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Vela: Tita-Banti anche alla Kieler Woche. Terza vittoria dopo Tokyo
Why do so many young Japanese people refuse to marry?
Faced with an uncertain energy context, the French government is betting on coal
Metallica closes a Dantesque festival in style
up to ten casualties this summer ? ActionPush
Taylor Swift: ?All Too Well?
Virgin Labfest ?Set A? review: Grief in gray areas
Phobia review: St. Dinfna Hotel, an adventure that won?t scare you, but will test you
Kinshasa, last stage of the journey of the coffin of Patrice Lumumba in the DRC
The Prague bars swept the controversy with ??tramák? Mat?j Ruppert

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                    [title] => Vela: Tita-Banti anche alla Kieler Woche. Terza vittoria dopo Tokyo
                    [link] => https://bbc-edition.com/sporting/vela-tita-banti-anche-alla-kieler-woche-terza-vittoria-dopo-tokyo/
                    [comments] => https://bbc-edition.com/sporting/vela-tita-banti-anche-alla-kieler-woche-terza-vittoria-dopo-tokyo/#respond
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                            [creator] => Pauline Potteer
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                    [pubdate] => Mon, 27 Jun 2022 09:33:26 +0000
                    [category] => SportingAlláanchedopoKielerkieler wocheterzaTita BantiTitaBantiTokyoVelavittoriaWoche
                    [guid] => https://bbc-edition.com/sporting/vela-tita-banti-anche-alla-kieler-woche-terza-vittoria-dopo-tokyo/
                    [description] => Gli ori olimpici infilano la terza vittoria di fila dopo i Giochi. Trionfo azzurro in Germania Ruggero Tita e Caterina Banti si confermano ancora una volta i migliori specialisti al mondo del Nacra 17 (il multiscafo olimpico). In Germania i due azzurri hanno vinto anche la Kieler Woche (regata leggendaria giunta alla 139a edizione), una ... Read more
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Gli ori olimpici infilano la terza vittoria di fila dopo i Giochi. Trionfo azzurro in Germania

Ruggero Tita e Caterina Banti si confermano ancora una volta i migliori specialisti al mondo del Nacra 17 (il multiscafo olimpico). In Germania i due azzurri hanno vinto anche la Kieler Woche (regata leggendaria giunta alla 139a edizione), una delle prove riservate alle classi olimpiche piů numerose e prestigiose del panorama internazionale, un successo con 9 punti di vantaggio sugli acerrimi rivali inglesi Gimson Burnet, medaglia d?argento ai Giochi di Tokyo. Dopo l?oro olimpico i due azzurri hanno conquistato a Palma il Trofeo Princesa Sofia e in Francia la Semaine di Hyeres confermandosi l?equipaggio da battere, anche con le nuove modifiche introdotte quest?anno nella classe.

Quanta Italia

?  

Ma a festeggiare per i risultati ottenuti questa settimana sul Mar Baltico č tutta la squadra italiana del catamarano volante grazie al terzo posto di Vittorio Bissaro e Maelle Frascari e il quinto di Gianluigi Ugolini e Maria Giubilei. Un successo che dimostra l?ottimo lavoro svolto dagli atleti e dall?allenatore Gabriele Bruni, a sua volta olimpico una ventina di anni fa con il fratello Francesco. “Torno a casa soddisfatto della mia squadra – ha dichiarato raggiante Bruni, per tutti nel mondo della vela solo Ganga – questa č la dimostrazione che il lavoro paga. Il nostro segreto? Certamente l?allenamento che abbiamo fatto quest?inverno a Cagliari ci ha consentito di capire come sfruttare al meglio il nuovo sistema dei timoni che si č dimostrato fondamentale. Ma ritengo che il nostro vero punto di forza sia la squadra. Siamo un gruppo unito e lavoriamo bene insieme. Gli stranieri tendono a puntare su un unico equipaggio, quello che ritengono il piů forte, mentre noi facciamo un lavoro di team e devo dire che questa scelta fatta č quella giusta”.

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/sporting/vela-tita-banti-anche-alla-kieler-woche-terza-vittoria-dopo-tokyo/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => Gli ori olimpici infilano la terza vittoria di fila dopo i Giochi. Trionfo azzurro in Germania Ruggero Tita e Caterina Banti si confermano ancora una volta i migliori specialisti al mondo del Nacra 17 (il multiscafo olimpico). In Germania i due azzurri hanno vinto anche la Kieler Woche (regata leggendaria giunta alla 139a edizione), una ... Read more [atom_content] =>

Gli ori olimpici infilano la terza vittoria di fila dopo i Giochi. Trionfo azzurro in Germania

Ruggero Tita e Caterina Banti si confermano ancora una volta i migliori specialisti al mondo del Nacra 17 (il multiscafo olimpico). In Germania i due azzurri hanno vinto anche la Kieler Woche (regata leggendaria giunta alla 139a edizione), una delle prove riservate alle classi olimpiche piů numerose e prestigiose del panorama internazionale, un successo con 9 punti di vantaggio sugli acerrimi rivali inglesi Gimson Burnet, medaglia d?argento ai Giochi di Tokyo. Dopo l?oro olimpico i due azzurri hanno conquistato a Palma il Trofeo Princesa Sofia e in Francia la Semaine di Hyeres confermandosi l?equipaggio da battere, anche con le nuove modifiche introdotte quest?anno nella classe.

Quanta Italia

?  

Ma a festeggiare per i risultati ottenuti questa settimana sul Mar Baltico č tutta la squadra italiana del catamarano volante grazie al terzo posto di Vittorio Bissaro e Maelle Frascari e il quinto di Gianluigi Ugolini e Maria Giubilei. Un successo che dimostra l?ottimo lavoro svolto dagli atleti e dall?allenatore Gabriele Bruni, a sua volta olimpico una ventina di anni fa con il fratello Francesco. “Torno a casa soddisfatto della mia squadra – ha dichiarato raggiante Bruni, per tutti nel mondo della vela solo Ganga – questa č la dimostrazione che il lavoro paga. Il nostro segreto? Certamente l?allenamento che abbiamo fatto quest?inverno a Cagliari ci ha consentito di capire come sfruttare al meglio il nuovo sistema dei timoni che si č dimostrato fondamentale. Ma ritengo che il nostro vero punto di forza sia la squadra. Siamo un gruppo unito e lavoriamo bene insieme. Gli stranieri tendono a puntare su un unico equipaggio, quello che ritengono il piů forte, mentre noi facciamo un lavoro di team e devo dire che questa scelta fatta č quella giusta”.

[date_timestamp] => 1656322406 ) [1] => Array ( [title] => Why do so many young Japanese people refuse to marry? [link] => https://bbc-edition.com/hobbies/why-do-so-many-young-japanese-people-refuse-to-marry-2/ [comments] => https://bbc-edition.com/hobbies/why-do-so-many-young-japanese-people-refuse-to-marry-2/#respond [dc] => Array ( [creator] => Harry Rivers ) [pubdate] => Mon, 27 Jun 2022 09:10:46 +0000 [category] => HobbiesJapaneseMarrypeoplerefuseYoung [guid] => https://bbc-edition.com/hobbies/why-do-so-many-young-japanese-people-refuse-to-marry-2/ [description] => More than a quarter of Japanese people over the age of 30 have no marriage plans. Among the reasons, professional apprehensions, desire for total personal freedom – and the fact that it is easier to relate to a manga. At 37, Sho says he is satisfied: he has a job that gives him a comfortable ... Read more [content] => Array ( [encoded] =>

More than a quarter of Japanese people over the age of 30 have no marriage plans. Among the reasons, professional apprehensions, desire for total personal freedom – and the fact that it is easier to relate to a manga. At 37, Sho says he is satisfied: he has a job that gives him a comfortable life, friends he finds regularly, a series of hobbies and time to practice them. The only thing he doesn’t have is a wife, and that’s fine with him. A study released in June by the Japanese government indicates that Sho is among a growing group of citizens in their 30s who have never married and have no intention of doing so. Which is a serious concern in a country whose society is already rapidly aging and dwindling. The Cabinet Office’s 2022 Gender Report indicates that 25.4% of women and 26.5% of men over age 30 have opted for celibacy. This is also the case for 19% of men and 14% of women in their 20s. In 2021, there were 514,000 marriages in Japan, the lowest annual figure since the end of World War II in 1945, and a dramatic drop from the 1.029 million unions in 1970. “Marrying is mendokusai” Women who participated in the government consultation justified their unwillingness to marry by wanting to enjoy freedom, having rewarding careers, and rejecting the burdens of the traditional housewife, such as housework, raising children, and caring for elderly parents. Men also claimed to give importance to personal freedom, but added, among the reasons for preferring to remain single, apprehensions about job security and not being able to earn enough to support a family. Sho, who lives in Saitama Prefecture, north of Tokyo, also feels this way: “I’m happy. I can do the things I want, when I want, and I don’t have to think about anyone else. I can stay up late, playing in the computer, and watch any movie at the cinema that I want, or I can meet friends. I like that.” “Some of my friends got married, of course, but they’ve changed, and we don’t see each other as much anymore. It’s good for them, but having a girlfriend or being married seems to me like it’s just mendokusai” ? a Japanese term that can be translated as “complicated”. Falling birthrates and fertility The Japan Cabinet Office concluded in its report that “the thinking behind the Japanese family has changed, and marriage is no longer seen as a safety net to ensure a stable life.” The impression is reinforced by a statistic from the Ministry of Health, Labor and Welfare according to which 811,604 children were born in 2021, almost 30,000 fewer than in the previous year. The government agency also attributes the drop in birth rates to the covid-19 pandemic. The fertility rate ? the average number of children each woman has in her lifetime ? has also fallen for the sixth year in a row, reaching 1.3. As 1.44 million Japanese died in the same year, the population is dwindling faster than anticipated. Psychologist Aya Fujii points out that Japan’s birth rate has been falling since the 1970s, but now the problem has become more serious, and apparently the government is having a hard time finding ways to stem the decline. “I see a lot of reasons in society. One is that, unlike in other countries, wages are basically the same for many years,” explains Fujii, who provides mental health support at a government employment assistance program in Tokyo. “And that means that many young people consider trying to have a family an excessive financial burden.” Better manga and anime than real people At the same time, more Japanese women chose to stay in the world of work instead of leaving it to start a family ? and many found that they actually like to have a career and want to continue. However, the pressures of having a job make it even more difficult to maintain a family, and more and more professionals of this generation tend to remain single. “I also see that a lot of young people like manga books and anime movies. They prefer that to meeting or talking to people in real life,” says Fujii. “Manga and anime characters don’t argue or replicate, which is simply easier for many.” ?I think a lot of young people these days lack social skills, which has gotten worse since many families are only having one child. So that child grows up without interacting or developing the social skills that he or she will need later in life. ” The psychologist doesn’t think the downward demographic trend will stop anytime soon: “Ultimately, Japanese people in their 20s and 30s who are unable to communicate with members of the opposite sex will find it more difficult to find a partner, and the pattern of nation, of a dwindling population, will continue.” Author: Julian Ryall

