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      ["title"]=>
      string(122) "Facts about the Relationship of Vicky Prasetyo and Kalina Octaranny, Called Marriage Setting to Divorce: Okezone Celebrity"
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JAKARTAVicky Prasetyo and Kalina Octaranny is back in the spotlight. The two are reportedly divorced, even though they have not yet been married for 1 year.

The news was revealed by Kalina Octaranny around the end of December 2021. He even admitted that he had separated from his house and did not get a living from the presenter. However, Vicky Prasetyo admitted that he had not divorced the woman he married in March 2021.

Well, to discuss more about the journey of their relationship. Here are the facts as summarized Okayzone, Thursday (20/1/2022).

1. Married

Vicky Prasetyo and Kalina Octarannya were serially married at The Lodge Golf at Jagorawi, Bogor, West Java, on March 13, 2021. Their wedding was broadcast live on Vicky Prasetyo’s YouTube channel.

“Brother Vicky Prasetyo, I will marry you and I will marry you Vicky Prasetyo bin Hermanto to Erie Oktarani Binti Sardie Asairi with a dowry of a set of prayer tools and Rp130,321 paid in cash,” said the head of the village, Hasyim Adnani.

Vicky in a loud voice then replied “I accept the marriage and the marriage of Erie Oktarani bint Sardie Asairi with the dowry paid in cash.”

Their marriage was also held under strict health protocols. Considering the Covid-19 pandemic, which at that time was not over.

2. Marriage is called a setting

Vicky Prasetyi and Kalina Octaranny’s happiness was hit by oblique issues. The two are called only married because of the setting.

This is also without reason, because Vicky Prasetyo’s track record often changes partners and is often called setting marriage.

The news was denied by both. They often share their affection on each other’s Instagram. Kalina Octaranny also admitted that he was not interested in Vikcy Prasetyo until he finally melted because of the good nature of the man who was nicknamed the gladiator.

3. Split Signal

Not even a year into their marriage, Vicky Prasetyo and Kalina Octaranny’s household is said to have cracked. They even hinted at their separation on their respective personal Instagrams.

Like Vicky Prasetyo, who once uploaded a confused sentence on Instagram. He also apologized for all his mistakes because he couldn’t be a good leader. This upload is what triggers the issue of household rifts that often spread on social media.

“Finally all stopped at the age of one year. Sorry for all the mistakes as the captain on this boat trip,” wrote Vicky on Instagram Story.

The farewell signal got stronger when Kalina Ocktaranny uploaded a photo of the two-story house that was supposed to be hers on her Instagram Story. Kalina also said that she would occupy the house in the near future.

The reason is, the house is not too far from the residence of her ex-husband, Deddy Corbuzier. So, he can be close to his only son, Azka Corbuzier.

“Bismillah, give mom a little more time to keep mom’s promise to you, cha. So that I can stay close to you again, Mama’s love,” he continued.

4. Vicky Prasetyo Says Haven’t Dropped Divorce

Vikcy Prasetyo then opened his voice regarding the issue of his divorce with Kalina Octaranny. He admitted that he had not divorced the ex-wife of Deddy Corbuzier.

“From Kalina’s point of view, maybe yes (divorce), if she bids farewell, that’s her right, but from a personal perspective, there is no divorce,” said Vicky on Youtube Seleb Oncam News.

He says indeed the fight between them has been going on for a long time. But Vicky said he was trying to repair the relationship. If it can’t be fixed, he also admits that he will part on good terms.

5. Kalina Octaranny’s anger to the point of not being given alimony

Kalina Octaranny spilled her frustration on Vicky Prasetyo recently. He seemed annoyed after seeing the presenter visiting his mother, even though he thought he had never cared.

Kalina Octaranny also said that Vicky Prasetyo had asked for divorce many times in November 2021. In fact, he even said that he was no longer getting a living from the man he married on March 13, 2021.

“Don’t just corner me everywhere by being nice and wanting to defend. When in fact there is no income,” said Kalina Octaranny, quoted from Insta Story.

On that occasion, Kalina Octaranny also denied profiting from the news of their fractured relationship. He even admitted to avoiding the news.

We would like to give thanks to the author of this write-up for this outstanding web content

Facts about the Relationship of Vicky Prasetyo and Kalina Octaranny, Called Marriage Setting to Divorce: Okezone Celebrity

" } ["summary"]=> string(793) "JAKARTA– Vicky Prasetyo and Kalina Octaranny is back in the spotlight. The two are reportedly divorced, even though they have not yet been married for 1 year. The news was revealed by Kalina Octaranny around the end of December 2021. He even admitted that he had separated from his house and did not get a ... Read more" ["atom_content"]=> string(6710) "

JAKARTAVicky Prasetyo and Kalina Octaranny is back in the spotlight. The two are reportedly divorced, even though they have not yet been married for 1 year.

The news was revealed by Kalina Octaranny around the end of December 2021. He even admitted that he had separated from his house and did not get a living from the presenter. However, Vicky Prasetyo admitted that he had not divorced the woman he married in March 2021.

Well, to discuss more about the journey of their relationship. Here are the facts as summarized Okayzone, Thursday (20/1/2022).

1. Married

Vicky Prasetyo and Kalina Octarannya were serially married at The Lodge Golf at Jagorawi, Bogor, West Java, on March 13, 2021. Their wedding was broadcast live on Vicky Prasetyo’s YouTube channel.

“Brother Vicky Prasetyo, I will marry you and I will marry you Vicky Prasetyo bin Hermanto to Erie Oktarani Binti Sardie Asairi with a dowry of a set of prayer tools and Rp130,321 paid in cash,” said the head of the village, Hasyim Adnani.

Vicky in a loud voice then replied “I accept the marriage and the marriage of Erie Oktarani bint Sardie Asairi with the dowry paid in cash.”

Their marriage was also held under strict health protocols. Considering the Covid-19 pandemic, which at that time was not over.

2. Marriage is called a setting

Vicky Prasetyi and Kalina Octaranny’s happiness was hit by oblique issues. The two are called only married because of the setting.

This is also without reason, because Vicky Prasetyo’s track record often changes partners and is often called setting marriage.

The news was denied by both. They often share their affection on each other’s Instagram. Kalina Octaranny also admitted that he was not interested in Vikcy Prasetyo until he finally melted because of the good nature of the man who was nicknamed the gladiator.

3. Split Signal

Not even a year into their marriage, Vicky Prasetyo and Kalina Octaranny’s household is said to have cracked. They even hinted at their separation on their respective personal Instagrams.

Like Vicky Prasetyo, who once uploaded a confused sentence on Instagram. He also apologized for all his mistakes because he couldn’t be a good leader. This upload is what triggers the issue of household rifts that often spread on social media.

“Finally all stopped at the age of one year. Sorry for all the mistakes as the captain on this boat trip,” wrote Vicky on Instagram Story.

The farewell signal got stronger when Kalina Ocktaranny uploaded a photo of the two-story house that was supposed to be hers on her Instagram Story. Kalina also said that she would occupy the house in the near future.

The reason is, the house is not too far from the residence of her ex-husband, Deddy Corbuzier. So, he can be close to his only son, Azka Corbuzier.

“Bismillah, give mom a little more time to keep mom’s promise to you, cha. So that I can stay close to you again, Mama’s love,” he continued.

4. Vicky Prasetyo Says Haven’t Dropped Divorce

Vikcy Prasetyo then opened his voice regarding the issue of his divorce with Kalina Octaranny. He admitted that he had not divorced the ex-wife of Deddy Corbuzier.

“From Kalina’s point of view, maybe yes (divorce), if she bids farewell, that’s her right, but from a personal perspective, there is no divorce,” said Vicky on Youtube Seleb Oncam News.

He says indeed the fight between them has been going on for a long time. But Vicky said he was trying to repair the relationship. If it can’t be fixed, he also admits that he will part on good terms.

5. Kalina Octaranny’s anger to the point of not being given alimony

Kalina Octaranny spilled her frustration on Vicky Prasetyo recently. He seemed annoyed after seeing the presenter visiting his mother, even though he thought he had never cared.

Kalina Octaranny also said that Vicky Prasetyo had asked for divorce many times in November 2021. In fact, he even said that he was no longer getting a living from the man he married on March 13, 2021.

“Don’t just corner me everywhere by being nice and wanting to defend. When in fact there is no income,” said Kalina Octaranny, quoted from Insta Story.

On that occasion, Kalina Octaranny also denied profiting from the news of their fractured relationship. He even admitted to avoiding the news.

We would like to give thanks to the author of this write-up for this outstanding web content

Facts about the Relationship of Vicky Prasetyo and Kalina Octaranny, Called Marriage Setting to Divorce: Okezone Celebrity

" ["date_timestamp"]=> int(1642673085) } [1]=> array(11) { ["title"]=> string(150) "Vogelman Koks about nature policy in the Netherlands – More money, fewer larks – about the money that has supplanted farmers’ nature – Foodlog" ["link"]=> string(178) "https://wikileaksisdemocracy.org/lifestyle/vogelman-koks-about-nature-policy-in-the-netherlands-more-money-fewer-larks-about-the-money-that-has-supplanted-farmers-nature-foodlog/" ["dc"]=> array(1) { ["creator"]=> string(12) "Paula Hooper" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 09:03:37 +0000" ["category"]=> string(78) "LifestylefarmersFoodlogKokslarksmoneynatureNetherlandspolicysupplantedVogelman" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11509" ["description"]=> string(884) "The early seeds of becoming a bird researcher were already sown in the 1970s. My parents exchanged the village of Wormer for farmland in the Kop van Noord-Holland. I was a dreamy little boy who actually wanted to be a farmer. After school I could always be found at the neighbors who have a dairy ... Read more" ["content"]=> array(1) { ["encoded"]=> string(12784) "

The early seeds of becoming a bird researcher were already sown in the 1970s. My parents exchanged the village of Wormer for farmland in the Kop van Noord-Holland. I was a dreamy little boy who actually wanted to be a farmer. After school I could always be found at the neighbors who have a dairy farm. Black-tailed godwits around the corner, and the cows were still being milked with a mobile milking hut. In addition to black-tailed godwits, you saw turtle doves and partridges everywhere. During rambles in the region, you didn’t look up to the ruffs that silently flew around you. And skylarks everywhere, really everywhere. The number of skylarks was estimated at 750,000 pairs by Sovon Vogelonderzoek Nederland in those years. The term ‘Agricultural Nature Management’ did not yet exist.

Even then, there was already an urgency to support the declining numbers of meadow birds with policy. The Relations Memorandum Policy (1975) from the Den Uyl Cabinet was the first attempt to give the interweaving of nature and farmland a chance. At that time, black-tailed godwit, lapwing and oystercatcher were seen as little critical culture followers. Management agreements were concluded in defined areas. It was a time when the then still fairly objective government guaranteed knowledge gathering and the provinces sent the Provincial Planning Services (PPD) into the field with practical thinking ecologists to collect current data. Independent of course. In fact, meadow bird policy was reactive.

In the early 1990s, we lost the ortolan bunting and gray bunting, and the black-tailed godwit and skylark lines continued to decline. The reactions of the established nature organizations generally showed little ecological sense or knowledge of farming

alarm bells

In subsequent policy cycles, the stacks of reports increased but the number of farmland birds decreased commensurately. On a European scale, the decline of partridges, larks, meadow birds and other beauties continued almost silently.

Alarm bells started ringing in the Netherlands. Among other things, Vogelbescherming Nederland started to stir. The agricultural system, meanwhile, became more and more efficient, and the economic model that created it remained unchanged. With every growth spurt of the Common Agricultural Policy (CAP), small steps were sometimes taken to improve biodiversity in agricultural areas and then often giant steps back that evaporated small local successes.

In the early 1990s, we lost the ortolan bunting and gray bunting, and the black-tailed godwit and skylark lines continued to decline. The reactions of the established nature organizations generally showed little ecological sense or knowledge of farming. In that period, researchers who were mainly concerned with meadow birds focused their attention mainly on partial aspects of the ecology of – for example – the black-tailed godwit. Farmers who stood out as frontrunners in those years were looked at with pity by their colleagues or, conversely, they were blamed by nature organizations. I’ve known some of these frontrunners for decades. Despite all the good intentions, not much has changed for them personally; their lands have often become quieter and emptier.

At that time, the skylark still happily sang his lyrical tunes, but saw his breeding area shrink. In the late eighties and early nineties, the number of skylarks was estimated at a maximum of 300,000 pairs. The songbird, which also charmed William Shakespeare, was still quite numerous in this period on moors, the blond dunes and, for example, on and around military training grounds and airfields. That meant that skylarks and black-tailed godwits were still very much present in our minds and we were especially concerned about the almost extinct Montagu’s harriers that unexpectedly appeared in the Groningen fields.

Dance around the money pots
In the meantime, money pots became available. Researchers eagerly plunged into it and concentrated their dance for the money around the black-tailed godwit. Broadly speaking, farmers still shrugged their shoulders about the loss of biodiversity. The further intensification on Dutch farms made the mixed farms disappear efficiently. Arable farming, horticulture and dairy farming and other land-based agricultural forms were separated and many animal species associated with the old farmland disappeared almost silently. Think of the barn swallow, the linnet and the ring sparrow. This segregation also continued in European arable land, thanks to a rather energetic but also one-sided CAP.

