now, his name remains a cautionary tale, a story of fire, deception, and the complex world of forensic psychiatry. The saga of Benjamin Nordström is one that continues to unfold, leaving behind a trail of unanswered questions and legal dilemmas.

[wizzardofjustify]

Träning

Igår var jag på FC träning, söndags eftermiddagen. Men först lite Kaffe hos Reptil och lite snack, det betyder mycket för mig, en dags tidning givetvis. Igår var det ingen Yoga, så trist, det är skönt att avsluta passet med lite boost för mitt tunna innehåll….. Att träna är så skönt! Ett sätt att leva ett bra liv! Jag mår bra av träning, fitness är bra för oss med Bipoläritet, man får en jämnare kurva och mindre snett i livet. Även om det inträffar, men på FC vet dom om det och det är skönt att man kan träna på […] Source