Questions, Criticism and Suggestions? Talk to us

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/hobbies/why-do-so-many-young-japanese-people-refuse-to-marry-2/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => More than a quarter of Japanese people over the age of 30 have no marriage plans. Among the reasons, professional apprehensions, desire for total personal freedom – and the fact that it is easier to relate to a manga. At 37, Sho says he is satisfied: he has a job that gives him a comfortable ... Read more [atom_content] =>

More than a quarter of Japanese people over the age of 30 have no marriage plans. Among the reasons, professional apprehensions, desire for total personal freedom – and the fact that it is easier to relate to a manga. At 37, Sho says he is satisfied: he has a job that gives him a comfortable life, friends he finds regularly, a series of hobbies and time to practice them. The only thing he doesn’t have is a wife, and that’s fine with him. A study released in June by the Japanese government indicates that Sho is among a growing group of citizens in their 30s who have never married and have no intention of doing so. Which is a serious concern in a country whose society is already rapidly aging and dwindling. The Cabinet Office’s 2022 Gender Report indicates that 25.4% of women and 26.5% of men over age 30 have opted for celibacy. This is also the case for 19% of men and 14% of women in their 20s. In 2021, there were 514,000 marriages in Japan, the lowest annual figure since the end of World War II in 1945, and a dramatic drop from the 1.029 million unions in 1970. “Marrying is mendokusai” Women who participated in the government consultation justified their unwillingness to marry by wanting to enjoy freedom, having rewarding careers, and rejecting the burdens of the traditional housewife, such as housework, raising children, and caring for elderly parents. Men also claimed to give importance to personal freedom, but added, among the reasons for preferring to remain single, apprehensions about job security and not being able to earn enough to support a family. Sho, who lives in Saitama Prefecture, north of Tokyo, also feels this way: “I’m happy. I can do the things I want, when I want, and I don’t have to think about anyone else. I can stay up late, playing in the computer, and watch any movie at the cinema that I want, or I can meet friends. I like that.” “Some of my friends got married, of course, but they’ve changed, and we don’t see each other as much anymore. It’s good for them, but having a girlfriend or being married seems to me like it’s just mendokusai” ? a Japanese term that can be translated as “complicated”. Falling birthrates and fertility The Japan Cabinet Office concluded in its report that “the thinking behind the Japanese family has changed, and marriage is no longer seen as a safety net to ensure a stable life.” The impression is reinforced by a statistic from the Ministry of Health, Labor and Welfare according to which 811,604 children were born in 2021, almost 30,000 fewer than in the previous year. The government agency also attributes the drop in birth rates to the covid-19 pandemic. The fertility rate ? the average number of children each woman has in her lifetime ? has also fallen for the sixth year in a row, reaching 1.3. As 1.44 million Japanese died in the same year, the population is dwindling faster than anticipated. Psychologist Aya Fujii points out that Japan’s birth rate has been falling since the 1970s, but now the problem has become more serious, and apparently the government is having a hard time finding ways to stem the decline. “I see a lot of reasons in society. One is that, unlike in other countries, wages are basically the same for many years,” explains Fujii, who provides mental health support at a government employment assistance program in Tokyo. “And that means that many young people consider trying to have a family an excessive financial burden.” Better manga and anime than real people At the same time, more Japanese women chose to stay in the world of work instead of leaving it to start a family ? and many found that they actually like to have a career and want to continue. However, the pressures of having a job make it even more difficult to maintain a family, and more and more professionals of this generation tend to remain single. “I also see that a lot of young people like manga books and anime movies. They prefer that to meeting or talking to people in real life,” says Fujii. “Manga and anime characters don’t argue or replicate, which is simply easier for many.” ?I think a lot of young people these days lack social skills, which has gotten worse since many families are only having one child. So that child grows up without interacting or developing the social skills that he or she will need later in life. ” The psychologist doesn’t think the downward demographic trend will stop anytime soon: “Ultimately, Japanese people in their 20s and 30s who are unable to communicate with members of the opposite sex will find it more difficult to find a partner, and the pattern of nation, of a dwindling population, will continue.” Author: Julian Ryall

Questions, Criticism and Suggestions? Talk to us

[date_timestamp] => 1656321046 ) [2] => Array ( [title] => Faced with an uncertain energy context, the French government is betting on coal [link] => https://bbc-edition.com/money/faced-with-an-uncertain-energy-context-the-french-government-is-betting-on-coal/ [comments] => https://bbc-edition.com/money/faced-with-an-uncertain-energy-context-the-french-government-is-betting-on-coal/#respond [dc] => Array ( [creator] => Michael Johnson ) [pubdate] => Mon, 27 Jun 2022 08:47:30 +0000 [category] => MoneybettingcoalContextenergyfacedFrenchgovernmentUncertain [guid] => https://bbc-edition.com/money/faced-with-an-uncertain-energy-context-the-french-government-is-betting-on-coal/ [description] => View of the Saint-Avold energy complex (Moselle), October 31, 2018. JEAN CHRISTOPHE VERHAEGEN / AFP In 2017, candidate Emmanuel Macron pledged to close the last French coal-fired power plants, the most polluting fuel, within a five-year period. A promise still outstanding five years later, to the chagrin of environmental defense associations, after the re-election of ... Read more [content] => Array ( [encoded] =>

In 2017, candidate Emmanuel Macron pledged to close the last French coal-fired power plants, the most polluting fuel, within a five-year period. A promise still outstanding five years later, to the chagrin of environmental defense associations, after the re-election of the President of the Republic. According to the version of a future bill revealed on Sunday June 26 by RTL and consulted by The worldthe government plans to restart the Saint-Avold (Moselle) power plant on a provisional basis for the winter of 2022.

The entourage of Agnčs Pannier-Runacher, Minister of Energy Transition, confirms the development of a measure ” temporary “. The Lorraine site ceased to operate on March 31. A brief reopening would make it possible to have, if necessary between the end of 2022 and the beginning of 2023, a small additional margin of safety to avoid power cuts. In March, the Ministry of Ecological Transition had already announced the possibility of such a ?one-time restart?.

Also read the archive (2018): Article reserved for our subscribers In Moselle, Saint-Avold, between the end of coal and the hope of renewal

It is that the end of the year is announced under ?special vigilance?, according to the French operator of the electricity transmission network, RTE. Especially because of nuclear power, the main source of electricity in France. For the current year, the operator EDF expects production to be at its lowest in three decades. In question, corrosion problems on certain power plants, as well as a delay linked to Covid-19 in classic maintenance operations.

Uncertain context

For a decade, the State has been engaged in the following equation: preserving the balance between electricity supply and demand, while abandoning several thermal units running on fuel oil and coal, in particular for environmental reasons. As well as the Fessenheim nuclear power plant (Haut-Rhin), in 2020, by political decision. However, the country is still lagging behind on its objectives for renewable energies such as wind and solar, which are by nature intermittent.

The war led by Russia in Ukraine, since February 24, makes the context all the more uncertain. ?Even if France is less dependent on Russian gas than Germany or Italy, the weakening of the production of its nuclear fleet and the tensions on the water stocks of its hydraulic dams mark the great return of security problems. supply”, believes Patrice Geoffron, professor of economics at Paris-Dauphine-PSL University.

This is also why the leaders of the country’s three main energy groups have expressed their wish to?a major energy efficiency program and [d?]a national waste hunt? to save energy, in the words of Jean-Bernard Lévy (EDF), Catherine MacGregor (Engie) and Patrick Pouyanné (TotalEnergies), in a column published by the JDDJune 26.

You have 24.77% of this article left to read. The following is for subscribers only.

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/money/faced-with-an-uncertain-energy-context-the-french-government-is-betting-on-coal/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => View of the Saint-Avold energy complex (Moselle), October 31, 2018. JEAN CHRISTOPHE VERHAEGEN / AFP In 2017, candidate Emmanuel Macron pledged to close the last French coal-fired power plants, the most polluting fuel, within a five-year period. A promise still outstanding five years later, to the chagrin of environmental defense associations, after the re-election of ... Read more [atom_content] =>

In 2017, candidate Emmanuel Macron pledged to close the last French coal-fired power plants, the most polluting fuel, within a five-year period. A promise still outstanding five years later, to the chagrin of environmental defense associations, after the re-election of the President of the Republic. According to the version of a future bill revealed on Sunday June 26 by RTL and consulted by The worldthe government plans to restart the Saint-Avold (Moselle) power plant on a provisional basis for the winter of 2022.