In the 1990s, the rigid conception of separating the functions ‘nature’ and ‘nature in agricultural areas’ was abandoned. As a result, the budgets for meadow birds continued to swell and landscape restoration was started here and there. The limited scale at which these policy initiatives took place (and still take place) was meaningless for the population level of the vast majority of species. Researchers were mainly concerned with sub-aspects and then (and still do) have virtually no notion of the ecological limits within regular farming practice.

Attention for field birds
At the end of the eighties, attention was also paid to field birds. The work of various PPDs clearly showed that arable regions in, for example, Drenthe, Groningen, Zeeland and even Limburg, turned out to be of great national significance for partridge, skylark, yellow wagtail and yellowhammer. These were also the years when the first articles appeared describing the extinction of Montagu’s harrier, ortolan and red bunting.
The work of the enlightened hunters of the Nature and Environment Conservation Foundation (SBNL) with the partridge as standard-bearer kicked off. The Groningen work on field birds, initiated by the Groningen PPD, was a close second. At the time, it was hardly surprising that a handful of provincial officials stood at the cradle of new policy. In Groningen they certainly did not turn a blind eye to it.

Field bird policy
The Montagu’s Harrier could – as a belated inheritance from Mansholt – be seen as an unexpected windfall and thanks to the attention this graceful species was able to generate at the time, we developed policy on field birds for the first time. In this story a combination of a good press, a progressive CDA deputy, a handful of bold officials from the province of Groningen, the Ministry of Agriculture, Nature and Food Quality (at that time, with the regional directorates, an important player), the Rural Areas Agency (DLG) and a handful of volunteers who have been involved with Montagu’s harriers and field birds from the very beginning, a successful combination. It was a mix of idealism, convincing people and an unsatisfied hunger for knowledge, with the idea that special natural values ​​and modern agriculture could go hand in hand.

Meanwhile, the legacy of Mansholt, his European agricultural policy, showed nicely that extensification of arable farming in parts of Groningen and Drenthe had a direct effect on fairly rare species of birds of prey and owls, but the number of skylarks locally skyrocketed. Shakespeare would have been pleased, so would Mansholt. Suddenly a bright light appeared to flicker in the dark tunnel. It must be said that thanks to Deputy Jaap van Dijk the Groningen field birds and in particular the Montagu’s harriers became the white ravens of the national policy on farmland birds. However, the successes remained regional and are unfortunately poorly documented.

Species Policy
In terms of policy, the first cash flows got underway. In 1995 the ‘natural disaster’ package was tested and in 1997 implemented in policy terms. The birth of the national field bird policy took place near Midwolda on the land of farmer Zijlker. The province and DLG had a grip on this policy, where agreements were made at the kitchen tables at farmers’ homes for field birds. Nationally, meanwhile, the number of skylarks continued to decline.

With the expanding budgets for agri-environmental management, the almost romantic atmosphere surrounding the conservation of farmland birds began to give way to the money-driven approach that has now become the standard

The species policy was also created in the 1990s, a gem in national nature policy. In 1999 the Species Protection Plan Montagu’s Harrier saw the light of day in the richly decorated Groningen Statenzaal. This happened in the period when independent researchers and ‘policy’ could still find each other without political pressure and formed the basis for the development of a concept in which field birds and conventional farmers managed to find each other flawlessly.

In the meantime, the number of skylarks – both in agricultural and natural areas – continued to fall sharply and there are no convincing examples nationwide of approaches that make a difference to this species on a reasonable scale. The fact that the species dropped below the 100,000 pair mark speaks volumes.

bleacher
With the expanding budgets for agri-environmental management, the almost romantic atmosphere surrounding the conservation of farmland birds began to give way to the money-driven approach that has become the standard. Initially, governments still had a grip on the money flows towards goals, but that soon came to an end. After the Groningen deputy Henk Bleker had been able to practice ‘management’ by farmers in Groningen without too much political opposition, DLG and the LNV regional directorates were eliminated ingloriously in his high-profile years as State Secretary and without significant protests. After that, the gate of the dam was closed. I will come back to this in a later contribution.

Looking ahead
In a number of contributions to Foodlog, I will focus on the development of successful policy on field birds in the Netherlands in the early years when policymakers, enthusiasts and farmers began to realize the significance of the declining bird numbers. Knowledge gathering and enthusing farmers and policymakers went hand in hand. The subsequent introduction of increasing budgets for agri-environmental management paved the way for a policy on nature and landscape in agricultural areas that offers hardly any prospects for skylarks and other canaries in the agricultural coal mine.

The number of breeding skylarks has now fallen to less than 40,000 pairs, about the same number as the black-tailed godwit. Money flows have now been institutionalized around agricultural collectives. The development of realistic biodiverse concepts yields little or no result and lingers on showing good intentions and striving for support.

People who want to delve into this matter can read the book by Elvira Werkman (The man on the dike, 2020) or an essay by me (Birds show us the way, 2020), both published by KNNV Publishers.

We want to say thanks to the writer of this write-up for this outstanding web content

Vogelman Koks about nature policy in the Netherlands – More money, fewer larks – about the money that has supplanted farmers’ nature – Foodlog

" } ["summary"]=> string(884) "The early seeds of becoming a bird researcher were already sown in the 1970s. My parents exchanged the village of Wormer for farmland in the Kop van Noord-Holland. I was a dreamy little boy who actually wanted to be a farmer. After school I could always be found at the neighbors who have a dairy ... Read more" ["atom_content"]=> string(12784) "

The early seeds of becoming a bird researcher were already sown in the 1970s. My parents exchanged the village of Wormer for farmland in the Kop van Noord-Holland. I was a dreamy little boy who actually wanted to be a farmer. After school I could always be found at the neighbors who have a dairy farm. Black-tailed godwits around the corner, and the cows were still being milked with a mobile milking hut. In addition to black-tailed godwits, you saw turtle doves and partridges everywhere. During rambles in the region, you didn’t look up to the ruffs that silently flew around you. And skylarks everywhere, really everywhere. The number of skylarks was estimated at 750,000 pairs by Sovon Vogelonderzoek Nederland in those years. The term ‘Agricultural Nature Management’ did not yet exist.

Even then, there was already an urgency to support the declining numbers of meadow birds with policy. The Relations Memorandum Policy (1975) from the Den Uyl Cabinet was the first attempt to give the interweaving of nature and farmland a chance. At that time, black-tailed godwit, lapwing and oystercatcher were seen as little critical culture followers. Management agreements were concluded in defined areas. It was a time when the then still fairly objective government guaranteed knowledge gathering and the provinces sent the Provincial Planning Services (PPD) into the field with practical thinking ecologists to collect current data. Independent of course. In fact, meadow bird policy was reactive.

In the early 1990s, we lost the ortolan bunting and gray bunting, and the black-tailed godwit and skylark lines continued to decline. The reactions of the established nature organizations generally showed little ecological sense or knowledge of farming

alarm bells

In subsequent policy cycles, the stacks of reports increased but the number of farmland birds decreased commensurately. On a European scale, the decline of partridges, larks, meadow birds and other beauties continued almost silently.

Alarm bells started ringing in the Netherlands. Among other things, Vogelbescherming Nederland started to stir. The agricultural system, meanwhile, became more and more efficient, and the economic model that created it remained unchanged. With every growth spurt of the Common Agricultural Policy (CAP), small steps were sometimes taken to improve biodiversity in agricultural areas and then often giant steps back that evaporated small local successes.

In the early 1990s, we lost the ortolan bunting and gray bunting, and the black-tailed godwit and skylark lines continued to decline. The reactions of the established nature organizations generally showed little ecological sense or knowledge of farming. In that period, researchers who were mainly concerned with meadow birds focused their attention mainly on partial aspects of the ecology of – for example – the black-tailed godwit. Farmers who stood out as frontrunners in those years were looked at with pity by their colleagues or, conversely, they were blamed by nature organizations. I’ve known some of these frontrunners for decades. Despite all the good intentions, not much has changed for them personally; their lands have often become quieter and emptier.

At that time, the skylark still happily sang his lyrical tunes, but saw his breeding area shrink. In the late eighties and early nineties, the number of skylarks was estimated at a maximum of 300,000 pairs. The songbird, which also charmed William Shakespeare, was still quite numerous in this period on moors, the blond dunes and, for example, on and around military training grounds and airfields. That meant that skylarks and black-tailed godwits were still very much present in our minds and we were especially concerned about the almost extinct Montagu’s harriers that unexpectedly appeared in the Groningen fields.

Dance around the money pots
In the meantime, money pots became available. Researchers eagerly plunged into it and concentrated their dance for the money around the black-tailed godwit. Broadly speaking, farmers still shrugged their shoulders about the loss of biodiversity. The further intensification on Dutch farms made the mixed farms disappear efficiently. Arable farming, horticulture and dairy farming and other land-based agricultural forms were separated and many animal species associated with the old farmland disappeared almost silently. Think of the barn swallow, the linnet and the ring sparrow. This segregation also continued in European arable land, thanks to a rather energetic but also one-sided CAP.

In the 1990s, the rigid conception of separating the functions ‘nature’ and ‘nature in agricultural areas’ was abandoned. As a result, the budgets for meadow birds continued to swell and landscape restoration was started here and there. The limited scale at which these policy initiatives took place (and still take place) was meaningless for the population level of the vast majority of species. Researchers were mainly concerned with sub-aspects and then (and still do) have virtually no notion of the ecological limits within regular farming practice.

Attention for field birds
At the end of the eighties, attention was also paid to field birds. The work of various PPDs clearly showed that arable regions in, for example, Drenthe, Groningen, Zeeland and even Limburg, turned out to be of great national significance for partridge, skylark, yellow wagtail and yellowhammer. These were also the years when the first articles appeared describing the extinction of Montagu’s harrier, ortolan and red bunting.
The work of the enlightened hunters of the Nature and Environment Conservation Foundation (SBNL) with the partridge as standard-bearer kicked off. The Groningen work on field birds, initiated by the Groningen PPD, was a close second. At the time, it was hardly surprising that a handful of provincial officials stood at the cradle of new policy. In Groningen they certainly did not turn a blind eye to it.

Field bird policy
The Montagu’s Harrier could – as a belated inheritance from Mansholt – be seen as an unexpected windfall and thanks to the attention this graceful species was able to generate at the time, we developed policy on field birds for the first time. In this story a combination of a good press, a progressive CDA deputy, a handful of bold officials from the province of Groningen, the Ministry of Agriculture, Nature and Food Quality (at that time, with the regional directorates, an important player), the Rural Areas Agency (DLG) and a handful of volunteers who have been involved with Montagu’s harriers and field birds from the very beginning, a successful combination. It was a mix of idealism, convincing people and an unsatisfied hunger for knowledge, with the idea that special natural values ​​and modern agriculture could go hand in hand.

Meanwhile, the legacy of Mansholt, his European agricultural policy, showed nicely that extensification of arable farming in parts of Groningen and Drenthe had a direct effect on fairly rare species of birds of prey and owls, but the number of skylarks locally skyrocketed. Shakespeare would have been pleased, so would Mansholt. Suddenly a bright light appeared to flicker in the dark tunnel. It must be said that thanks to Deputy Jaap van Dijk the Groningen field birds and in particular the Montagu’s harriers became the white ravens of the national policy on farmland birds. However, the successes remained regional and are unfortunately poorly documented.

Species Policy
In terms of policy, the first cash flows got underway. In 1995 the ‘natural disaster’ package was tested and in 1997 implemented in policy terms. The birth of the national field bird policy took place near Midwolda on the land of farmer Zijlker. The province and DLG had a grip on this policy, where agreements were made at the kitchen tables at farmers’ homes for field birds. Nationally, meanwhile, the number of skylarks continued to decline.

With the expanding budgets for agri-environmental management, the almost romantic atmosphere surrounding the conservation of farmland birds began to give way to the money-driven approach that has now become the standard

The species policy was also created in the 1990s, a gem in national nature policy. In 1999 the Species Protection Plan Montagu’s Harrier saw the light of day in the richly decorated Groningen Statenzaal. This happened in the period when independent researchers and ‘policy’ could still find each other without political pressure and formed the basis for the development of a concept in which field birds and conventional farmers managed to find each other flawlessly.

In the meantime, the number of skylarks – both in agricultural and natural areas – continued to fall sharply and there are no convincing examples nationwide of approaches that make a difference to this species on a reasonable scale. The fact that the species dropped below the 100,000 pair mark speaks volumes.

bleacher
With the expanding budgets for agri-environmental management, the almost romantic atmosphere surrounding the conservation of farmland birds began to give way to the money-driven approach that has become the standard. Initially, governments still had a grip on the money flows towards goals, but that soon came to an end. After the Groningen deputy Henk Bleker had been able to practice ‘management’ by farmers in Groningen without too much political opposition, DLG and the LNV regional directorates were eliminated ingloriously in his high-profile years as State Secretary and without significant protests. After that, the gate of the dam was closed. I will come back to this in a later contribution.

Looking ahead
In a number of contributions to Foodlog, I will focus on the development of successful policy on field birds in the Netherlands in the early years when policymakers, enthusiasts and farmers began to realize the significance of the declining bird numbers. Knowledge gathering and enthusing farmers and policymakers went hand in hand. The subsequent introduction of increasing budgets for agri-environmental management paved the way for a policy on nature and landscape in agricultural areas that offers hardly any prospects for skylarks and other canaries in the agricultural coal mine.