The entourage of Agnčs Pannier-Runacher, Minister of Energy Transition, confirms the development of a measure ” temporary “. The Lorraine site ceased to operate on March 31. A brief reopening would make it possible to have, if necessary between the end of 2022 and the beginning of 2023, a small additional margin of safety to avoid power cuts. In March, the Ministry of Ecological Transition had already announced the possibility of such a ?one-time restart?.

Also read the archive (2018): Article reserved for our subscribers In Moselle, Saint-Avold, between the end of coal and the hope of renewal

It is that the end of the year is announced under ?special vigilance?, according to the French operator of the electricity transmission network, RTE. Especially because of nuclear power, the main source of electricity in France. For the current year, the operator EDF expects production to be at its lowest in three decades. In question, corrosion problems on certain power plants, as well as a delay linked to Covid-19 in classic maintenance operations.

Uncertain context

For a decade, the State has been engaged in the following equation: preserving the balance between electricity supply and demand, while abandoning several thermal units running on fuel oil and coal, in particular for environmental reasons. As well as the Fessenheim nuclear power plant (Haut-Rhin), in 2020, by political decision. However, the country is still lagging behind on its objectives for renewable energies such as wind and solar, which are by nature intermittent.

The war led by Russia in Ukraine, since February 24, makes the context all the more uncertain. ?Even if France is less dependent on Russian gas than Germany or Italy, the weakening of the production of its nuclear fleet and the tensions on the water stocks of its hydraulic dams mark the great return of security problems. supply”, believes Patrice Geoffron, professor of economics at Paris-Dauphine-PSL University.

This is also why the leaders of the country’s three main energy groups have expressed their wish to?a major energy efficiency program and [d?]a national waste hunt? to save energy, in the words of Jean-Bernard Lévy (EDF), Catherine MacGregor (Engie) and Patrick Pouyanné (TotalEnergies), in a column published by the JDDJune 26.

You have 24.77% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1656319650 ) [3] => Array ( [title] => Metallica closes a Dantesque festival in style [link] => https://bbc-edition.com/international/metallica-closes-a-dantesque-festival-in-style/ [comments] => https://bbc-edition.com/international/metallica-closes-a-dantesque-festival-in-style/#respond [dc] => Array ( [creator] => Harry Rivers ) [pubdate] => Mon, 27 Jun 2022 08:44:31 +0000 [category] => InternationalclosesDantesqueFestivalMetallicaStyle [guid] => https://bbc-edition.com/international/metallica-closes-a-dantesque-festival-in-style/ [description] => James Hetfield (left) and Kirk Hammett, of the group Metallica, at the Hellfest festival, in Clisson (Loire-Atlantique), June 26, 2022. SEBASTIEN SALOM-GOMIS/AFP A steel giant more than 12 meters high dominates the Warzone, one of the six stages of Hellfest, the very popular metal festival which took place from June 17 to 26 in Clisson ... Read more [content] => Array ( [encoded] =>

A steel giant more than 12 meters high dominates the Warzone, one of the six stages of Hellfest, the very popular metal festival which took place from June 17 to 26 in Clisson (Loire-Atlantique). This is the new statue tribute to Ian “Lemmy” Kilmister, the singer and bassist of the British group Motörhead, who died in 2015. The old one, sculpted in resin and which threatened to collapse, has been replaced by this imposing structure made by the artist Caroline Brisset.

Under these 5 tons of steel, part of the ashes of the late rocker were deposited there in an urn, inaugurated during a ceremony, Thursday 23, in the presence of the two last members of the group, Phil Campbell and Mikkey Dee. All the festival-goers crowd around this place of contemplation and selfies. Because, in the eyes of the metal community, the author of the anthem Ace of Spades embodies the ultimate rock figure, devoted to the cause until his last breath. Six months before being swept away by cancer, the tough guy was still playing on the Hellfest Mainstage.

The reputedly loyal metal audience responded, once again, to this historic double edition of Hellfest, following two blank years. The figures are already known, with each edition since 2014 sold out months in advance: 420,000 tickets sold in total for 2022, or 60,000 spectators on average each day. From June 17 to 19 and from June 23 to 26, nearly 350 groups marched on the stages of the biggest musical event in France this year, including, during the first weekend, scorching, Judas Priest, Deftones, Megadeth or Gojira, and for this second, wetter, Alice Cooper, Scorpions, Guns N’Roses and Metallica.

Read also: Article reserved for our subscribers Ben Barbaud, director of Hellfest: “This year, the biggest musical event is a hard-rock festival”

decibel fire

On Friday, downpours transformed the site into a giant mud rink. The next day, the clouds disappear definitively with the arrival of Airbourne. “Motörhead is alive and well”, howl into the microphone the restless Australians, who raise a glass of whiskey and coke (Lemmy’s favorite drink) in honor of their hero, concocted live on stage. Musically, the O’Keeffe siblings’ gang perfectly masters the boogie hard rock recipe of their compatriots AC/DC (another family affair). Audiences who didn’t get to see the golden era of the Young brothers on stage, with the late Bon Scott (who died in 1980), can thank Airbourne for passing the torch.

For this last weekend, the festival has managed the feat of bringing together, as headliners, the two most important hard rock and metal bands: Guns N’Roses and Metallica

You have 62.13% of this article left to read. The following is for subscribers only.

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/international/metallica-closes-a-dantesque-festival-in-style/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => James Hetfield (left) and Kirk Hammett, of the group Metallica, at the Hellfest festival, in Clisson (Loire-Atlantique), June 26, 2022. SEBASTIEN SALOM-GOMIS/AFP A steel giant more than 12 meters high dominates the Warzone, one of the six stages of Hellfest, the very popular metal festival which took place from June 17 to 26 in Clisson ... Read more [atom_content] =>

A steel giant more than 12 meters high dominates the Warzone, one of the six stages of Hellfest, the very popular metal festival which took place from June 17 to 26 in Clisson (Loire-Atlantique). This is the new statue tribute to Ian “Lemmy” Kilmister, the singer and bassist of the British group Motörhead, who died in 2015. The old one, sculpted in resin and which threatened to collapse, has been replaced by this imposing structure made by the artist Caroline Brisset.

Under these 5 tons of steel, part of the ashes of the late rocker were deposited there in an urn, inaugurated during a ceremony, Thursday 23, in the presence of the two last members of the group, Phil Campbell and Mikkey Dee. All the festival-goers crowd around this place of contemplation and selfies. Because, in the eyes of the metal community, the author of the anthem Ace of Spades embodies the ultimate rock figure, devoted to the cause until his last breath. Six months before being swept away by cancer, the tough guy was still playing on the Hellfest Mainstage.

The reputedly loyal metal audience responded, once again, to this historic double edition of Hellfest, following two blank years. The figures are already known, with each edition since 2014 sold out months in advance: 420,000 tickets sold in total for 2022, or 60,000 spectators on average each day. From June 17 to 19 and from June 23 to 26, nearly 350 groups marched on the stages of the biggest musical event in France this year, including, during the first weekend, scorching, Judas Priest, Deftones, Megadeth or Gojira, and for this second, wetter, Alice Cooper, Scorpions, Guns N’Roses and Metallica.

Read also: Article reserved for our subscribers Ben Barbaud, director of Hellfest: “This year, the biggest musical event is a hard-rock festival”

decibel fire

On Friday, downpours transformed the site into a giant mud rink. The next day, the clouds disappear definitively with the arrival of Airbourne. “Motörhead is alive and well”, howl into the microphone the restless Australians, who raise a glass of whiskey and coke (Lemmy’s favorite drink) in honor of their hero, concocted live on stage. Musically, the O’Keeffe siblings’ gang perfectly masters the boogie hard rock recipe of their compatriots AC/DC (another family affair). Audiences who didn’t get to see the golden era of the Young brothers on stage, with the late Bon Scott (who died in 1980), can thank Airbourne for passing the torch.

For this last weekend, the festival has managed the feat of bringing together, as headliners, the two most important hard rock and metal bands: Guns N’Roses and Metallica

You have 62.13% of this article left to read. The following is for subscribers only.

[date_timestamp] => 1656319471 ) [4] => Array ( [title] => up to ten casualties this summer ? ActionPush [link] => https://bbc-edition.com/sporting/up-to-ten-casualties-this-summer-actionpush/ [comments] => https://bbc-edition.com/sporting/up-to-ten-casualties-this-summer-actionpush/#respond [dc] => Array ( [creator] => Pauline Potteer ) [pubdate] => Mon, 27 Jun 2022 08:17:18 +0000 [category] => SportingActionPushCasualtiesSummerten [guid] => https://bbc-edition.com/sporting/up-to-ten-casualties-this-summer-actionpush/ [description] => ANDhe PSG has completed its first big sale of the summer. Alphonse Areolawho was the second goalkeeper of the real Madrid in the 19-20 season, he ceased to belong permanently to the Parisian team and stayed in the Westham, team in which he has been on loan this campaign, in exchange for some ?12 million. ... Read more [content] => Array ( [encoded] =>

ANDhe PSG has completed its first big sale of the summer. Alphonse Areolawho was the second goalkeeper of the real Madrid in the 19-20 season, he ceased to belong permanently to the Parisian team and stayed in the Westham, team in which he has been on loan this campaign, in exchange for some ?12 million.