The number of breeding skylarks has now fallen to less than 40,000 pairs, about the same number as the black-tailed godwit. Money flows have now been institutionalized around agricultural collectives. The development of realistic biodiverse concepts yields little or no result and lingers on showing good intentions and striving for support.

People who want to delve into this matter can read the book by Elvira Werkman (The man on the dike, 2020) or an essay by me (Birds show us the way, 2020), both published by KNNV Publishers.

We want to say thanks to the writer of this write-up for this outstanding web content

Vogelman Koks about nature policy in the Netherlands – More money, fewer larks – about the money that has supplanted farmers’ nature – Foodlog

" ["date_timestamp"]=> int(1642669417) } [2]=> array(11) { ["title"]=> string(89) "The List Representative: “In Sanremo with a new sound, a song with our” side B “”" ["link"]=> string(114) "https://wikileaksisdemocracy.org/shows/the-list-representative-in-sanremo-with-a-new-sound-a-song-with-our-side-b/" ["dc"]=> array(1) { ["creator"]=> string(11) "David Lonit" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 09:01:41 +0000" ["category"]=> string(39) "ShowsListRepresentativeSanremosongSound" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11503" ["description"]=> string(754) "«Return to Sanremo? And where was the time to write a song, after a year spent between record, book and tour? ». And instead, The List Representative the song already had it. After the consecration with “Amare”, Veronica Lucchesi and Dario Mangiaracina they return to the Festival with a totally different song, “Ciao Ciao”. Musically ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5271) "

«Return to Sanremo? And where was the time to write a song, after a year spent between record, book and tour? ». And instead, The List Representative the song already had it. After the consecration with “Amare”, Veronica Lucchesi and Dario Mangiaracina they return to the Festival with a totally different song, “Ciao Ciao”. Musically amusing stanzas, which lend the rhythmic breath to the splendid voice of Lucchesi.

Enrico Vanzina in pink: «With” Tre sorelle “I put women at the center. Between fragility and feelings “

«We wanted to close a circle that began last year – tell the two who will be on stage together with Enrico Lupi and Erica Lucchesi (Veronica’s sister) – A new sound, to tell the other side of LRDL ». More than anything else, the B side (given the cover of the song that responds to the vagina in the foreground of last year). «The song lends itself to many opportunities to vent on stage. This year Sanremo is our second chance. It was the artistic direction that wanted us strongly ».

That is Amadeus.
DM. “We really didn’t intend to participate (they laugh, ed). When we get bored, we write. And “Hello, Hello” was already written. We didn’t know it would be needed for the Festival ».

Third consecutive year at the Festival: guests of Rancore in 2020 and competing last year. What song is “Ciao Ciao”?

“There are those who say it refers to the 70s, others to the 80s. For us it is 2022, with the themes of the LRDL inside: the body, the book Maimamma, the end of the world”.

What is the end of the world?
VL: «The end of illusions. The end of certainties. The end of the games. But it can be an illuminating light, an opportunity to change and start over ”.

Is the reference to Covid?
VL: «It’s wider. I think about what is happening to the Earth that is pawing at the mistakes we are making. To the fear of death ».
DM: «The pandemic situation is inserted, there is the“ social vertigo ”, which is loneliness. The fear is that humanity can self-destruct. Said so it seems pathetic, but it is a literary topos. Remember “Don’t look up” (the last film with Di Caprio and Lawrence, ed). Man does not change easily. It is always that of wars. Art can direct the collective consciousness ».

Riccardo De Palo 19113626

Your end of the world?
DM. “Apart from the Covid we took? (They laugh, ed). We have had it, it is important to transform for the better. The choir that sings with Veronica “It’s up to us” means this ».
VL. «I have an end that I keep in mind, of which I still bear the signs of death allegorically speaking: the clear separation from the theater after a disappointment with the company we worked with. Difficult to deal with this end, but life has been turned upside down. It was a nice change ».

And there you are.
DM .: «This year it will be a real Sanremo, with the characters – Morandi, Zanicchi, Ranieri, Elisa – of the Festival that we were watching».
VL .: «Last year was more of a rupture, we were next to Madame, Colapesce and Dimartino, Coma_Cose, like a line up of an independent festival».

Is there a favorite?
“Morandi. We have long chats about making music. Like the one about his being an interpreter and we also authors. A nice comparison ».

WhatsApp Image 2022 01 19 at 11.31.42 19113639
The album cover with the “A side”


Last updated: Wednesday 19 January 2022, 13:22

© REPRODUCTION RESERVED

We want to say thanks to the author of this write-up for this outstanding material

The List Representative: “In Sanremo with a new sound, a song with our” side B “”

" } ["summary"]=> string(754) "«Return to Sanremo? And where was the time to write a song, after a year spent between record, book and tour? ». And instead, The List Representative the song already had it. After the consecration with “Amare”, Veronica Lucchesi and Dario Mangiaracina they return to the Festival with a totally different song, “Ciao Ciao”. Musically ... Read more" ["atom_content"]=> string(5271) "

«Return to Sanremo? And where was the time to write a song, after a year spent between record, book and tour? ». And instead, The List Representative the song already had it. After the consecration with “Amare”, Veronica Lucchesi and Dario Mangiaracina they return to the Festival with a totally different song, “Ciao Ciao”. Musically amusing stanzas, which lend the rhythmic breath to the splendid voice of Lucchesi.

Enrico Vanzina in pink: «With” Tre sorelle “I put women at the center. Between fragility and feelings “

«We wanted to close a circle that began last year – tell the two who will be on stage together with Enrico Lupi and Erica Lucchesi (Veronica’s sister) – A new sound, to tell the other side of LRDL ». More than anything else, the B side (given the cover of the song that responds to the vagina in the foreground of last year). «The song lends itself to many opportunities to vent on stage. This year Sanremo is our second chance. It was the artistic direction that wanted us strongly ».

That is Amadeus.
DM. “We really didn’t intend to participate (they laugh, ed). When we get bored, we write. And “Hello, Hello” was already written. We didn’t know it would be needed for the Festival ».

Third consecutive year at the Festival: guests of Rancore in 2020 and competing last year. What song is “Ciao Ciao”?

“There are those who say it refers to the 70s, others to the 80s. For us it is 2022, with the themes of the LRDL inside: the body, the book Maimamma, the end of the world”.

What is the end of the world?
VL: «The end of illusions. The end of certainties. The end of the games. But it can be an illuminating light, an opportunity to change and start over ”.

Is the reference to Covid?
VL: «It’s wider. I think about what is happening to the Earth that is pawing at the mistakes we are making. To the fear of death ».
DM: «The pandemic situation is inserted, there is the“ social vertigo ”, which is loneliness. The fear is that humanity can self-destruct. Said so it seems pathetic, but it is a literary topos. Remember “Don’t look up” (the last film with Di Caprio and Lawrence, ed). Man does not change easily. It is always that of wars. Art can direct the collective consciousness ».

Riccardo De Palo 19113626

Your end of the world?
DM. “Apart from the Covid we took? (They laugh, ed). We have had it, it is important to transform for the better. The choir that sings with Veronica “It’s up to us” means this ».
VL. «I have an end that I keep in mind, of which I still bear the signs of death allegorically speaking: the clear separation from the theater after a disappointment with the company we worked with. Difficult to deal with this end, but life has been turned upside down. It was a nice change ».

And there you are.
DM .: «This year it will be a real Sanremo, with the characters – Morandi, Zanicchi, Ranieri, Elisa – of the Festival that we were watching».
VL .: «Last year was more of a rupture, we were next to Madame, Colapesce and Dimartino, Coma_Cose, like a line up of an independent festival».

Is there a favorite?
“Morandi. We have long chats about making music. Like the one about his being an interpreter and we also authors. A nice comparison ».

WhatsApp Image 2022 01 19 at 11.31.42 19113639
The album cover with the “A side”


Last updated: Wednesday 19 January 2022, 13:22

© REPRODUCTION RESERVED

We want to say thanks to the author of this write-up for this outstanding material

The List Representative: “In Sanremo with a new sound, a song with our” side B “”

" ["date_timestamp"]=> int(1642669301) } [3]=> array(11) { ["title"]=> string(97) "Macbeth por los grandes maestros | Las versiones de Orson Welles, Akira Kurosawa y Roman Polanski" ["link"]=> string(138) "https://wikileaksisdemocracy.org/celebrity/macbeth-por-los-grandes-maestros-las-versiones-de-orson-welles-akira-kurosawa-y-roman-polanski/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 08:37:54 +0000" ["category"]=> string(86) "CelebrityAkiragrandesKurosawalaslosMacbethmaestrosOrsonPolanskiporRomanversionesWelles" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11497" ["description"]=> string(751) "Debió pasar medio siglo para que, después de tres versiones mudas dirigidas por realizadores varios (una curiosamente llamada When Macbeth came to Snakevilla), el cine se las viera finalmente cara a cara con el hombre que, en la ficción, reinó sobre Escocia entre 1040 y 1057. Fue Orson Welles, como era de esperarse, quien con ... Read more" ["content"]=> array(1) { ["encoded"]=> string(20330) "

Debió pasar medio siglo para que, después de tres versiones mudas dirigidas por realizadores varios (una curiosamente llamada When Macbeth came to Snakevilla), el cine se las viera finalmente cara a cara con el hombre que, en la ficción, reinó sobre Escocia entre 1040 y 1057. Fue Orson Welles, como era de esperarse, quien con parte del elenco del Mercury Theatre se puso en 1948 al frente de la primera versión plenamente cinematográfica de la quinta tragedia de William Shakespeare, estrenada en 1606. Para ello el hombretón de 1 metro 90 debió convencer, en la primera de sus artimañas profesionales, a los dueños de la Republic, un sello pequeño, dedicado a producir westerns del montón. Los de la Republic querían algo de prestigio a cambio de tiros, y el creador de El ciudadano se los dio.

Pero el sello se manejaba con presupuestos bastante menesterosos, por lo cual el hombre cuya contextura hacía honor a su nombre de pila, debió arreglarse con media docena de construcciones de (cartón) piedra, un elenco de desconocidos y 23 días de rodaje, menos de la mitad de lo que se estilaba en aquellos tiempos. “Si hubiera tenido un día más hubiera quedado mucho mejor”, bromeó el urso humano frente a Peter Bogdanovich. La primera opción de Welles para Lady Macbeth fue Vivien Leigh. Pero había un problema. La estrella de Lo que el viento se llevó estaba casada, y su marido era Laurence Olivier, algo así como “el dueño” de Shakespeare en el Hollywood de la época. Reculando, el autor de Sed de mal debió recurrir a la debutante Jeanette Nolan, miembro del Mercury Theatre, y el resto del elenco estuvo integrado por nombres que sólo los memoriosos del viejo Hollywood hoy recuerdan: Roddy McDowall, Dan O’Herlihy y Alan Napier.

Como de costumbre, el creador de La dama de Shanghai (su obra inmediatamente previa) supo no sólo arreglarse con lo que tenía, sino sacarle todo el jugo posible. Con unos pilotes de cartón armó las estructuras circulares de Stonehenge, ruinas paleolíticas que reubicaron la obra de Shakespeare en un paraje primitivo. Dada la pequeñez del estudio, los ejércitos no podían cabalgar más que unos metros en redondo, pero eso tampoco fue óbice: el avance del bosque de Birnam sobre Dunsinane tiene una cualidad irreal, fantasmagórica, alucinada. Para no hablar del mundo cavernario en el que parece asentarse el reinado de Macbeth, oscuro y húmedo, posible antecedente de la famosa secuencia de las alcantarillas de El tercer hombre, que según todos dicen fue idea de Welles y que se filmó al año siguiente de Macbeth. La humedad, el encierro, el carácter nocturnal y las gruesas sombras dan al Macbeth de Welles un clima pesadillesco, en sincronía con los malos sueños de los que el barón de Glamis no puede desprenderse por las noches. Otra utilización inteligente de las condiciones de producción: el reducido tamaño del estudio resulta esencial para ese sofoco, que como todos sabemos es menos físico que moral.

Detalle interesante. Dubitativo, acosado por sus fantasmas, “demasiado humano”, Macbeth es el menos wellesiano de los personajes de Welles, que como se sabe eran siempre bigger than life. Pero si hay un hallazgo brillante que Welles le impone a Shakespeare es el del muñeco de barro que representa al rey asesino, y que las tres brujas –que van punteando el relato, como verdaderas demiurgas– moldean, variante herética de la Biblia y de la leyenda judía del Golem, que pone a Shakespeare al borde mismo del vudú.

Noh a Macbeth

Una década más tarde el cine volvió a hacer honor a la parábola shakesperiana sobre la ambición, con otra rendición que no cedió un ápice al teatro filmado (algo que no puede decirse del Hamlet de Olivier). En 1957, Akira Kurosawa comprendió que el estado de anarquía y desangramientos sucesorios de la Escocia del siglo XI se correspondía con los de los siglos de guerras feudales en su país, iniciadas a mediados del XV y conocidas, justamente, como la Era del País de la Guerra. La acción central toma lugar en el llamado Castillo de la Red de Araña, ubicado a la vera del bosque homónimo, y ése es también el título original de ésta, la primera adaptación de Shakespeare hecha por el realizador de Ran (su otra trasposición shakesperiana). Pero ojo, que en ninguna de ambas los créditos dan cuenta de esa deuda.