This transfer, and its corresponding economic pinch, is the first step in a sales plan with which the Paris Saint-Germain He intends to lighten his squad and, incidentally, raise some money to reinvest it in new signings. As L?quipe recounts, that ?black list? in which the names of the footballers who are expected to be released are listed reaches the dozen involved.

Tchouamni: ?Mbapp? He wanted to know if he could go to PSG??

Before Areola left another goalkeeper, Marcin Bulka, to play for Nice in exchange for two million euros. But the meta does not enter that list of players for whom Louis Fields waits to fill the box and then empty it again. They do include, according to the Gallic half, footballers like Thilo Kehrer, Abdou Diallo, Sergio Rico, Idrissa Gueye or Arnaud Kalimuendoplayers with a good international poster and for whom the collection could be higher.

But PSG has two problems. The first, the high salary of its players, which makes it difficult for clubs that want to sign them to match it. The second, that one of those appointed to leave, such as Paredes, Icardi or Ander Herrerahave expressed their desire to continue in Paris.

Di Mara: ?Having been left out of the Champions League did PSG very badly, that?s why it?s the way it is?

The possible departure of Neymar

With the enigma of Neymar?s future on the table, PSG have several files on the table that they cannot resolve. Nor has he fired Pochettinonor has he officially hired Galtier and every day that passes it seems that the Inter raise your demands Skriniarthe first great objective of the summer in the Parque de los Prncipes to reinforce their defense.

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/sporting/up-to-ten-casualties-this-summer-actionpush/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => ANDhe PSG has completed its first big sale of the summer. Alphonse Areolawho was the second goalkeeper of the real Madrid in the 19-20 season, he ceased to belong permanently to the Parisian team and stayed in the Westham, team in which he has been on loan this campaign, in exchange for some ?12 million. ... Read more [atom_content] =>

ANDhe PSG has completed its first big sale of the summer. Alphonse Areolawho was the second goalkeeper of the real Madrid in the 19-20 season, he ceased to belong permanently to the Parisian team and stayed in the Westham, team in which he has been on loan this campaign, in exchange for some ?12 million.

This transfer, and its corresponding economic pinch, is the first step in a sales plan with which the Paris Saint-Germain He intends to lighten his squad and, incidentally, raise some money to reinvest it in new signings. As L?quipe recounts, that ?black list? in which the names of the footballers who are expected to be released are listed reaches the dozen involved.

Tchouamni: ?Mbapp? He wanted to know if he could go to PSG??

Before Areola left another goalkeeper, Marcin Bulka, to play for Nice in exchange for two million euros. But the meta does not enter that list of players for whom Louis Fields waits to fill the box and then empty it again. They do include, according to the Gallic half, footballers like Thilo Kehrer, Abdou Diallo, Sergio Rico, Idrissa Gueye or Arnaud Kalimuendoplayers with a good international poster and for whom the collection could be higher.

But PSG has two problems. The first, the high salary of its players, which makes it difficult for clubs that want to sign them to match it. The second, that one of those appointed to leave, such as Paredes, Icardi or Ander Herrerahave expressed their desire to continue in Paris.

Di Mara: ?Having been left out of the Champions League did PSG very badly, that?s why it?s the way it is?

The possible departure of Neymar

With the enigma of Neymar?s future on the table, PSG have several files on the table that they cannot resolve. Nor has he fired Pochettinonor has he officially hired Galtier and every day that passes it seems that the Inter raise your demands Skriniarthe first great objective of the summer in the Parque de los Prncipes to reinforce their defense.

[date_timestamp] => 1656317838 ) [5] => Array ( [title] => Taylor Swift: ?All Too Well? [link] => https://bbc-edition.com/entertainment/taylor-swift-all-too-well/ [comments] => https://bbc-edition.com/entertainment/taylor-swift-all-too-well/#respond [dc] => Array ( [creator] => Sandy Richardson ) [pubdate] => Mon, 27 Jun 2022 07:54:50 +0000 [category] => EntertainmentSwiftTaylor [guid] => https://bbc-edition.com/entertainment/taylor-swift-all-too-well/ [description] => Queen T shares another version of her song ‘All Too Well’: The 10-minute ‘Sad Girl Autumn’ session. Hudson Valley (fan) – Taylor Swift delivers even more crying material and delivers a melancholy studio session of the ten-minute track with the new “Sad Girl Autumn” version of “All Too Well”. Aaron Dessner (The National) smooth piano ... Read more [content] => Array ( [encoded] =>

Queen T shares another version of her song ‘All Too Well’: The 10-minute ‘Sad Girl Autumn’ session.

Hudson Valley (fan) – Taylor Swift delivers even more crying material and delivers a melancholy studio session of the ten-minute track with the new “Sad Girl Autumn” version of “All Too Well”. Aaron Dessner (The National) smooth piano playing on cardigan instead of acoustic guitar, and vintage-filtered black-and-white live session video with photos inserted as slideshows frame the performance. “One of the saddest Songs I’ve ever written just got sadder“, Taylor comments on Twitter.

As part of her re-recording sessions, Taylor Swift released her 2012 album “Red” last Friday – now in “Taylor’s Version” with eight new songs and new features. Among other things, the extended version of “All Too Well”. She tells the story of a breakup in even more detail and pain than before – with special mention of a scarf her ex-boyfriend still has with him. Fans rumor that it is actor Jake Gyllenhaal – some lines of text indicate this. In addition, the short film created in the course of the song also fits the theory. Directed by Taylor, Dylan O’Brien and Sadie Pink play a couple whose initial crush on rose-colored glasses shattered over time due to various issues, including an age difference. Swizzle Herself also has an acting appearance at the end of the film.

Taylor & Co. recorded the “Sad Girl Autumn” version at Long Pond Studios in New York, which is also where “Folklore” was created. It is the (at least) fifth published version. In addition to the original from 2012, the five-minute song, the extended version and an acoustic live version followed – recorded after the premiere of the short film.

Continue reading

laut.de portrait
Taylor Swift

She is not one of the usual young US country stars. From a very young age, on December 13, 1989 in Wyomissing, Pennsylvania, the …

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/entertainment/taylor-swift-all-too-well/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => Queen T shares another version of her song ‘All Too Well’: The 10-minute ‘Sad Girl Autumn’ session. Hudson Valley (fan) – Taylor Swift delivers even more crying material and delivers a melancholy studio session of the ten-minute track with the new “Sad Girl Autumn” version of “All Too Well”. Aaron Dessner (The National) smooth piano ... Read more [atom_content] =>

Queen T shares another version of her song ‘All Too Well’: The 10-minute ‘Sad Girl Autumn’ session.

Hudson Valley (fan) – Taylor Swift delivers even more crying material and delivers a melancholy studio session of the ten-minute track with the new “Sad Girl Autumn” version of “All Too Well”. Aaron Dessner (The National) smooth piano playing on cardigan instead of acoustic guitar, and vintage-filtered black-and-white live session video with photos inserted as slideshows frame the performance. “One of the saddest Songs I’ve ever written just got sadder“, Taylor comments on Twitter.

As part of her re-recording sessions, Taylor Swift released her 2012 album “Red” last Friday – now in “Taylor’s Version” with eight new songs and new features. Among other things, the extended version of “All Too Well”. She tells the story of a breakup in even more detail and pain than before – with special mention of a scarf her ex-boyfriend still has with him. Fans rumor that it is actor Jake Gyllenhaal – some lines of text indicate this. In addition, the short film created in the course of the song also fits the theory. Directed by Taylor, Dylan O’Brien and Sadie Pink play a couple whose initial crush on rose-colored glasses shattered over time due to various issues, including an age difference. Swizzle Herself also has an acting appearance at the end of the film.

Taylor & Co. recorded the “Sad Girl Autumn” version at Long Pond Studios in New York, which is also where “Folklore” was created. It is the (at least) fifth published version. In addition to the original from 2012, the five-minute song, the extended version and an acoustic live version followed – recorded after the premiere of the short film.

Continue reading

laut.de portrait
Taylor Swift

She is not one of the usual young US country stars. From a very young age, on December 13, 1989 in Wyomissing, Pennsylvania, the …

[date_timestamp] => 1656316490 ) [6] => Array ( [title] => Virgin Labfest ?Set A? review: Grief in gray areas [link] => https://bbc-edition.com/space/virgin-labfest-set-a-review-grief-in-gray-areas/ [comments] => https://bbc-edition.com/space/virgin-labfest-set-a-review-grief-in-gray-areas/#respond [dc] => Array ( [creator] => Susan Hall ) [pubdate] => Mon, 27 Jun 2022 07:53:30 +0000 [category] => SpaceareasGrayGriefLabfestReviewsetVirgin [guid] => https://bbc-edition.com/space/virgin-labfest-set-a-review-grief-in-gray-areas/ [description] => As a person who spent nine years of his life onstage, I?ve always found it difficult to write about theater. I understand, all too well, the difficulties within the art form: the time and labor that goes into it, the material conditions that shape the work, the political realities that artists often feel the need ... Read more [content] => Array ( [encoded] =>

As a person who spent nine years of his life onstage, I?ve always found it difficult to write about theater. I understand, all too well, the difficulties within the art form: the time and labor that goes into it, the material conditions that shape the work, the political realities that artists often feel the need to respond to, and the sheer thanklessness of the endeavor. Live performances in physical spaces have only begun recovering and the reality is that a theater review, whether constructive or crass, will impact the artists differently because of these inequities in financial and cultural capital.

If I cannot pan something, what use is my praise?

Despite its recalcitrance to criticism, theater, as an art form, demands to be written about. Its ephemeral quality has made it an imperative ? great shows are easily forgotten, bad work metastasizes, practices remain uncriticized, conversations about the art remain within four walls. Writing is, in a way, an act of conferring importance to the work, honoring the risks taken, recommending successful processes, pointing out the mistakes made, and laying out the paths towards adaptation. Criticism is a way of holding the art, the art form, and the artists behind it to a high regard. Great criticism does not only cast judgment but encourages audiences to notice what they?re noticing.