A Kurosawa, la conversión no le cuesta nada. Si bien en el momento de rodar Trono de sangre había filmado una sola película de samuráis (la más famosa de todas, Los siete samuráis), fue aquí donde el autor de Rashomon descubrió que las cabalgatas como ráfagas, la secuenciación enérgica, los inesperados ingresos de personajes en el plano, la severidad marcial, las líneas oblicuas para alinear a los guerreros, las coreografías de acción y los cortes certeros (de montaje y de los otros) habían sido hechos para él. El rey Duncan de la original es aquí Tsuzuki, el Señor del castillo, dos de cuyos comandantes de confianza son Washizu (émulo de Macbeth, interpretado por Toshiro Mifune) y Miki (equivalente de Banquo). No se lucha contra los noruegos sino contra otros shogunes, y la acción se ve desencadenada, como en el original, por un espíritu sobrenatural. En la cultura japonesa las brujas son menos frecuentes que los fantasmas, por lo cual en este caso se trata de una de ellos, que, como el Destino, hace girar y girar su rueda de hilandera, en medio de una suerte de huevo cegador de tan blanco. Por otra trasposición cultural, este fantasma no aparece como un ser maligno sino como una suerte de sabio, que en lugar de condenar a Macbeth y Banquo parecería advertirles del peligro que se cierne sobre ellos. De poco le servirá.

Tan desentendida del pentámetro yámbico como Welles, la anécdota de Trono de sangre respeta básicamente la del original, con una ventaja inestimable: Asaji (Isuzu Yamada) es la mejor Lady Macbeth que haya dado el cine. Más cargada de maquillaje que una estrella de j-pop y de rostro tan inescrutable como indica el teatro noh –en el que Kurosawa halló inspiración– Asaji se mantiene sentada, inmóvil, en el centro del cuarto nupcial, mientras vuelca en el oído de su marido, con vocecita casi inaudible, la idea de que más vale empezar a matar gente, antes de que lo maten. Luego se incorpora, dulcemente, y se marcha haciendo sisear el kimono, con desplazamientos más de sirena que de mujer humana. En un gran momento, se dirige a una puerta abierta y la cámara, tomándola de atrás, la deja hundirse en el negro absoluto de la noche, de donde emergerá más tarde con dos hermosas dagas. Otro gran gesto estético de AK es dejar toda la escena del crimen fuera de campo, como queriendo decir “¿Vieron que si quiero también puedo hacer teatro?”

Tal como indica el canon trágico, y tal como lo hizo reiteradamente a lo largo de su obra (en Ran, sobre todo), Kurosawa pone la entropía humana en el marco o como desencadenante de un estado de conmoción de los elementos, hechos de ventarrones, nubes de polvo, nieblas y espesas tormentas (¡Atención, siglo XXI!). No es un rey el asesinado, es el cosmos entero. La escena más famosa es la final, cuando sus propios hombres se rebelan contra Washizu (la “máscara” feroz de Mifune proviene también del noh), haciendo llover sobre él una tempestad de flechas, que va tejiendo una red metálica a su alrededor. Una red de araña, como la que da nombre al castillo que el traidor usurpó y donde va a perecer.

El Macbeth de la sangre

Lo que siempre se dijo del Macbeth de Roman Polanski es que era eso, o el suicidio. En 1969 la “familia” Manson había asesinado a cuchilladas a la mujer de Polanski, Sharon Tate, que portaba un embarazo casi a término. Tras eso, el realizador de El bebé de Rosemary, a quien esa película había elevado en 1968 a la triple cima del éxito, la consideración artística y la popularidad, se retiró del cine. Volvió dos años más tarde, con lo que a la larga sería la primera de su larga serie de adaptaciones de obras literarias y teatrales, muchas de ellas de autores consumados. “Si no hago correr sangre simbólica va a ser peor”, parece haberse dicho Polanski, y eso es lo que caracteriza la versión coescrita junto al dramaturgo Kenneth Tynan.

Paramount, Universal y la Metro prefirieron hacerse a un lado, tal vez temiendo alguna clase de maldición. El que no tuvo ningún problema fue Hugh Heffner, para quien Sharon Tate había posado en Playboy, y fue finalmente él quien produjo la película. Contradiciendo el canon que asocia a Macbeth, su esposa y las brujas con la niebla y la noche cerrada, la versión-Polanski transcurre en buena medida a pleno sol. Como Tess, La muerte y la doncella, Oliver Twist o Un dios salvaje, el Macbeth de Polanski es académico, respetuoso del original, con todos los trajes, parques y castillos en su lugar. Salvo un par de curiosidades, producto de una investigación historiográfica emprendida por el realizador y su coguionista. Durante su soliloquio en estado de sonambulismo, Lady Macbeth aparece desnuda (detalle con el que Heffner no habrá tenido ningún inconveniente), y además, cuando los invitados se quedan a pasar la noche en el castillo de Macbeth, lo hacen acostándose directamente sobre el piso o entre el heno, junto a los animales. Costumbre que Tynan jura que allá por el siglo XI era cierta.

Jon Finch y Francesca Annis son seguramente los Macbeth & Sra. más flojos de todas las versiones conocidas, dando la sensación de que están más preocupados por la salud de su ganado que por haber asesinado al rey. De todos modos, a la hora de matar vaya si lo hacen, con abundancia de efluvios de color rojo. Lo contrario de Kurosawa: mientras éste elige no mostrar las escenas más violentas, Polanski lo hace con generosidad. O por necesidad, más probablemente.

Pulp Fiction Siglo XVII

“Fue una idea de Frances”, reconoce Joel Coen en relación con su primer intento en solitario, tras una carrera de casi 40 años y cerca de veinte títulos junto a su hermano Ethan. Frances es Frances McDormand, su esposa desde 1984, ganadora del Oscar el año pasado por Nomadland y Lady Macbeth aquí. “Quería hacer Shakespeare para las personas que no quieren ver a Shakespeare, o que incluso podrían sentirse intimidadas por él”, aseguró Joel Coen ante el periódico británico The Guardian. “Pero quería preservar el texto, porque esa es la melodía de la cosa, y quería descubrir cómo obtener el ritmo que atraviesa todo el asunto sin descanso, como una película de asesinatos”. Bueno, no habrá policías ni investigaciones, pero es verdad que entre otras cosas, Macbeth (ver crítica aparte) es eso.

Coen va más allá y arriesga que la obra de Shakespeare es la primera película (¿?) de suspenso. ¿Suspenso por qué? ¿Descubrirán finalmente quién es el asesino? Si fuera por eso, Hamlet la precede. En cualquier caso, copa de gin de por medio en un coqueto hotel boutique londinense, pueden decirse cosas así. Y con dos copas, “es asombroso cómo esta obra prefigura los tropos del pulp noir del siglo XX”. ¿Una preanunciación de Pacto de sangre, con Macbeth anticipando el personaje de Fred McMurray, y Barbara Stanwyck como una Lady Macbeth-araña de cadenita en el tobillo? En realidad, la Phyllis Dietrichson de Pacto de sangre es, aunque parezca imposible, más mala que su antecesora: mientras ésta convence a su marido de defender “el negocio familiar”, la rubia de James Cain usa al crédulo en su propio y exclusivo beneficio.

“Ésta es una película que no le interesaba a Ethan, por eso decidí hacerla solo”, continúa Coen. ¿Cómo la hizo? En principio, abstrayéndola de tiempo y espacio, con vestimentas atemporales, palacios que consisten apenas en ventanas, arcos, dinteles, algún que otro pasillo. No usa el blanco y negro de alta definición para generar contrastes de luces y sombras, como Welles y Kurosawa, sino una luz abundante y pareja, con eventuales chorros cegadores cayendo sobre algún hemiciclo. El Macbeth de Joel Coen tiende a la abstracción, al vacío temporal, a un despojamiento casi absoluto. Todo ello para que el drama quede al desnudo, podría conjeturarse. Desnudo, a distancia y a baja temperatura. Pero una cosa es desdramatizar cuando el protagonista es un tipo elusivo, incognoscible, como el de El hombre que nunca estuvo allí, Un hombre serio e Inside Llewyn Davis, y otra cuando se trata de un trágico torturado por la culpa, la paranoia y los malos sueños.

We wish to give thanks to the author of this article for this remarkable web content

Macbeth por los grandes maestros | Las versiones de Orson Welles, Akira Kurosawa y Roman Polanski

" } ["summary"]=> string(751) "Debió pasar medio siglo para que, después de tres versiones mudas dirigidas por realizadores varios (una curiosamente llamada When Macbeth came to Snakevilla), el cine se las viera finalmente cara a cara con el hombre que, en la ficción, reinó sobre Escocia entre 1040 y 1057. Fue Orson Welles, como era de esperarse, quien con ... Read more" ["atom_content"]=> string(20330) "

Debió pasar medio siglo para que, después de tres versiones mudas dirigidas por realizadores varios (una curiosamente llamada When Macbeth came to Snakevilla), el cine se las viera finalmente cara a cara con el hombre que, en la ficción, reinó sobre Escocia entre 1040 y 1057. Fue Orson Welles, como era de esperarse, quien con parte del elenco del Mercury Theatre se puso en 1948 al frente de la primera versión plenamente cinematográfica de la quinta tragedia de William Shakespeare, estrenada en 1606. Para ello el hombretón de 1 metro 90 debió convencer, en la primera de sus artimañas profesionales, a los dueños de la Republic, un sello pequeño, dedicado a producir westerns del montón. Los de la Republic querían algo de prestigio a cambio de tiros, y el creador de El ciudadano se los dio.

Pero el sello se manejaba con presupuestos bastante menesterosos, por lo cual el hombre cuya contextura hacía honor a su nombre de pila, debió arreglarse con media docena de construcciones de (cartón) piedra, un elenco de desconocidos y 23 días de rodaje, menos de la mitad de lo que se estilaba en aquellos tiempos. “Si hubiera tenido un día más hubiera quedado mucho mejor”, bromeó el urso humano frente a Peter Bogdanovich. La primera opción de Welles para Lady Macbeth fue Vivien Leigh. Pero había un problema. La estrella de Lo que el viento se llevó estaba casada, y su marido era Laurence Olivier, algo así como “el dueño” de Shakespeare en el Hollywood de la época. Reculando, el autor de Sed de mal debió recurrir a la debutante Jeanette Nolan, miembro del Mercury Theatre, y el resto del elenco estuvo integrado por nombres que sólo los memoriosos del viejo Hollywood hoy recuerdan: Roddy McDowall, Dan O’Herlihy y Alan Napier.

Como de costumbre, el creador de La dama de Shanghai (su obra inmediatamente previa) supo no sólo arreglarse con lo que tenía, sino sacarle todo el jugo posible. Con unos pilotes de cartón armó las estructuras circulares de Stonehenge, ruinas paleolíticas que reubicaron la obra de Shakespeare en un paraje primitivo. Dada la pequeñez del estudio, los ejércitos no podían cabalgar más que unos metros en redondo, pero eso tampoco fue óbice: el avance del bosque de Birnam sobre Dunsinane tiene una cualidad irreal, fantasmagórica, alucinada. Para no hablar del mundo cavernario en el que parece asentarse el reinado de Macbeth, oscuro y húmedo, posible antecedente de la famosa secuencia de las alcantarillas de El tercer hombre, que según todos dicen fue idea de Welles y que se filmó al año siguiente de Macbeth. La humedad, el encierro, el carácter nocturnal y las gruesas sombras dan al Macbeth de Welles un clima pesadillesco, en sincronía con los malos sueños de los que el barón de Glamis no puede desprenderse por las noches. Otra utilización inteligente de las condiciones de producción: el reducido tamaño del estudio resulta esencial para ese sofoco, que como todos sabemos es menos físico que moral.

Detalle interesante. Dubitativo, acosado por sus fantasmas, “demasiado humano”, Macbeth es el menos wellesiano de los personajes de Welles, que como se sabe eran siempre bigger than life. Pero si hay un hallazgo brillante que Welles le impone a Shakespeare es el del muñeco de barro que representa al rey asesino, y que las tres brujas –que van punteando el relato, como verdaderas demiurgas– moldean, variante herética de la Biblia y de la leyenda judía del Golem, que pone a Shakespeare al borde mismo del vudú.

Noh a Macbeth

Una década más tarde el cine volvió a hacer honor a la parábola shakesperiana sobre la ambición, con otra rendición que no cedió un ápice al teatro filmado (algo que no puede decirse del Hamlet de Olivier). En 1957, Akira Kurosawa comprendió que el estado de anarquía y desangramientos sucesorios de la Escocia del siglo XI se correspondía con los de los siglos de guerras feudales en su país, iniciadas a mediados del XV y conocidas, justamente, como la Era del País de la Guerra. La acción central toma lugar en el llamado Castillo de la Red de Araña, ubicado a la vera del bosque homónimo, y ése es también el título original de ésta, la primera adaptación de Shakespeare hecha por el realizador de Ran (su otra trasposición shakesperiana). Pero ojo, que en ninguna de ambas los créditos dan cuenta de esa deuda.