Virgin Labfest?s ?Set A? understands this. All three pieces revolve around a form of criticism ? of institutions that oppress us, of practices that keep stories of the marginalized misrepresented, of outdated beliefs that shackle the human experience, of how communities remain complicit in maintaining the status quo. Each work is an attempt at exhuming the untold and using art as a way to hold the powers that be accountable.

Ariane Mnouchkine, the founding Artistic Director of Théâtre du Soleil in France, once said: ?You should go out of the theater more human than you went in.?

Here is an attempt at reflecting that transformation:

Widows (by Maki de la Rosa, directed by Adrienne Vergara)

In the process of writing about WidowsI encountered the same conundrum as its protagonist. The play centers around a young writer (Alon Segarra) who, after encountering writer?s block, seeks the help of the widows within her play (Pau Benitez and the excellent Skyxz Labastilla). How does one write about, let alone critique, something that is still a lived reality for the disenfranchised?

Several ethical dilemmas are raised by writer Maki de la Rosa and director Adrienne Vergara ? the difficulty of articulating the experiences of others, the burden of doing justice to borrowed stories, the inherent bias towards formalism in elite spaces, and more. What is radical about Widows is how it reframes art as a ?process? rather than a ?product.? Key to this is in how the widows who are subjects of the play ? despite being nameless and imagined ? are able to speak for themselves, challenge the ideologies used to represent their stories, and actively take a role in shaping how they are seen.

Yet one cannot help but impulsively reject one of the play?s final statements ? the call ?to keep adding to the conversation.? All too often, terrible (political) art refuses to create a space for silence because it prioritizes the voice of its creators. However, the final image of Widows shows its team aren?t from such ilk. Instead, Widows ends by creating a third space for commemoration ? where the three women recite the names of the victims of violence under the Duterte administration. While the set changes require more purpose and ease, the final transformation of Wika Nadera?s set from keyboard keys into tombstones, later adorned with candles and flowers, is haunting.

It is an image that reminds us that art can feel pointless in the face of incomprehensible violence and corruptible power; that theater is not always successful as a tool for empathy. Widows knows that it cannot bring back the dead, it can only hold their fragments ? their struggle, their joy, their humanity ? for the living. Stories like these will continue to exist as long as death-dealing systems remain. But it is the futility of this endeavor that keeps artists creating and that keeps audiences returning. Art will never be enough. But we continue in the hopes that someday, somehow, it might be.

Bituing Marikit (by Bibeth Orteza, directed by Carlos Siguion-Reyna)

Of the plays in Set A, Bituing Marikit has the most interesting premise because it has the most to lose.

After the death of their matriarch Carmela, Allan (Gie Onida) and his three sons ? Peping (JV Ibesate), Bok (Earle Figuracion), and Butching (Joshua Tayco) ? reunite at a provincial morgue. While waiting for their father to return, Peping tells his brothers that he refuses to have Nanay Carmela embalmed and is instead requesting that she be cremated. When asked why he would suggest such a thing, he lifts the cloth above her waist and shows his brothers his reason: Nanay Carmela has a penis.

It is clear that writer Bibeth Orteza and director Carlos Siguion-Reyna want to examine toxic ideas of masculinity, challenge provincial ideas of family and gender identity, and promote the idea that love can conquer all. These good intentions, on their own, would have been enough for applause.

But why must Carmela ? the sun around which the living orbit like satellites ? be treated like a set piece throughout the process? Why must her body be defiled by her sons without second thought? Why must she be subjected to false accusations of child molestation, even if there is no evidence against her? Why must her goodness be questioned even in death? Why is it that her worth is only recognized in association to their father? Is there really no other way to examine such topics without dehumanizing the queer body?

Others will argue that such choices stem from a desire for verisimilitude ? ?things like this happen in the province all the time.? But art does not have to be realistic for it to be truthful and the imperative to do what is right outweighs the imperative of realism, especially when such realism contradicts the lessons drawn from the work.

When one looks at the characters who are alive, one will also notice their thinness. In the souvenir program, Siguion-Reyna speaks about providing unspoken backstories for each character. Why not speak these motivations, these wounds, into existence? Is the play not about taking the skeletons out of the closet? Why do we know so little about the brothers by the end?

It is why the final image ? the four men singing Bituing Marikit back to their bituing marikit ? rings so hollow. Its ineffectiveness might be attributed to uneven acting among the brothers or the logical missteps in the staging. But its problems run deeper: all the journeys feel like shortcuts; nothing seems to have been exhumed. There are no transformations to be witnessed, nor metaphorical bodies laid to rest.

Bibeth Orteza and Carlos Siguion-Reyna have created stunning work throughout their artistic careers. Bituing Marikit is not one of them.

Queer films and TV shows to add to your watchlist

Nothing New in This Play (by Eljay Castro Deldoc, directed by Herbie Go and Tess Jamias)

It begins with a warning: “You already know this story.”

Then, it shifts into something reminiscent of Isabella Rosselini?s Green Porno ? with comically delivered parallels drawn between the life of a millipede and a budding academic (only referred to as hija, played by Claudia Enriquez).

Then, an act of violence. At first, obscured and stylized like in Pedro Almodovar?s Talk to her. Clothes peel away like exoskeletons, while she witnesses herself have an out-of-body experience, noticing how the violation has choreography and the steps are far too familiar. Despite her protests, the body keeps the score.

Suddenly, she is a stranger in her own form and specters of the rape are everywhere ? in car rides, site visits, academic institutions, at home. Safety is no longer a given; it must be negotiated. Around her, an ensemble of women ? Marj Lorico, Wenah Nagales, Kath Castillo, and Ji-ann Lachica, each of whom deserves to be named for their excellence ? act out the characters in her life, behaving like either friend and foe, a reminder that women can act like men too.

By tapping into the history of how sexual assault is discussed and depicted, writer Eljay Deldoc and directors Herbie Go and Tess Jamias unearth the core of the violence ? that it is not about sex, but power ? and in the process of proving one?s victimhood, one is inevitably violated by the system, no matter how benevolent it may seem.

We wait for her to break or to maybe even die, because stories like this often end in such ways. Yet she does not. She is alive and plays a lullaby, ?Ili-ili Tulog Anay,? on the ukulele for her child. She is telling the story because she has already survived it. She is telling the story to tell others that it is possible to live past it.

What is most important about Nothing New in This Play is how it uses fiction to give its protagonist a chance at justice and closure. Hurdle after hurdle, Enriquez remains vulnerable yet steadfast in her pursuit, rejecting the role of victimhood thrust onto her character by society, hopeful that there will be those who will believe in and do the right thing.

Like the best kind of art, Nothing New in This Play challenges the status quo and how we participate in upholding it through the myths we perpetuate and silence. It ends with a reclamation, a declaration, that extends to the festival?s other sets; beyond the four walls of the theater:

?I am so much more.? ? Rappler.com

Virgin Labfest 2022 was held in person at the CCP Tanghalang Huseng Batute from June 16 to June 26. Online streaming will be from June 30 till July 10. Tickets are available via Ticket2Me.

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/space/virgin-labfest-set-a-review-grief-in-gray-areas/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => As a person who spent nine years of his life onstage, I?ve always found it difficult to write about theater. I understand, all too well, the difficulties within the art form: the time and labor that goes into it, the material conditions that shape the work, the political realities that artists often feel the need ... Read more [atom_content] =>

As a person who spent nine years of his life onstage, I?ve always found it difficult to write about theater. I understand, all too well, the difficulties within the art form: the time and labor that goes into it, the material conditions that shape the work, the political realities that artists often feel the need to respond to, and the sheer thanklessness of the endeavor. Live performances in physical spaces have only begun recovering and the reality is that a theater review, whether constructive or crass, will impact the artists differently because of these inequities in financial and cultural capital.

If I cannot pan something, what use is my praise?

Despite its recalcitrance to criticism, theater, as an art form, demands to be written about. Its ephemeral quality has made it an imperative ? great shows are easily forgotten, bad work metastasizes, practices remain uncriticized, conversations about the art remain within four walls. Writing is, in a way, an act of conferring importance to the work, honoring the risks taken, recommending successful processes, pointing out the mistakes made, and laying out the paths towards adaptation. Criticism is a way of holding the art, the art form, and the artists behind it to a high regard. Great criticism does not only cast judgment but encourages audiences to notice what they?re noticing.

Virgin Labfest?s ?Set A? understands this. All three pieces revolve around a form of criticism ? of institutions that oppress us, of practices that keep stories of the marginalized misrepresented, of outdated beliefs that shackle the human experience, of how communities remain complicit in maintaining the status quo. Each work is an attempt at exhuming the untold and using art as a way to hold the powers that be accountable.

Ariane Mnouchkine, the founding Artistic Director of Théâtre du Soleil in France, once said: ?You should go out of the theater more human than you went in.?

Here is an attempt at reflecting that transformation:

Widows (by Maki de la Rosa, directed by Adrienne Vergara)

In the process of writing about WidowsI encountered the same conundrum as its protagonist. The play centers around a young writer (Alon Segarra) who, after encountering writer?s block, seeks the help of the widows within her play (Pau Benitez and the excellent Skyxz Labastilla). How does one write about, let alone critique, something that is still a lived reality for the disenfranchised?