A Kurosawa, la conversión no le cuesta nada. Si bien en el momento de rodar Trono de sangre había filmado una sola película de samuráis (la más famosa de todas, Los siete samuráis), fue aquí donde el autor de Rashomon descubrió que las cabalgatas como ráfagas, la secuenciación enérgica, los inesperados ingresos de personajes en el plano, la severidad marcial, las líneas oblicuas para alinear a los guerreros, las coreografías de acción y los cortes certeros (de montaje y de los otros) habían sido hechos para él. El rey Duncan de la original es aquí Tsuzuki, el Señor del castillo, dos de cuyos comandantes de confianza son Washizu (émulo de Macbeth, interpretado por Toshiro Mifune) y Miki (equivalente de Banquo). No se lucha contra los noruegos sino contra otros shogunes, y la acción se ve desencadenada, como en el original, por un espíritu sobrenatural. En la cultura japonesa las brujas son menos frecuentes que los fantasmas, por lo cual en este caso se trata de una de ellos, que, como el Destino, hace girar y girar su rueda de hilandera, en medio de una suerte de huevo cegador de tan blanco. Por otra trasposición cultural, este fantasma no aparece como un ser maligno sino como una suerte de sabio, que en lugar de condenar a Macbeth y Banquo parecería advertirles del peligro que se cierne sobre ellos. De poco le servirá.

Tan desentendida del pentámetro yámbico como Welles, la anécdota de Trono de sangre respeta básicamente la del original, con una ventaja inestimable: Asaji (Isuzu Yamada) es la mejor Lady Macbeth que haya dado el cine. Más cargada de maquillaje que una estrella de j-pop y de rostro tan inescrutable como indica el teatro noh –en el que Kurosawa halló inspiración– Asaji se mantiene sentada, inmóvil, en el centro del cuarto nupcial, mientras vuelca en el oído de su marido, con vocecita casi inaudible, la idea de que más vale empezar a matar gente, antes de que lo maten. Luego se incorpora, dulcemente, y se marcha haciendo sisear el kimono, con desplazamientos más de sirena que de mujer humana. En un gran momento, se dirige a una puerta abierta y la cámara, tomándola de atrás, la deja hundirse en el negro absoluto de la noche, de donde emergerá más tarde con dos hermosas dagas. Otro gran gesto estético de AK es dejar toda la escena del crimen fuera de campo, como queriendo decir “¿Vieron que si quiero también puedo hacer teatro?”

Tal como indica el canon trágico, y tal como lo hizo reiteradamente a lo largo de su obra (en Ran, sobre todo), Kurosawa pone la entropía humana en el marco o como desencadenante de un estado de conmoción de los elementos, hechos de ventarrones, nubes de polvo, nieblas y espesas tormentas (¡Atención, siglo XXI!). No es un rey el asesinado, es el cosmos entero. La escena más famosa es la final, cuando sus propios hombres se rebelan contra Washizu (la “máscara” feroz de Mifune proviene también del noh), haciendo llover sobre él una tempestad de flechas, que va tejiendo una red metálica a su alrededor. Una red de araña, como la que da nombre al castillo que el traidor usurpó y donde va a perecer.

El Macbeth de la sangre

Lo que siempre se dijo del Macbeth de Roman Polanski es que era eso, o el suicidio. En 1969 la “familia” Manson había asesinado a cuchilladas a la mujer de Polanski, Sharon Tate, que portaba un embarazo casi a término. Tras eso, el realizador de El bebé de Rosemary, a quien esa película había elevado en 1968 a la triple cima del éxito, la consideración artística y la popularidad, se retiró del cine. Volvió dos años más tarde, con lo que a la larga sería la primera de su larga serie de adaptaciones de obras literarias y teatrales, muchas de ellas de autores consumados. “Si no hago correr sangre simbólica va a ser peor”, parece haberse dicho Polanski, y eso es lo que caracteriza la versión coescrita junto al dramaturgo Kenneth Tynan.

Paramount, Universal y la Metro prefirieron hacerse a un lado, tal vez temiendo alguna clase de maldición. El que no tuvo ningún problema fue Hugh Heffner, para quien Sharon Tate había posado en Playboy, y fue finalmente él quien produjo la película. Contradiciendo el canon que asocia a Macbeth, su esposa y las brujas con la niebla y la noche cerrada, la versión-Polanski transcurre en buena medida a pleno sol. Como Tess, La muerte y la doncella, Oliver Twist o Un dios salvaje, el Macbeth de Polanski es académico, respetuoso del original, con todos los trajes, parques y castillos en su lugar. Salvo un par de curiosidades, producto de una investigación historiográfica emprendida por el realizador y su coguionista. Durante su soliloquio en estado de sonambulismo, Lady Macbeth aparece desnuda (detalle con el que Heffner no habrá tenido ningún inconveniente), y además, cuando los invitados se quedan a pasar la noche en el castillo de Macbeth, lo hacen acostándose directamente sobre el piso o entre el heno, junto a los animales. Costumbre que Tynan jura que allá por el siglo XI era cierta.

Jon Finch y Francesca Annis son seguramente los Macbeth & Sra. más flojos de todas las versiones conocidas, dando la sensación de que están más preocupados por la salud de su ganado que por haber asesinado al rey. De todos modos, a la hora de matar vaya si lo hacen, con abundancia de efluvios de color rojo. Lo contrario de Kurosawa: mientras éste elige no mostrar las escenas más violentas, Polanski lo hace con generosidad. O por necesidad, más probablemente.

Pulp Fiction Siglo XVII

“Fue una idea de Frances”, reconoce Joel Coen en relación con su primer intento en solitario, tras una carrera de casi 40 años y cerca de veinte títulos junto a su hermano Ethan. Frances es Frances McDormand, su esposa desde 1984, ganadora del Oscar el año pasado por Nomadland y Lady Macbeth aquí. “Quería hacer Shakespeare para las personas que no quieren ver a Shakespeare, o que incluso podrían sentirse intimidadas por él”, aseguró Joel Coen ante el periódico británico The Guardian. “Pero quería preservar el texto, porque esa es la melodía de la cosa, y quería descubrir cómo obtener el ritmo que atraviesa todo el asunto sin descanso, como una película de asesinatos”. Bueno, no habrá policías ni investigaciones, pero es verdad que entre otras cosas, Macbeth (ver crítica aparte) es eso.

Coen va más allá y arriesga que la obra de Shakespeare es la primera película (¿?) de suspenso. ¿Suspenso por qué? ¿Descubrirán finalmente quién es el asesino? Si fuera por eso, Hamlet la precede. En cualquier caso, copa de gin de por medio en un coqueto hotel boutique londinense, pueden decirse cosas así. Y con dos copas, “es asombroso cómo esta obra prefigura los tropos del pulp noir del siglo XX”. ¿Una preanunciación de Pacto de sangre, con Macbeth anticipando el personaje de Fred McMurray, y Barbara Stanwyck como una Lady Macbeth-araña de cadenita en el tobillo? En realidad, la Phyllis Dietrichson de Pacto de sangre es, aunque parezca imposible, más mala que su antecesora: mientras ésta convence a su marido de defender “el negocio familiar”, la rubia de James Cain usa al crédulo en su propio y exclusivo beneficio.

“Ésta es una película que no le interesaba a Ethan, por eso decidí hacerla solo”, continúa Coen. ¿Cómo la hizo? En principio, abstrayéndola de tiempo y espacio, con vestimentas atemporales, palacios que consisten apenas en ventanas, arcos, dinteles, algún que otro pasillo. No usa el blanco y negro de alta definición para generar contrastes de luces y sombras, como Welles y Kurosawa, sino una luz abundante y pareja, con eventuales chorros cegadores cayendo sobre algún hemiciclo. El Macbeth de Joel Coen tiende a la abstracción, al vacío temporal, a un despojamiento casi absoluto. Todo ello para que el drama quede al desnudo, podría conjeturarse. Desnudo, a distancia y a baja temperatura. Pero una cosa es desdramatizar cuando el protagonista es un tipo elusivo, incognoscible, como el de El hombre que nunca estuvo allí, Un hombre serio e Inside Llewyn Davis, y otra cuando se trata de un trágico torturado por la culpa, la paranoia y los malos sueños.

We wish to give thanks to the author of this article for this remarkable web content

Macbeth por los grandes maestros | Las versiones de Orson Welles, Akira Kurosawa y Roman Polanski

" ["date_timestamp"]=> int(1642667874) } [4]=> array(11) { ["title"]=> string(14) "Sidney Poitier" ["link"]=> string(58) "https://wikileaksisdemocracy.org/celebrity/sidney-poitier/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 08:22:27 +0000" ["category"]=> string(22) "CelebrityPoitierSidney" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11491" ["description"]=> string(481) "Those of us who, like me, have lived for so many years, and who, moreover, have been, like me, unrepentant movie buffs since early childhood, the death of the great stars of the screen shows us that the transition is irreversible. This writer, whose memory is intact, remembers those who were his celluloid friends, a ... Read more" ["content"]=> array(1) { ["encoded"]=> string(3838) "

Those of us who, like me, have lived for so many years, and who, moreover, have been, like me, unrepentant movie buffs since early childhood, the death of the great stars of the screen shows us that the transition is irreversible.

This writer, whose memory is intact, remembers those who were his celluloid friends, a friendship that emerged in the shadows of the Boyacá and Sarmiento theaters in the beloved town.

Elizabeth Taylor, very young, captivated us in Fire of Youth, in which she dared to compete in a horse race posing as a male jockey. This pretty girl later became one of the great actresses and her performances in A Walk in the Sun, Cleopatra, and Cat on a Hot Roof are immortal. His death caused me deep sorrow.

I also had the sad news of the deaths of Gregory Peck, Lee Marvin, Yul Brynner and Fred Astaire; and before them, very young, Montgomery Clift and Steve McQueen. And not to mention the women: Marilyn Monroe and Natalie Wood left in the fullness of their beauty.
Recently Kirk Douglas went to the other dimension, leaving us the image of Spartacus.

Today I want to pay tribute to Sidney Poitier, who passed away a few days ago at the age of 95. A black actor who opened the doors of Hollywood to men and women of his race who until his appearance on theater marquees were only called to play servile roles as hotel porters or fat cooks, as Hattie McDaniel, winner of the Oscar in 1939 as a supporting actress in Gone with the Wind, and she was not allowed, because she was black, to enter the theater to receive the award.
In my opinion, the worst humiliation for that ethnic group was given by Al Jolson, the famous singer and actor who smeared his face to appear black and thus make his audience laugh.

Sidney Poitier changed all that dark panorama. I was fortunate to see all of his films as soon as they appeared on theater billboards or in press advertisements. Over there I saw the list that an admirer of the star made of the best, and I fully agree.

These are: A Ray of Light (1950), in which he shares credits with Richard Widmarck, whose villain roles elevated him; Evil Seed (1955); The free slave (1957); Fugitives (1958); The lilies of the valley (1963); A patch of blue (1965); To the teacher with affection (1967); In the heat of the night (1967); and Guess Who’s Coming to Dinner (1967), in which he was at the height of his co-stars, Katharine Hepburn and Spencer Tracy, that pair of ‘sacred monsters’ of the cinematograph.

If I were required to reduce this list, I would choose Fugitives, a film that follows the escape of two prisoners, one white and one black -Poitier and Tony Curtis- tied to a chain who have to put up with each other in the middle of their racial tensions.

It would also include In the Heat of the Night, which earned his partner Rod Steiger the Oscar. In the last two boxes I would put Guess who’s coming to dinner, for his extraordinary performance as a black doctor in love with a beautiful and distinguished blonde girl, when discrimination in the United States was tremendous. And it would conclude with The Lilies of the Valley, a tender film for which he won the Oscar in 1964.

We want to say thanks to the writer of this article for this remarkable web content

Sidney Poitier

" } ["summary"]=> string(481) "Those of us who, like me, have lived for so many years, and who, moreover, have been, like me, unrepentant movie buffs since early childhood, the death of the great stars of the screen shows us that the transition is irreversible. This writer, whose memory is intact, remembers those who were his celluloid friends, a ... Read more" ["atom_content"]=> string(3838) "

Those of us who, like me, have lived for so many years, and who, moreover, have been, like me, unrepentant movie buffs since early childhood, the death of the great stars of the screen shows us that the transition is irreversible.

This writer, whose memory is intact, remembers those who were his celluloid friends, a friendship that emerged in the shadows of the Boyacá and Sarmiento theaters in the beloved town.

Elizabeth Taylor, very young, captivated us in Fire of Youth, in which she dared to compete in a horse race posing as a male jockey. This pretty girl later became one of the great actresses and her performances in A Walk in the Sun, Cleopatra, and Cat on a Hot Roof are immortal. His death caused me deep sorrow.

I also had the sad news of the deaths of Gregory Peck, Lee Marvin, Yul Brynner and Fred Astaire; and before them, very young, Montgomery Clift and Steve McQueen. And not to mention the women: Marilyn Monroe and Natalie Wood left in the fullness of their beauty.
Recently Kirk Douglas went to the other dimension, leaving us the image of Spartacus.