Several ethical dilemmas are raised by writer Maki de la Rosa and director Adrienne Vergara ? the difficulty of articulating the experiences of others, the burden of doing justice to borrowed stories, the inherent bias towards formalism in elite spaces, and more. What is radical about Widows is how it reframes art as a ?process? rather than a ?product.? Key to this is in how the widows who are subjects of the play ? despite being nameless and imagined ? are able to speak for themselves, challenge the ideologies used to represent their stories, and actively take a role in shaping how they are seen.

Yet one cannot help but impulsively reject one of the play?s final statements ? the call ?to keep adding to the conversation.? All too often, terrible (political) art refuses to create a space for silence because it prioritizes the voice of its creators. However, the final image of Widows shows its team aren?t from such ilk. Instead, Widows ends by creating a third space for commemoration ? where the three women recite the names of the victims of violence under the Duterte administration. While the set changes require more purpose and ease, the final transformation of Wika Nadera?s set from keyboard keys into tombstones, later adorned with candles and flowers, is haunting.

It is an image that reminds us that art can feel pointless in the face of incomprehensible violence and corruptible power; that theater is not always successful as a tool for empathy. Widows knows that it cannot bring back the dead, it can only hold their fragments ? their struggle, their joy, their humanity ? for the living. Stories like these will continue to exist as long as death-dealing systems remain. But it is the futility of this endeavor that keeps artists creating and that keeps audiences returning. Art will never be enough. But we continue in the hopes that someday, somehow, it might be.

Bituing Marikit (by Bibeth Orteza, directed by Carlos Siguion-Reyna)

Of the plays in Set A, Bituing Marikit has the most interesting premise because it has the most to lose.

After the death of their matriarch Carmela, Allan (Gie Onida) and his three sons ? Peping (JV Ibesate), Bok (Earle Figuracion), and Butching (Joshua Tayco) ? reunite at a provincial morgue. While waiting for their father to return, Peping tells his brothers that he refuses to have Nanay Carmela embalmed and is instead requesting that she be cremated. When asked why he would suggest such a thing, he lifts the cloth above her waist and shows his brothers his reason: Nanay Carmela has a penis.

It is clear that writer Bibeth Orteza and director Carlos Siguion-Reyna want to examine toxic ideas of masculinity, challenge provincial ideas of family and gender identity, and promote the idea that love can conquer all. These good intentions, on their own, would have been enough for applause.

But why must Carmela ? the sun around which the living orbit like satellites ? be treated like a set piece throughout the process? Why must her body be defiled by her sons without second thought? Why must she be subjected to false accusations of child molestation, even if there is no evidence against her? Why must her goodness be questioned even in death? Why is it that her worth is only recognized in association to their father? Is there really no other way to examine such topics without dehumanizing the queer body?

Others will argue that such choices stem from a desire for verisimilitude ? ?things like this happen in the province all the time.? But art does not have to be realistic for it to be truthful and the imperative to do what is right outweighs the imperative of realism, especially when such realism contradicts the lessons drawn from the work.

When one looks at the characters who are alive, one will also notice their thinness. In the souvenir program, Siguion-Reyna speaks about providing unspoken backstories for each character. Why not speak these motivations, these wounds, into existence? Is the play not about taking the skeletons out of the closet? Why do we know so little about the brothers by the end?

It is why the final image ? the four men singing Bituing Marikit back to their bituing marikit ? rings so hollow. Its ineffectiveness might be attributed to uneven acting among the brothers or the logical missteps in the staging. But its problems run deeper: all the journeys feel like shortcuts; nothing seems to have been exhumed. There are no transformations to be witnessed, nor metaphorical bodies laid to rest.

Bibeth Orteza and Carlos Siguion-Reyna have created stunning work throughout their artistic careers. Bituing Marikit is not one of them.

Queer films and TV shows to add to your watchlist

Nothing New in This Play (by Eljay Castro Deldoc, directed by Herbie Go and Tess Jamias)

It begins with a warning: “You already know this story.”

Then, it shifts into something reminiscent of Isabella Rosselini?s Green Porno ? with comically delivered parallels drawn between the life of a millipede and a budding academic (only referred to as hija, played by Claudia Enriquez).

Then, an act of violence. At first, obscured and stylized like in Pedro Almodovar?s Talk to her. Clothes peel away like exoskeletons, while she witnesses herself have an out-of-body experience, noticing how the violation has choreography and the steps are far too familiar. Despite her protests, the body keeps the score.

Suddenly, she is a stranger in her own form and specters of the rape are everywhere ? in car rides, site visits, academic institutions, at home. Safety is no longer a given; it must be negotiated. Around her, an ensemble of women ? Marj Lorico, Wenah Nagales, Kath Castillo, and Ji-ann Lachica, each of whom deserves to be named for their excellence ? act out the characters in her life, behaving like either friend and foe, a reminder that women can act like men too.

By tapping into the history of how sexual assault is discussed and depicted, writer Eljay Deldoc and directors Herbie Go and Tess Jamias unearth the core of the violence ? that it is not about sex, but power ? and in the process of proving one?s victimhood, one is inevitably violated by the system, no matter how benevolent it may seem.

We wait for her to break or to maybe even die, because stories like this often end in such ways. Yet she does not. She is alive and plays a lullaby, ?Ili-ili Tulog Anay,? on the ukulele for her child. She is telling the story because she has already survived it. She is telling the story to tell others that it is possible to live past it.

What is most important about Nothing New in This Play is how it uses fiction to give its protagonist a chance at justice and closure. Hurdle after hurdle, Enriquez remains vulnerable yet steadfast in her pursuit, rejecting the role of victimhood thrust onto her character by society, hopeful that there will be those who will believe in and do the right thing.

Like the best kind of art, Nothing New in This Play challenges the status quo and how we participate in upholding it through the myths we perpetuate and silence. It ends with a reclamation, a declaration, that extends to the festival?s other sets; beyond the four walls of the theater:

?I am so much more.? ? Rappler.com

Virgin Labfest 2022 was held in person at the CCP Tanghalang Huseng Batute from June 16 to June 26. Online streaming will be from June 30 till July 10. Tickets are available via Ticket2Me.

[date_timestamp] => 1656316410 ) [7] => Array ( [title] => Phobia review: St. Dinfna Hotel, an adventure that won?t scare you, but will test you [link] => https://bbc-edition.com/hobbies/phobia-review-st-dinfna-hotel-an-adventure-that-wont-scare-you-but-will-test-you/ [comments] => https://bbc-edition.com/hobbies/phobia-review-st-dinfna-hotel-an-adventure-that-wont-scare-you-but-will-test-you/#respond [dc] => Array ( [creator] => Harry Rivers ) [pubdate] => Mon, 27 Jun 2022 07:48:35 +0000 [category] => HobbiesAdventureDinfnahôtelPhobiaReviewscaretestwont [guid] => https://bbc-edition.com/hobbies/phobia-review-st-dinfna-hotel-an-adventure-that-wont-scare-you-but-will-test-you/ [description] => The new wave of horror games keeps coming to cool us down the summer with cold sweats. If just a few days ago we presented you the analysis of Oxide: Room 104, now it is the turn of Fobia: Hotel Dinfna, a survival horror in subjective view, but with many old school ingredients. This horror ... Read more [content] => Array ( [encoded] =>

The new wave of horror games keeps coming to cool us down the summer with cold sweats. If just a few days ago we presented you the analysis of Oxide: Room 104, now it is the turn of Fobia: Hotel Dinfna, a survival horror in subjective view, but with many old school ingredients.

This horror adventure is the work of Pulsatrix Studiosa Brazilian team of relatively recent creation, but whose love for classics like the first Resident Evilwith which it bears many similarities.

Phobia: St. Dinfna Hotel takes us to the Brazilian town of Treze Trilhas, where they have been listening for decades rumors about paranormal events and major catastrophes of uncertain origin.

We control Roberto Leite, a journalist who is drawn to these urban legends to find his big story about the secrets of the Dinfna hotel. Shortly after arriving there, he discovers that many things are beyond their control, including space and time itself.

We always play in subjective view and have a limited inventory to store objects, which we can increase when we find the corresponding items. Our objective is explore hotel rooms to find keys to open other rooms, access cards, etc.

A major catastrophe seems to have taken place shortly after we arrived, so many of the entrances to other floors are down. A good part of the adventure is based on looking for alternative routes or buttons with which to fix the elevator to be able to move.

VIDEO

Phobia St. Dinfna Hotel – Trailer

But, in addition, we have a very special element: apart from the traditional flashlight, we have a photo camera that seems to have the ability to see “other worlds”, something like parallel realities that we do not capture with the naked eye. Broadly speaking, this helps us to solve small puzzles.

We may see a wall ahead of us, but when using the camera let’s find out there is a hole where we can go… The camera can also reveal safes with useful items inside or even passwords painted on the wall for them.

They are not the only “riddles”, because the game is based a lot on puzzles of all kinds. From the classic “find the card and password for this door” to others more focused on messages in code that we have to decipher. Some, of a mathematical type, will make you rack your brains based on good

And it is that, more than in other facets that we will now see, the real challenge of Phobia: Hotel St. Dinfna is there, in cold thinking how to solve that sheet of paper that seems unintelligible or yes, in how to solve the essential puzzle of a piano.

Although some of these moments are mandatory to advance the plotothers are optional and solving them will help you get upgrade items or ammunition for your weapons.

As usual in survival horror, we can also face the monstrous enemies (first with a pistol and later with more forceful weapons like a shotgun), but it is important to aim at the right place and don’t waste ammobecause it is relatively rare. Here it is not worth shooting wildly, although as long as you aim calmly, there will be no problem.

Both the weapons, the keys or even the ammunition occupy slots in our inventory, so we have to choose well what to store in it; Sometimes we may have to discard ammunition or healing items to make room, although the mandatory objects of the plot cannot be eliminated by mistake, of course.

To heal ourselves, we can find gauzes that, when combined with an adhesive bandage, generate bandages that heal some health. If we also find alcohol, we can generate a kit that heals us completely and occupies a single space in the inventory. As you can see, this is very reminiscent of the mixture of herbs from Resident Evil.

And it is not the only similarity. If you have a lot of items and want to save some for later, what can you do? Exactly, keep them in a “magic” trunk. There are several around the hotel, so if you store an item in one, it can be picked up in the others as well.

how do you see, Phobia forces us a lot to measure our steps and to calculate how to distribute our objects or if it is worth taking a risk at that moment.

because hey, there is no autosave, we have to save the game manually in certain clocks that are in key areas. If we don’t do it and we die, we may have to repeat many minutes of the game… In fact, we can’t check the map either whenever we want. There are some on the walls, but you have to do a lot of spatial orientation.

Watching when saving a game is important because the risk is there: apart from the normal enemies (very little varied and not very savvy, really), there is a mysterious and huge character that chases us sometimes, in the purest Nemesis or Mr. X style.

As you can imagine, we can’t finish him off, just slow him down a bit with the shots, so we have to run and find a way to throw him off. There are also some duels against final bosses much more resistant, but that tend to have patterns that are reasonably easy to detect.

Although it is true that these moments give some tension and despite the name of this adventure, Phobia: St. Dinfna Hotel is not a particularly scary game. Give some substitute with certain enemies, yes, but as players we will feel more challenged than scared.

Probably Pulsatrix’s intention was to make the experience more terrifying, but in these cases where it is a small study (we have already seen similar experiences with Oxide, Infliction or Maid of Sker), the “seams” in the design and animations of the monsters are often noticed and stages, so they don’t tend to be very intimidating.

Even so, it is very interesting as a paranormal adventureas it has many interesting elements: temporary enigmas, secret experiments, societies with a dark past… Discovering what lies behind everything through the well-measured narrative will catch your interest.

Well, we have to admit that the end, after about 12 hours of play, is a bit “what are you telling me”, but that’s part of the charm of these types of titles. You will tell us when you get to it.

Indeed, by passing the game we receive a rating and unlock a “New game +”, which allows us to play with all the weapon upgrades and items we would have ended up with. Also we can access a section of extras andn the one that reveals to us what is behind certain objects that we collected at the time.

On a technical level, Phobia is merely correct. It has some interesting lighting effects and the design of the hotel is eerie and sinister at times, especially when using the camera to uncover bloody secrets.

The more paranormal moments in which the scenery “fluctuates” are reminiscent of games like The Evil Within or The Medium. Its physics effects, distortions, etc. They are nothing from the other Thursday, but they hit the spot.

Still, as we said, the enemies have a very fair design and AI and they also usually have some clipping problem. From time to time they are a challenge, but they fall a little short for us.

Indeed, the game supports the possibility of using ray tracing (at least in the PS5 version, which is the one we have been able to test), but we recommend not activating it, because the difference is barely noticeable and it can cause the fluidity to jerk quite a bit.

Fobia: St. Dinfna Hotel

The sound fails to surprise and is limited to some punctual melodies and voices in English that seem uninspired, really. The effects of rain, fire, etc. they do manage to improve the atmosphere and increase our tension somewhat.

With everything, Phobia: St. Dinfna Hotel is a game that works better as an adventure with paranormal touches than as terror experiencer. Survival horror veterans will feel right at home with its puzzles and intricate corridors, while dosing up ammo for the next encounter. In that sense, it is a clearly recommendable experience.

Who is the mysterious girl in a gas mask? Was the prophet Christopher someone really admirable? What happened in the mine explosion? Those mysteries of the plot will hook youif you let yourself be carried away by the mysterious phone calls and the helpful handwritten notes.

Demonstrate, it even has some very specific strokes of humor, but nice, with references to Resident Evil itself, The Walking Dead or how complicated it is to insert a flash drive at first.

But if what you are looking for is something that makes your heart beat with terror, that makes you feel tiny and vulnerable, maybe this is not your game. This hotel is more designed for those who want a challenge for the mind and his temperance… oh, and to learn some messages in Portuguese along the way.

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/hobbies/phobia-review-st-dinfna-hotel-an-adventure-that-wont-scare-you-but-will-test-you/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => The new wave of horror games keeps coming to cool us down the summer with cold sweats. If just a few days ago we presented you the analysis of Oxide: Room 104, now it is the turn of Fobia: Hotel Dinfna, a survival horror in subjective view, but with many old school ingredients. This horror ... Read more [atom_content] =>

The new wave of horror games keeps coming to cool us down the summer with cold sweats. If just a few days ago we presented you the analysis of Oxide: Room 104, now it is the turn of Fobia: Hotel Dinfna, a survival horror in subjective view, but with many old school ingredients.

This horror adventure is the work of Pulsatrix Studiosa Brazilian team of relatively recent creation, but whose love for classics like the first Resident Evilwith which it bears many similarities.

Phobia: St. Dinfna Hotel takes us to the Brazilian town of Treze Trilhas, where they have been listening for decades rumors about paranormal events and major catastrophes of uncertain origin.

We control Roberto Leite, a journalist who is drawn to these urban legends to find his big story about the secrets of the Dinfna hotel. Shortly after arriving there, he discovers that many things are beyond their control, including space and time itself.

We always play in subjective view and have a limited inventory to store objects, which we can increase when we find the corresponding items. Our objective is explore hotel rooms to find keys to open other rooms, access cards, etc.

A major catastrophe seems to have taken place shortly after we arrived, so many of the entrances to other floors are down. A good part of the adventure is based on looking for alternative routes or buttons with which to fix the elevator to be able to move.

VIDEO

Phobia St. Dinfna Hotel – Trailer

But, in addition, we have a very special element: apart from the traditional flashlight, we have a photo camera that seems to have the ability to see “other worlds”, something like parallel realities that we do not capture with the naked eye. Broadly speaking, this helps us to solve small puzzles.

We may see a wall ahead of us, but when using the camera let’s find out there is a hole where we can go… The camera can also reveal safes with useful items inside or even passwords painted on the wall for them.

They are not the only “riddles”, because the game is based a lot on puzzles of all kinds. From the classic “find the card and password for this door” to others more focused on messages in code that we have to decipher. Some, of a mathematical type, will make you rack your brains based on good

And it is that, more than in other facets that we will now see, the real challenge of Phobia: Hotel St. Dinfna is there, in cold thinking how to solve that sheet of paper that seems unintelligible or yes, in how to solve the essential puzzle of a piano.

Although some of these moments are mandatory to advance the plotothers are optional and solving them will help you get upgrade items or ammunition for your weapons.

As usual in survival horror, we can also face the monstrous enemies (first with a pistol and later with more forceful weapons like a shotgun), but it is important to aim at the right place and don’t waste ammobecause it is relatively rare. Here it is not worth shooting wildly, although as long as you aim calmly, there will be no problem.

Both the weapons, the keys or even the ammunition occupy slots in our inventory, so we have to choose well what to store in it; Sometimes we may have to discard ammunition or healing items to make room, although the mandatory objects of the plot cannot be eliminated by mistake, of course.

To heal ourselves, we can find gauzes that, when combined with an adhesive bandage, generate bandages that heal some health. If we also find alcohol, we can generate a kit that heals us completely and occupies a single space in the inventory. As you can see, this is very reminiscent of the mixture of herbs from Resident Evil.

And it is not the only similarity. If you have a lot of items and want to save some for later, what can you do? Exactly, keep them in a “magic” trunk. There are several around the hotel, so if you store an item in one, it can be picked up in the others as well.

how do you see, Phobia forces us a lot to measure our steps and to calculate how to distribute our objects or if it is worth taking a risk at that moment.

because hey, there is no autosave, we have to save the game manually in certain clocks that are in key areas. If we don’t do it and we die, we may have to repeat many minutes of the game… In fact, we can’t check the map either whenever we want. There are some on the walls, but you have to do a lot of spatial orientation.

Watching when saving a game is important because the risk is there: apart from the normal enemies (very little varied and not very savvy, really), there is a mysterious and huge character that chases us sometimes, in the purest Nemesis or Mr. X style.

As you can imagine, we can’t finish him off, just slow him down a bit with the shots, so we have to run and find a way to throw him off. There are also some duels against final bosses much more resistant, but that tend to have patterns that are reasonably easy to detect.

Although it is true that these moments give some tension and despite the name of this adventure, Phobia: St. Dinfna Hotel is not a particularly scary game. Give some substitute with certain enemies, yes, but as players we will feel more challenged than scared.

Probably Pulsatrix’s intention was to make the experience more terrifying, but in these cases where it is a small study (we have already seen similar experiences with Oxide, Infliction or Maid of Sker), the “seams” in the design and animations of the monsters are often noticed and stages, so they don’t tend to be very intimidating.

Even so, it is very interesting as a paranormal adventureas it has many interesting elements: temporary enigmas, secret experiments, societies with a dark past… Discovering what lies behind everything through the well-measured narrative will catch your interest.

Well, we have to admit that the end, after about 12 hours of play, is a bit “what are you telling me”, but that’s part of the charm of these types of titles. You will tell us when you get to it.

Indeed, by passing the game we receive a rating and unlock a “New game +”, which allows us to play with all the weapon upgrades and items we would have ended up with. Also we can access a section of extras andn the one that reveals to us what is behind certain objects that we collected at the time.

On a technical level, Phobia is merely correct. It has some interesting lighting effects and the design of the hotel is eerie and sinister at times, especially when using the camera to uncover bloody secrets.