Today I want to pay tribute to Sidney Poitier, who passed away a few days ago at the age of 95. A black actor who opened the doors of Hollywood to men and women of his race who until his appearance on theater marquees were only called to play servile roles as hotel porters or fat cooks, as Hattie McDaniel, winner of the Oscar in 1939 as a supporting actress in Gone with the Wind, and she was not allowed, because she was black, to enter the theater to receive the award.
In my opinion, the worst humiliation for that ethnic group was given by Al Jolson, the famous singer and actor who smeared his face to appear black and thus make his audience laugh.

Sidney Poitier changed all that dark panorama. I was fortunate to see all of his films as soon as they appeared on theater billboards or in press advertisements. Over there I saw the list that an admirer of the star made of the best, and I fully agree.

These are: A Ray of Light (1950), in which he shares credits with Richard Widmarck, whose villain roles elevated him; Evil Seed (1955); The free slave (1957); Fugitives (1958); The lilies of the valley (1963); A patch of blue (1965); To the teacher with affection (1967); In the heat of the night (1967); and Guess Who’s Coming to Dinner (1967), in which he was at the height of his co-stars, Katharine Hepburn and Spencer Tracy, that pair of ‘sacred monsters’ of the cinematograph.

If I were required to reduce this list, I would choose Fugitives, a film that follows the escape of two prisoners, one white and one black -Poitier and Tony Curtis- tied to a chain who have to put up with each other in the middle of their racial tensions.

It would also include In the Heat of the Night, which earned his partner Rod Steiger the Oscar. In the last two boxes I would put Guess who’s coming to dinner, for his extraordinary performance as a black doctor in love with a beautiful and distinguished blonde girl, when discrimination in the United States was tremendous. And it would conclude with The Lilies of the Valley, a tender film for which he won the Oscar in 1964.

We want to say thanks to the writer of this article for this remarkable web content

Sidney Poitier

" ["date_timestamp"]=> int(1642666947) } [5]=> array(11) { ["title"]=> string(136) "After Missing God 19, Lyodra, Once, Mulan, Virzha Until Hanin Dhiya Enlivens The Amazing Concert Stage Tomorrow Night: Okezone Celebrity" ["link"]=> string(171) "https://wikileaksisdemocracy.org/shows/after-missing-god-19-lyodra-once-mulan-virzha-until-hanin-dhiya-enlivens-the-amazing-concert-stage-tomorrow-night-okezone-celebrity/" ["dc"]=> array(1) { ["creator"]=> string(11) "David Lonit" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 03:00:51 +0000" ["category"]=> string(98) "ShowsAmazingCelebrityconcertDhiyaEnlivensGodHaninLyodraMissingMulanNightOkezonestagetomorrowVirzha" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11485" ["description"]=> string(858) "“ALL your longing words make me helpless” Admittedly, you must have read the lyrics while singing, right? Well, of course I agree, Dewa 19’s hit songs adorn various memories of our life stories. From heart-rending sad songs to uplifting songs that give us all positive energy. Tomorrow night at 21.15 WIB on GTV, is the ... Read more" ["content"]=> array(1) { ["encoded"]=> string(4848) "

“ALL your longing words make me helpless”

Admittedly, you must have read the lyrics while singing, right? Well, of course I agree, Dewa 19’s hit songs adorn various memories of our life stories. From heart-rending sad songs to uplifting songs that give us all positive energy.

Tomorrow night at 21.15 WIB on GTV, is the perfect time to let go of our favorite legendary band, Dewa 19. The Amazing Concert stage titled “Kangen Dewa 19” is a moment of tribute to Dewa 19’s 30 years of work, which has produced full hits. memory. It is certain that Dewa 19’s flawless performance will evoke beautiful memories.

On the Amazing Concert stage “Kangen Dewa 19”, we will be presented with a solemn tribute performance performed by Lyodra, Mulan Jameela, Once Mekel, Virzha, Charly Van Houten, Happy Asmara to Hanin Dhiya who will sing Dewa 19’s hits. will collaborate with Dewa 19 and perform songs that we all miss together such as “Separuh Nafas”, “Pupus” to “Ini Rindu”.

So, make sure you watch this classy music stage tomorrow night. Moreover, you can also be one of the witnesses of the rare moment of husband and wife collaboration between Ahmad Dhani and Mulan Jameela which is sure to touch the heart.

Besides watching the amazingly cool music stage, we will also be invited to get to know the legendary figures of Dewa 19. A little special leak for you, we will be told the exact reason why Dewa 19 doesn’t have a permanent vocalist, nostalgia is back with photos photos of the charming youth of Dewa 19 personnel to the fact that it turns out that all Dewa 19 personnel have Gemini zodiac signs. Wow, is this zodiac similarity one of the secrets of the close chemistry of the Dewa 19 personnel? We’ll find out the answer later. For sure Geminians, this is more and more mandatory to watch.

The more exciting and interesting, Lyodra, Mulan Jameela, Once Mekel, Virzha, Charly Van Houten, Happy Asmara to Hanin Dhiya later will be challenged with trivia quizzes about video clips, songs and album covers which are the fruit of Dewa 19’s cool works during his 30-year career. . Out of all of them, who knows Dewa 19 the most by heart?

Save the time and sing along to your favorite Dewa 19 hits. Don’t forget to enjoy it with your loved ones so you can sing along together. It’s time for you to experience the high musical performance and cool action typical of Dewa 19.

A musical stage full of meaning not only for Balarama, but for you Indonesian music lovers who miss this phenomenal legendary band. Coupled with the presence of Robby Purba and Vega Darwanti as hosts, the experience of watching the Amazing Concert “Kangen Dewa 19” will definitely feel even more perfect. Watch the Amazing Concert Kangen Dewa 19 on Thursday, January 20 at 21.00 WIB on GTV. The Amazing Concert Kangen Dewa 19 program can also be watched on the RCTI+ or Vision+ application.

.

#GTV #AmazingConcertGTV #Dewa19 #Musik #Lyodra

(dwk)

We would like to give thanks to the author of this short article for this remarkable content

After Missing God 19, Lyodra, Once, Mulan, Virzha Until Hanin Dhiya Enlivens The Amazing Concert Stage Tomorrow Night: Okezone Celebrity

" } ["summary"]=> string(858) "“ALL your longing words make me helpless” Admittedly, you must have read the lyrics while singing, right? Well, of course I agree, Dewa 19’s hit songs adorn various memories of our life stories. From heart-rending sad songs to uplifting songs that give us all positive energy. Tomorrow night at 21.15 WIB on GTV, is the ... Read more" ["atom_content"]=> string(4848) "

“ALL your longing words make me helpless”

Admittedly, you must have read the lyrics while singing, right? Well, of course I agree, Dewa 19’s hit songs adorn various memories of our life stories. From heart-rending sad songs to uplifting songs that give us all positive energy.

Tomorrow night at 21.15 WIB on GTV, is the perfect time to let go of our favorite legendary band, Dewa 19. The Amazing Concert stage titled “Kangen Dewa 19” is a moment of tribute to Dewa 19’s 30 years of work, which has produced full hits. memory. It is certain that Dewa 19’s flawless performance will evoke beautiful memories.

On the Amazing Concert stage “Kangen Dewa 19”, we will be presented with a solemn tribute performance performed by Lyodra, Mulan Jameela, Once Mekel, Virzha, Charly Van Houten, Happy Asmara to Hanin Dhiya who will sing Dewa 19’s hits. will collaborate with Dewa 19 and perform songs that we all miss together such as “Separuh Nafas”, “Pupus” to “Ini Rindu”.

So, make sure you watch this classy music stage tomorrow night. Moreover, you can also be one of the witnesses of the rare moment of husband and wife collaboration between Ahmad Dhani and Mulan Jameela which is sure to touch the heart.

Besides watching the amazingly cool music stage, we will also be invited to get to know the legendary figures of Dewa 19. A little special leak for you, we will be told the exact reason why Dewa 19 doesn’t have a permanent vocalist, nostalgia is back with photos photos of the charming youth of Dewa 19 personnel to the fact that it turns out that all Dewa 19 personnel have Gemini zodiac signs. Wow, is this zodiac similarity one of the secrets of the close chemistry of the Dewa 19 personnel? We’ll find out the answer later. For sure Geminians, this is more and more mandatory to watch.

The more exciting and interesting, Lyodra, Mulan Jameela, Once Mekel, Virzha, Charly Van Houten, Happy Asmara to Hanin Dhiya later will be challenged with trivia quizzes about video clips, songs and album covers which are the fruit of Dewa 19’s cool works during his 30-year career. . Out of all of them, who knows Dewa 19 the most by heart?

Save the time and sing along to your favorite Dewa 19 hits. Don’t forget to enjoy it with your loved ones so you can sing along together. It’s time for you to experience the high musical performance and cool action typical of Dewa 19.

A musical stage full of meaning not only for Balarama, but for you Indonesian music lovers who miss this phenomenal legendary band. Coupled with the presence of Robby Purba and Vega Darwanti as hosts, the experience of watching the Amazing Concert “Kangen Dewa 19” will definitely feel even more perfect. Watch the Amazing Concert Kangen Dewa 19 on Thursday, January 20 at 21.00 WIB on GTV. The Amazing Concert Kangen Dewa 19 program can also be watched on the RCTI+ or Vision+ application.

.

#GTV #AmazingConcertGTV #Dewa19 #Musik #Lyodra

(dwk)

We would like to give thanks to the author of this short article for this remarkable content

After Missing God 19, Lyodra, Once, Mulan, Virzha Until Hanin Dhiya Enlivens The Amazing Concert Stage Tomorrow Night: Okezone Celebrity

" ["date_timestamp"]=> int(1642647651) } [6]=> array(11) { ["title"]=> string(64) "Eurocup, Venice mockery on the siren. Trento collapses in Spain" ["link"]=> string(101) "https://wikileaksisdemocracy.org/sport/eurocup-venice-mockery-on-the-siren-trento-collapses-in-spain/" ["dc"]=> array(1) { ["creator"]=> string(8) "Tim Hall" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 02:38:22 +0000" ["category"]=> string(50) "SportcollapsesEurocupmockerysirenSpainTrentoVenice" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11479" ["description"]=> string(640) "Reyer finds herself after Varese, but success escapes the last. The challenge of Badalona is without history Atrocious mockery for the Umana, pierced on the siren by the triple from Harris who gives the victory to Bourg-en-Bresse. Venice-JL Bourg 78-81 — Reyer finds herself after Varese, but not the victory and a superb Tonut (22 ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5122) "

Reyer finds herself after Varese, but success escapes the last. The challenge of Badalona is without history

Atrocious mockery for the Umana, pierced on the siren by the triple from Harris who gives the victory to Bourg-en-Bresse.

Venice-JL Bourg 78-81

Reyer finds herself after Varese, but not the victory and a superb Tonut (22 points, 4 rebounds, 6 assists) is not enough. Morgan and Teodore (announced in the late afternoon) sitting in the parterre next to Daye (recovering), Brooks returns after the positivity, Sanders is missing, suspended by Reyer (the company has not communicated the reason). High percentages, Watt struggling to find gaps, despite Williams and Jones not starting in the quintet. Good impact for Umana (9-5, 18-13), but when the percentages drop from the Bour-en-Bresse arc, he comes back and climbs with Sulaimon (22-23).

Inertia in the hands of the transalpines who fly away (22-29), Echodas more effective than Watt (31-32), but the quintet of Legname is more reactive (35-45), it serves the surge of Tonut (11 points) in the last minute to put Umana back on track (39-45). Reyer always in pursuit of the French, Echodas more effective than Watt, Tonut takes the chair, but Harris and Sulaimon chase away the orogranata (50-59). It is always Tonut who triggers the comeback, backed by the Lithuanian center (57-60), the last blaze is by the ex Varese Jones (57-64). The Umana is there, he believes it, Vitali lights up (his absence due to fouls weighs heavily in the end, he draws (67-67) and overtakes (69-67), with Tonut pocketing the + 3 (71-68) . Harris and Jones (73-76) overturned the match again, De Nicolao impacted (76-76). Last decisive minute: Julien’s palombella (76-78), Tonut’s catch (78-78). The first assault of the French, with 18 “to play, fail. With 1” 9 available, Bourg-en-Bresse builds Harris’ triple. (Michele Contessa)

Venezia Tonut 22, De Nicolao 10, Bramos 8, Echodas 8, Vitali 8
Bourg Harris 19, Pelos 13, Sulaimon 12, Williams11, Jones 10

Joventut-Trento 82-65

Trento also falls on Spanish soil, despite the good performance of Forray and his companions in the challenge to the leaders of group A. Joventut Badalona maintains the top by overcoming a Dolomiti Energia in difficulty of results (with this there are five consecutive defeats between cup and championship) and health: today the Juventus club communicated the positivity of another member of the team group (Caroline, one of the best in this start of the season), who is added to Saunders, also with Covid. An already complicated match became prohibitive after the first half, but in the second half the pride of the Dolomites came out and made the passive less heavy. Badalona immediately starts strong (14-5). Trento remains attached to the game thanks to good defenses, but on the other side of the field cannot find points (4/17 shooting in the first ten minutes) closing the first quarter already delayed by 13 points (24-11). The gap soon widens with Brandon Paul’s triples, the giant Ante Tomic under the basket does what he wants and the Spaniards also touch +21, closing well ahead mid-game (43-24). The partial 6-2 with which opens the third period gives Trento some respite, soon suffocated by the triples of Paul and Brodziansky. The Aquila who returns to the field from the locker rooms is however a more lively team, thanks above all to the plays of Flaccadori, Williams and Forray which allow the Trentino players to return under the double figure of disadvantage (56-48). Trento remains there, floating on the double figure of disadvantage, but not finding the strength for the flash of the comeback. (Andrea Orsolin)

Badalona Brodziansky 21, Paul 14, Tomic 10
Trento Williams 15, Flaccadori and Reynolds 11, Forray 9

We want to say thanks to the writer of this article for this amazing material

Eurocup, Venice mockery on the siren. Trento collapses in Spain

" } ["summary"]=> string(640) "Reyer finds herself after Varese, but success escapes the last. The challenge of Badalona is without history Atrocious mockery for the Umana, pierced on the siren by the triple from Harris who gives the victory to Bourg-en-Bresse. Venice-JL Bourg 78-81 — Reyer finds herself after Varese, but not the victory and a superb Tonut (22 ... Read more" ["atom_content"]=> string(5122) "

Reyer finds herself after Varese, but success escapes the last. The challenge of Badalona is without history

Atrocious mockery for the Umana, pierced on the siren by the triple from Harris who gives the victory to Bourg-en-Bresse.

Venice-JL Bourg 78-81

Reyer finds herself after Varese, but not the victory and a superb Tonut (22 points, 4 rebounds, 6 assists) is not enough. Morgan and Teodore (announced in the late afternoon) sitting in the parterre next to Daye (recovering), Brooks returns after the positivity, Sanders is missing, suspended by Reyer (the company has not communicated the reason). High percentages, Watt struggling to find gaps, despite Williams and Jones not starting in the quintet. Good impact for Umana (9-5, 18-13), but when the percentages drop from the Bour-en-Bresse arc, he comes back and climbs with Sulaimon (22-23).

Inertia in the hands of the transalpines who fly away (22-29), Echodas more effective than Watt (31-32), but the quintet of Legname is more reactive (35-45), it serves the surge of Tonut (11 points) in the last minute to put Umana back on track (39-45). Reyer always in pursuit of the French, Echodas more effective than Watt, Tonut takes the chair, but Harris and Sulaimon chase away the orogranata (50-59). It is always Tonut who triggers the comeback, backed by the Lithuanian center (57-60), the last blaze is by the ex Varese Jones (57-64). The Umana is there, he believes it, Vitali lights up (his absence due to fouls weighs heavily in the end, he draws (67-67) and overtakes (69-67), with Tonut pocketing the + 3 (71-68) . Harris and Jones (73-76) overturned the match again, De Nicolao impacted (76-76). Last decisive minute: Julien’s palombella (76-78), Tonut’s catch (78-78). The first assault of the French, with 18 “to play, fail. With 1” 9 available, Bourg-en-Bresse builds Harris’ triple. (Michele Contessa)

Venezia Tonut 22, De Nicolao 10, Bramos 8, Echodas 8, Vitali 8
Bourg Harris 19, Pelos 13, Sulaimon 12, Williams11, Jones 10

Joventut-Trento 82-65

Trento also falls on Spanish soil, despite the good performance of Forray and his companions in the challenge to the leaders of group A. Joventut Badalona maintains the top by overcoming a Dolomiti Energia in difficulty of results (with this there are five consecutive defeats between cup and championship) and health: today the Juventus club communicated the positivity of another member of the team group (Caroline, one of the best in this start of the season), who is added to Saunders, also with Covid. An already complicated match became prohibitive after the first half, but in the second half the pride of the Dolomites came out and made the passive less heavy. Badalona immediately starts strong (14-5). Trento remains attached to the game thanks to good defenses, but on the other side of the field cannot find points (4/17 shooting in the first ten minutes) closing the first quarter already delayed by 13 points (24-11). The gap soon widens with Brandon Paul’s triples, the giant Ante Tomic under the basket does what he wants and the Spaniards also touch +21, closing well ahead mid-game (43-24). The partial 6-2 with which opens the third period gives Trento some respite, soon suffocated by the triples of Paul and Brodziansky. The Aquila who returns to the field from the locker rooms is however a more lively team, thanks above all to the plays of Flaccadori, Williams and Forray which allow the Trentino players to return under the double figure of disadvantage (56-48). Trento remains there, floating on the double figure of disadvantage, but not finding the strength for the flash of the comeback. (Andrea Orsolin)

Badalona Brodziansky 21, Paul 14, Tomic 10
Trento Williams 15, Flaccadori and Reynolds 11, Forray 9

We want to say thanks to the writer of this article for this amazing material

Eurocup, Venice mockery on the siren. Trento collapses in Spain

" ["date_timestamp"]=> int(1642646302) } [7]=> array(11) { ["title"]=> string(95) "3 Gaya Foto Kekinian ala Megan Domani, Seksi dalam Balutan Gaun Putih Ketat : Okezone Celebrity" ["link"]=> string(132) "https://wikileaksisdemocracy.org/shows/3-gaya-foto-kekinian-ala-megan-domani-seksi-dalam-balutan-gaun-putih-ketat-okezone-celebrity/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Center" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 02:04:18 +0000" ["category"]=> string(82) "ShowsalaBalutanCelebritydalamDomaniFotoGaunGayaKekinianKetatMeganOkezonePutihSeksi" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11476" ["description"]=> string(777) "JAKARTA – Gaya foto kekinian ala Megan Domani kerap mencuri perhatian warganet berkat paras menawannya yang kebule-bulean. Di usianya yang baru 19 tahun, dia tak sungkan memamerkan lekuk tubuhnya lewat unggahan di media sosial.  Aktris berdarah Jerman-Indonesia ini memulai debutnya di dunia akting dengan membintangi FTV, Kenapa kau Buang Ibu, pada 2014. Dari sana, dia ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5800) "

JAKARTA – Gaya foto kekinian ala Megan Domani kerap mencuri perhatian warganet berkat paras menawannya yang kebule-bulean. Di usianya yang baru 19 tahun, dia tak sungkan memamerkan lekuk tubuhnya lewat unggahan di media sosial. 

Aktris berdarah Jerman-Indonesia ini memulai debutnya di dunia akting dengan membintangi FTV, Kenapa kau Buang Ibu, pada 2014. Dari sana, dia mulai membintangi berbagai proyek lainnya, termasuk sinetron Anak Jalanan


Dia juga sempat membintangi serial web Beautifool (2018) dan terbaru serial Jodoh atau Bukan. Dalam drama itu, dia akan beradu akting dengan Rayn Wijaya, Salshabilla Adriani, Hannah Hannon, dan Brisia Jodie. 

Untuk mengenal Megan Domani lebih dekat, berikut tiga gaya foto kekinian adik aktor Bryan Domani tersebut, dikutip dari akun Instagram pribadinya.

Santai dengan Kaus Ketat

Megan Domani memiliki gaya kasual yang terlihat simpel. Namun dalam beberapa kesempatan, sang aktris tak sungkan memamerkan bentuk tubuh seksinya. Seperti saat dia mengunggah foto saat berada di pantai berikut ini. 

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Dia mengenakan kaus sabrina kerut berwarna putih yang dipadukannya dengan hotpants hitam. “Happy girl running around in Pink Beach (Gadis bahagia sedang berjalan-jalan di sekitar Pantai Pink,” katanya sebagai caption unggahan itu.

Baca juga: Biodata dan Agama Megan Domani, Calon Adik Ipar Aurelie Moeremans 

Tetap Kece dengan Sandal Jepit

Tak hanya gaya simpel dan seksi, adik Bryan Domani ini juga mampu tampil kece meskipun hanya menggunakan sandal jepit berwarna hitam. Hal tersebut diperlihatkannya lewat salah satu unggahannya di Instagram, pada Agustus 2020. 

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Dalam foto itu, Megan mengenakan dress hitam sederhana lengkap dengan bordiran bunga di ujungnya. “Adventures (petualangan),” ujarnya dengan emoji pohon dan matahari.

Seksi dalam Gaun Putih

Megan Domani memiliki body goals yang diidamkan setiap kaum hawa. Dalam salah satu unggahannya di Instagram, sang aktris terlihat memamerkan lekuk tubuhnya dalam balutan gaun putih ketat dari Bronco Official.

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Dengan sentuhan makeup sedikit mencolok dan rambut diikat, Megan Domani mengaku, butuh lebih banyak berjemur. “She needs a tan (Dia butuh mencoklatkan kulitnya),” katanya dalam unggahan tersebut.*

Baca juga: Cerita Robbie Williams Hilang Keperjakaan di Ranjang sang Ibu

We want to say thanks to the author of this write-up for this awesome content

3 Gaya Foto Kekinian ala Megan Domani, Seksi dalam Balutan Gaun Putih Ketat : Okezone Celebrity

" } ["summary"]=> string(777) "JAKARTA – Gaya foto kekinian ala Megan Domani kerap mencuri perhatian warganet berkat paras menawannya yang kebule-bulean. Di usianya yang baru 19 tahun, dia tak sungkan memamerkan lekuk tubuhnya lewat unggahan di media sosial.  Aktris berdarah Jerman-Indonesia ini memulai debutnya di dunia akting dengan membintangi FTV, Kenapa kau Buang Ibu, pada 2014. Dari sana, dia ... Read more" ["atom_content"]=> string(5800) "

JAKARTA – Gaya foto kekinian ala Megan Domani kerap mencuri perhatian warganet berkat paras menawannya yang kebule-bulean. Di usianya yang baru 19 tahun, dia tak sungkan memamerkan lekuk tubuhnya lewat unggahan di media sosial. 

Aktris berdarah Jerman-Indonesia ini memulai debutnya di dunia akting dengan membintangi FTV, Kenapa kau Buang Ibu, pada 2014. Dari sana, dia mulai membintangi berbagai proyek lainnya, termasuk sinetron Anak Jalanan


Dia juga sempat membintangi serial web Beautifool (2018) dan terbaru serial Jodoh atau Bukan. Dalam drama itu, dia akan beradu akting dengan Rayn Wijaya, Salshabilla Adriani, Hannah Hannon, dan Brisia Jodie. 

Untuk mengenal Megan Domani lebih dekat, berikut tiga gaya foto kekinian adik aktor Bryan Domani tersebut, dikutip dari akun Instagram pribadinya.

Santai dengan Kaus Ketat

Megan Domani memiliki gaya kasual yang terlihat simpel. Namun dalam beberapa kesempatan, sang aktris tak sungkan memamerkan bentuk tubuh seksinya. Seperti saat dia mengunggah foto saat berada di pantai berikut ini. 

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Dia mengenakan kaus sabrina kerut berwarna putih yang dipadukannya dengan hotpants hitam. “Happy girl running around in Pink Beach (Gadis bahagia sedang berjalan-jalan di sekitar Pantai Pink,” katanya sebagai caption unggahan itu.

Baca juga: Biodata dan Agama Megan Domani, Calon Adik Ipar Aurelie Moeremans 

Tetap Kece dengan Sandal Jepit

Tak hanya gaya simpel dan seksi, adik Bryan Domani ini juga mampu tampil kece meskipun hanya menggunakan sandal jepit berwarna hitam. Hal tersebut diperlihatkannya lewat salah satu unggahannya di Instagram, pada Agustus 2020. 

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Dalam foto itu, Megan mengenakan dress hitam sederhana lengkap dengan bordiran bunga di ujungnya. “Adventures (petualangan),” ujarnya dengan emoji pohon dan matahari.

Seksi dalam Gaun Putih

Megan Domani memiliki body goals yang diidamkan setiap kaum hawa. Dalam salah satu unggahannya di Instagram, sang aktris terlihat memamerkan lekuk tubuhnya dalam balutan gaun putih ketat dari Bronco Official.

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Gaya foto kekinian ala Megan Domani. (Foto: Instagram/@megandomani1410)

Dengan sentuhan makeup sedikit mencolok dan rambut diikat, Megan Domani mengaku, butuh lebih banyak berjemur. “She needs a tan (Dia butuh mencoklatkan kulitnya),” katanya dalam unggahan tersebut.*

Baca juga: Cerita Robbie Williams Hilang Keperjakaan di Ranjang sang Ibu

We want to say thanks to the author of this write-up for this awesome content

3 Gaya Foto Kekinian ala Megan Domani, Seksi dalam Balutan Gaun Putih Ketat : Okezone Celebrity

" ["date_timestamp"]=> int(1642644258) } [8]=> array(11) { ["title"]=> string(116) "Chickens waiting for slaughter due to the loss of infected slaughterers – No privacy, no data for RIVM – Foodlog" ["link"]=> string(151) "https://wikileaksisdemocracy.org/lifestyle/chickens-waiting-for-slaughter-due-to-the-loss-of-infected-slaughterers-no-privacy-no-data-for-rivm-foodlog/" ["dc"]=> array(1) { ["creator"]=> string(12) "Paula Hooper" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 02:03:58 +0000" ["category"]=> string(79) "LifestyleChickensdataFoodloginfectedlossprivacyRIVMslaughterslaughtererswaiting" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11470" ["description"]=> string(821) "The Corona effect of January 19, 2022, the Foodlog selection of the corona news from the (inter)national press. The Corona effect highlights cracks in the food chain, traces of new food systems and the ‘new healthy’. Here you will find our previous selections, in Spotted our daily newsroom. “We are not doing worse than other ... Read more" ["content"]=> array(1) { ["encoded"]=> string(3792) "

The Corona effect of January 19, 2022, the Foodlog selection of the corona news from the (inter)national press. The Corona effect highlights cracks in the food chain, traces of new food systems and the ‘new healthy’. Here you will find our previous selections, in Spotted our daily newsroom.

“We are not doing worse than other companies,” says Ron Priem, director of Plukon Belgium, somewhat timidly in De Tijd (2.1). “Our absence rate is higher because we test our staff so often. If you test a lot, you will find a lot of infected people, especially now. You will find fewer staff members who test positive if you perform fewer tests. We consciously do not take that risk and try the workplace to keep it safe.”

Ten percent of the chicken butcher’s staff are at home because they are sick or in quarantine. In Belgium, the 1,500 Belgian employees of the Dutch chicken slaughterhouse Plukon process an average of 2 million chickens every week. That is now “a lot less”, which means that Plukon can also supply fewer chicken products to its customers. The lower slaughter rate has another consequence: Plukon can also process fewer chickens. “Processing fewer chickens also means that many chickens remain in the barns, which quickly leads to overcrowding in our farmers’ houses. They and we are losing revenue.”

‘Zero tolerance’
According to Priem, employees are tested 3 times a week with a PCR test. Plukon purchased its own laboratory space to process all those tests. Employees are only allowed to return to work after a negative test. “I’m in favor of absolute zero tolerance. I want our people to work in a safe environment. Otherwise the problem will only get worse. And imagine someone in our factory gets infected and still gets seriously ill or worse… I don’t want that on my conscience.”

‘Privacy cannot be guaranteed’
In the Netherlands, RIVM wanted to have data on crowds and movements of groups of people in the context of the pandemic, in order to be able to monitor the spread of the virus. RIVM hoped to be able to achieve this by gaining access to the data of telecom companies. The Dutch Data Protection Authority, various members of parliament, interest groups and the telecom companies themselves were against it, because the privacy of millions of telephone users could not be guaranteed. The only way in which the government could regulate the supply of telecom data was through a separate law. But that law will never come. The Ministry of Economic Affairs quietly withdrew the bill with a short letter to the House of Representatives (The Financial Times, 4.1). Sharing telecom data with the RIVM is definitively out of the question.

Print this article

We wish to say thanks to the author of this article for this incredible content

Chickens waiting for slaughter due to the loss of infected slaughterers – No privacy, no data for RIVM – Foodlog

" } ["summary"]=> string(821) "The Corona effect of January 19, 2022, the Foodlog selection of the corona news from the (inter)national press. The Corona effect highlights cracks in the food chain, traces of new food systems and the ‘new healthy’. Here you will find our previous selections, in Spotted our daily newsroom. “We are not doing worse than other ... Read more" ["atom_content"]=> string(3792) "

The Corona effect of January 19, 2022, the Foodlog selection of the corona news from the (inter)national press. The Corona effect highlights cracks in the food chain, traces of new food systems and the ‘new healthy’. Here you will find our previous selections, in Spotted our daily newsroom.

“We are not doing worse than other companies,” says Ron Priem, director of Plukon Belgium, somewhat timidly in De Tijd (2.1). “Our absence rate is higher because we test our staff so often. If you test a lot, you will find a lot of infected people, especially now. You will find fewer staff members who test positive if you perform fewer tests. We consciously do not take that risk and try the workplace to keep it safe.”

Ten percent of the chicken butcher’s staff are at home because they are sick or in quarantine. In Belgium, the 1,500 Belgian employees of the Dutch chicken slaughterhouse Plukon process an average of 2 million chickens every week. That is now “a lot less”, which means that Plukon can also supply fewer chicken products to its customers. The lower slaughter rate has another consequence: Plukon can also process fewer chickens. “Processing fewer chickens also means that many chickens remain in the barns, which quickly leads to overcrowding in our farmers’ houses. They and we are losing revenue.”

‘Zero tolerance’
According to Priem, employees are tested 3 times a week with a PCR test. Plukon purchased its own laboratory space to process all those tests. Employees are only allowed to return to work after a negative test. “I’m in favor of absolute zero tolerance. I want our people to work in a safe environment. Otherwise the problem will only get worse. And imagine someone in our factory gets infected and still gets seriously ill or worse… I don’t want that on my conscience.”

‘Privacy cannot be guaranteed’
In the Netherlands, RIVM wanted to have data on crowds and movements of groups of people in the context of the pandemic, in order to be able to monitor the spread of the virus. RIVM hoped to be able to achieve this by gaining access to the data of telecom companies. The Dutch Data Protection Authority, various members of parliament, interest groups and the telecom companies themselves were against it, because the privacy of millions of telephone users could not be guaranteed. The only way in which the government could regulate the supply of telecom data was through a separate law. But that law will never come. The Ministry of Economic Affairs quietly withdrew the bill with a short letter to the House of Representatives (The Financial Times, 4.1). Sharing telecom data with the RIVM is definitively out of the question.

Print this article

We wish to say thanks to the author of this article for this incredible content

Chickens waiting for slaughter due to the loss of infected slaughterers – No privacy, no data for RIVM – Foodlog

" ["date_timestamp"]=> int(1642644238) } [9]=> array(11) { ["title"]=> string(81) "Jennifer Lopez Wears Ben Affleck Name Necklace While Asking Fans For Style Advice" ["link"]=> string(125) "https://wikileaksisdemocracy.org/celebrity/jennifer-lopez-wears-ben-affleck-name-necklace-while-asking-fans-for-style-advice/" ["dc"]=> array(1) { ["creator"]=> string(12) "Sally Scully" } ["pubdate"]=> string(31) "Thu, 20 Jan 2022 01:36:44 +0000" ["category"]=> string(60) "CelebrityadviceAffleckBenfansJenniferLopezNecklacestyleWears" ["guid"]=> string(41) "https://wikileaksisdemocracy.org/?p=11464" ["description"]=> string(692) "Jennifer Lopez does not hide his love Ben Affleck and now he also wears great detail on his official Instagram account. In her most recent photos where she shows off her abs of steel, the singer also wore a necklace that the ‘Batman’ actor gave her when they celebrated her 52nd birthday sailing around Saint-Tropez ... Read more" ["content"]=> array(1) { ["encoded"]=> string(5711) "

Jennifer Lopez does not hide his love Ben Affleck and now he also wears great detail on his official Instagram account. In her most recent photos where she shows off her abs of steel, the singer also wore a necklace that the ‘Batman’ actor gave her when they celebrated her 52nd birthday sailing around Saint-Tropez and that bears her name. Here is everything that is known about the luxurious jewel that is a symbol of the second chance they gave their story after 17 years apart.

TRIVIA | ¿How much do you know about Jennifer Lopez?

Through your official account at Instagram, the “Bronx Diva” shared two images asking her more than 192 million followers if she looked better with the jacket on or without it. The style advice she was looking for was accompanied by a somewhat conservative first image with a piece of black leather on her shoulders, while the other was the most applauded for consisting of a leather top, white skirt and her impressive abs.

Ben Affleck’s necklace

Although the figure of Jennifer Lopez He took all eyes, a detail on his neck also caught the eye. Among the various necklaces she was wearing, one was the most special. It’s about the gift that her boyfriend gave her Ben Affleck last July 24.

The first time he was seen wearing it was during a walk through the streets of Monaco where the gold necklace with charms that form the word BEN stood out in the paparazzi photos.

What jewels that Ben Affleck has given her

For the “Bronx Diva’s” birthday, her boyfriend invested $45,000 in jewelry, including gold chains, pendants and diamond-encrusted pendants, according to press reports.

“He really wanted to create a meaningful message”, told Beth Bugdaycay, co-founder and creative director of Foundrae to the specialized jewelry media . “[Ben Afflekc] he reviewed the meaning of each piece before finally deciding on the ones he chose… a lion was also one of the options, but I think what he chose is perfect”, he added.

One of the charms was a gold key adorned in the shape of a diamond-encrusted knot, which according to jewelers represents “a real love knot”. Another pendant was an 18K yellow gold heart with a small star in the center. In total, the gift had a cost of almost 45,000 dollars, according to the British tabloid .

While they were a couple in 2022, the actor gave some gifts to his girlfriend Jennifer Lopez before ending their engagement. One of them was Harry Winston’s diamond bracelet that JLo also wore on the yacht in which they toured Saint-Tropez, showing that she always kept it. Another jewel is the ring with which he asked her to marry him at that time and which has a 6.1-carat pink diamond, bought at the New York High Jewelry firm Harry Winston, specializing in diamond jewelry. It is estimated that it cost about US$ 2 million dollars.

How did JLo and Ben Affleck resume their relationship?

‘Bennifer’ rejoined in February 2021 after the actor sent him emails while JLo was in crisis with Alex Rodríguez. JLo and the former baseball player announced the end of their engagement on April 15. After several weeks of meetings, Jennifer Lopez Y Ben Affleck They made their relationship official on the singer’s 52nd birthday while they were on a luxurious yacht in the Mediterranean Sea.

They starred in the movie ‘Gigli’ in 2002 where they fell in love. They got engaged in November but postponed their wedding in September 2003, the year they made their red carpet debut together; However, the end of their relationship surprised everyone in January 2004. Then JLo married Marc Anthony in June 2004 and in 2005, the Oscar winner married Jennifer Garner.

We want to say thanks to the author of this short article for this incredible material

Jennifer Lopez Wears Ben Affleck Name Necklace While Asking Fans For Style Advice

" } ["summary"]=> string(692) "Jennifer Lopez does not hide his love Ben Affleck and now he also wears great detail on his official Instagram account. In her most recent photos where she shows off her abs of steel, the singer also wore a necklace that the ‘Batman’ actor gave her when they celebrated her 52nd birthday sailing around Saint-Tropez ... Read more" ["atom_content"]=> string(5711) "

Jennifer Lopez does not hide his love Ben Affleck and now he also wears great detail on his official Instagram account. In her most recent photos where she shows off her abs of steel, the singer also wore a necklace that the ‘Batman’ actor gave her when they celebrated her 52nd birthday sailing around Saint-Tropez and that bears her name. Here is everything that is known about the luxurious jewel that is a symbol of the second chance they gave their story after 17 years apart.

TRIVIA | ¿How much do you know about Jennifer Lopez?

Through your official account at Instagram, the “Bronx Diva” shared two images asking her more than 192 million followers if she looked better with the jacket on or without it. The style advice she was looking for was accompanied by a somewhat conservative first image with a piece of black leather on her shoulders, while the other was the most applauded for consisting of a leather top, white skirt and her impressive abs.

Ben Affleck’s necklace

Although the figure of Jennifer Lopez He took all eyes, a detail on his neck also caught the eye. Among the various necklaces she was wearing, one was the most special. It’s about the gift that her boyfriend gave her Ben Affleck last July 24.

The first time he was seen wearing it was during a walk through the streets of Monaco where the gold necklace with charms that form the word BEN stood out in the paparazzi photos.

What jewels that Ben Affleck has given her

For the “Bronx Diva’s” birthday, her boyfriend invested $45,000 in jewelry, including gold chains, pendants and diamond-encrusted pendants, according to press reports.

“He really wanted to create a meaningful message”, told Beth Bugdaycay, co-founder and creative director of Foundrae to the specialized jewelry media . “[Ben Afflekc] he reviewed the meaning of each piece before finally deciding on the ones he chose… a lion was also one of the options, but I think what he chose is perfect”, he added.

One of the charms was a gold key adorned in the shape of a diamond-encrusted knot, which according to jewelers represents “a real love knot”. Another pendant was an 18K yellow gold heart with a small star in the center. In total, the gift had a cost of almost 45,000 dollars, according to the British tabloid .

While they were a couple in 2022, the actor gave some gifts to his girlfriend Jennifer Lopez before ending their engagement. One of them was Harry Winston’s diamond bracelet that JLo also wore on the yacht in which they toured Saint-Tropez, showing that she always kept it. Another jewel is the ring with which he asked her to marry him at that time and which has a 6.1-carat pink diamond, bought at the New York High Jewelry firm Harry Winston, specializing in diamond jewelry. It is estimated that it cost about US$ 2 million dollars.

How did JLo and Ben Affleck resume their relationship?

‘Bennifer’ rejoined in February 2021 after the actor sent him emails while JLo was in crisis with Alex Rodríguez. JLo and the former baseball player announced the end of their engagement on April 15. After several weeks of meetings, Jennifer Lopez Y Ben Affleck They made their relationship official on the singer’s 52nd birthday while they were on a luxurious yacht in the Mediterranean Sea.

They starred in the movie ‘Gigli’ in 2002 where they fell in love. They got engaged in November but postponed their wedding in September 2003, the year they made their red carpet debut together; However, the end of their relationship surprised everyone in January 2004. Then JLo married Marc Anthony in June 2004 and in 2005, the Oscar winner married Jennifer Garner.

We want to say thanks to the author of this short article for this incredible material

Jennifer Lopez Wears Ben Affleck Name Necklace While Asking Fans For Style Advice

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