The more paranormal moments in which the scenery “fluctuates” are reminiscent of games like The Evil Within or The Medium. Its physics effects, distortions, etc. They are nothing from the other Thursday, but they hit the spot.

Still, as we said, the enemies have a very fair design and AI and they also usually have some clipping problem. From time to time they are a challenge, but they fall a little short for us.

Indeed, the game supports the possibility of using ray tracing (at least in the PS5 version, which is the one we have been able to test), but we recommend not activating it, because the difference is barely noticeable and it can cause the fluidity to jerk quite a bit.

Fobia: St. Dinfna Hotel

The sound fails to surprise and is limited to some punctual melodies and voices in English that seem uninspired, really. The effects of rain, fire, etc. they do manage to improve the atmosphere and increase our tension somewhat.

With everything, Phobia: St. Dinfna Hotel is a game that works better as an adventure with paranormal touches than as terror experiencer. Survival horror veterans will feel right at home with its puzzles and intricate corridors, while dosing up ammo for the next encounter. In that sense, it is a clearly recommendable experience.

Who is the mysterious girl in a gas mask? Was the prophet Christopher someone really admirable? What happened in the mine explosion? Those mysteries of the plot will hook youif you let yourself be carried away by the mysterious phone calls and the helpful handwritten notes.

Demonstrate, it even has some very specific strokes of humor, but nice, with references to Resident Evil itself, The Walking Dead or how complicated it is to insert a flash drive at first.

But if what you are looking for is something that makes your heart beat with terror, that makes you feel tiny and vulnerable, maybe this is not your game. This hotel is more designed for those who want a challenge for the mind and his temperance… oh, and to learn some messages in Portuguese along the way.

[date_timestamp] => 1656316115 ) [8] => Array ( [title] => Kinshasa, last stage of the journey of the coffin of Patrice Lumumba in the DRC [link] => https://bbc-edition.com/international/kinshasa-last-stage-of-the-journey-of-the-coffin-of-patrice-lumumba-in-the-drc/ [comments] => https://bbc-edition.com/international/kinshasa-last-stage-of-the-journey-of-the-coffin-of-patrice-lumumba-in-the-drc/#respond [dc] => Array ( [creator] => Harry Rivers ) [pubdate] => Mon, 27 Jun 2022 07:37:26 +0000 [category] => InternationalcoffinDRCjourneyKinshasaLumumbaPatricestage [guid] => https://bbc-edition.com/international/kinshasa-last-stage-of-the-journey-of-the-coffin-of-patrice-lumumba-in-the-drc/ [description] => To not miss any African news, subscribe to the newsletter of the World Africa from this link. Every Saturday at 6 a.m., find a week of news and debates covered by the editorial staff of the World Africa. At Lubumbashi airport, June 22, 2022, where the remains of Congolese independence hero Patrice Lumumba depart for ... Read more [content] => Array ( [encoded] =>

To not miss any African news, subscribe to the newsletter of the World Africa from this link. Every Saturday at 6 a.m., find a week of news and debates covered by the editorial staff of the World Africa.

At Lubumbashi airport, June 22, 2022, where the remains of Congolese independence hero Patrice Lumumba depart for Shilatembo, his native region.

National mourning, official and popular tributes followed by burial: the coffin of Patrice Lumumba is expected Monday, June 27 in Kinshasa, the last stage of the memorial pilgrimage which retraced the life of the hero of the independence of the Democratic Republic of Congo (DRC ).

The plane carrying his remains, of which only one tooth remains returned on June 20 by Belgium to the DRC, must leave Lubumbashi (south-east) in the morning. At the time of take-off, the flags will be lowered throughout the territory in tribute to the first Prime Minister of the country assassinated more than 61 years ago, for a national mourning scheduled until June 30.

Read also DRC: for the family of Patrice Lumumba, the time of “symbolic” restitution

President Félix Tshisekedi will head the coffin reception committee at Ndjili International Airport in Kinshasa, surrounded by customary chiefs present in the Congolese capital, according to the official program.

As at the stages of Sankuru (center), his native land, Kisangani (north-east), former political stronghold of the national hero and Haut-Katanga, place of his assassination on January 17, 1961, a cultural and religious program is planned for Kinshasa, the stage of national mourning and burial.

An icon of African independence

Traditional songs, with pygmy polyphony and a hundred tom-tom drummers, will accompany the procession from the airport to the People’s Palace, seat of the Congolese Parliament, where tributes will be paid to him by officials, guests and population.

Elected in May 1960 deputy for the constituency of Kisangani, it was in Kinshasa (the former Léopoldville) that Patrice Lumumba was appointed prime minister, in his capacity as leader of the majority coalition in the two chambers of Parliament.

Read also: Belgium returns a “relic” of Patrice Lumumba to the Democratic Republic of Congo

But it was with a speech against the racism of the Belgian colonists that he entered into legend on June 30, 1960, becoming an icon of African independence. “We knew the ironies, the insults, the blows that we had to suffer morning, noon and night, because we were niggers”he declared in Kinshasa in front of King Baudouin during the official ceremony marking the birth of the DRC, while the program did not provide for him to speak.

According to historians, this virulent speech had sealed the fate of this nationalist considered a “communist” by its detractors. His tenure at the head of the government of the new independent state lasted only 75 days, from June 30 to September 12, 1960.

His body dissolved in acid

His government was neutralized by President Joseph Kasa-Vubu and army chief Joseph-Désiré Mobutu, who installed an interim government team made up mainly of students and the few Congolese academics, called ?Government of Commissioners General?.

Placed under house arrest, he was able to escape the vigilance of the soldiers assigned to his custody and left Kinshasa by road to reach his stronghold of Kisangani, where his relatives had preceded him to prepare the resistance.

But before reaching the center of the country, his executioners arrested him and brought him back to his formidable opponents, who imposed a way of the cross on him until his death by Katangese separatists in Shilatembo, near Lubumbashi, with the support of Belgian mercenaries.

Read also: In the DRC, the King of the Belgians expresses his “deepest regrets for the injuries, abuses and humiliations” caused by colonialism

His body, dissolved in acid, was never found. It took decades to discover that human remains had been kept in Belgium, when a Belgian police officer involved in the disappearance bragged about it in the media. A tooth that this policeman had in his possession was seized in 2016 by Belgian justice.

The burial ceremony will take place on June 30, Independence Day, in a site set up on a major thoroughfare in the Congolese capital which bears the name of this martyr of the independence of the DRC.

Read also A tooth, the only remains of the remains of Patrice Lumumba, handed over to his family

The World with AFP

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/international/kinshasa-last-stage-of-the-journey-of-the-coffin-of-patrice-lumumba-in-the-drc/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => To not miss any African news, subscribe to the newsletter of the World Africa from this link. Every Saturday at 6 a.m., find a week of news and debates covered by the editorial staff of the World Africa. At Lubumbashi airport, June 22, 2022, where the remains of Congolese independence hero Patrice Lumumba depart for ... Read more [atom_content] =>

To not miss any African news, subscribe to the newsletter of the World Africa from this link. Every Saturday at 6 a.m., find a week of news and debates covered by the editorial staff of the World Africa.

At Lubumbashi airport, June 22, 2022, where the remains of Congolese independence hero Patrice Lumumba depart for Shilatembo, his native region.

National mourning, official and popular tributes followed by burial: the coffin of Patrice Lumumba is expected Monday, June 27 in Kinshasa, the last stage of the memorial pilgrimage which retraced the life of the hero of the independence of the Democratic Republic of Congo (DRC ).

The plane carrying his remains, of which only one tooth remains returned on June 20 by Belgium to the DRC, must leave Lubumbashi (south-east) in the morning. At the time of take-off, the flags will be lowered throughout the territory in tribute to the first Prime Minister of the country assassinated more than 61 years ago, for a national mourning scheduled until June 30.

Read also DRC: for the family of Patrice Lumumba, the time of “symbolic” restitution

President Félix Tshisekedi will head the coffin reception committee at Ndjili International Airport in Kinshasa, surrounded by customary chiefs present in the Congolese capital, according to the official program.

As at the stages of Sankuru (center), his native land, Kisangani (north-east), former political stronghold of the national hero and Haut-Katanga, place of his assassination on January 17, 1961, a cultural and religious program is planned for Kinshasa, the stage of national mourning and burial.

An icon of African independence

Traditional songs, with pygmy polyphony and a hundred tom-tom drummers, will accompany the procession from the airport to the People’s Palace, seat of the Congolese Parliament, where tributes will be paid to him by officials, guests and population.

Elected in May 1960 deputy for the constituency of Kisangani, it was in Kinshasa (the former Léopoldville) that Patrice Lumumba was appointed prime minister, in his capacity as leader of the majority coalition in the two chambers of Parliament.

Read also: Belgium returns a “relic” of Patrice Lumumba to the Democratic Republic of Congo

But it was with a speech against the racism of the Belgian colonists that he entered into legend on June 30, 1960, becoming an icon of African independence. “We knew the ironies, the insults, the blows that we had to suffer morning, noon and night, because we were niggers”he declared in Kinshasa in front of King Baudouin during the official ceremony marking the birth of the DRC, while the program did not provide for him to speak.

According to historians, this virulent speech had sealed the fate of this nationalist considered a “communist” by its detractors. His tenure at the head of the government of the new independent state lasted only 75 days, from June 30 to September 12, 1960.

His body dissolved in acid

His government was neutralized by President Joseph Kasa-Vubu and army chief Joseph-Désiré Mobutu, who installed an interim government team made up mainly of students and the few Congolese academics, called ?Government of Commissioners General?.

Placed under house arrest, he was able to escape the vigilance of the soldiers assigned to his custody and left Kinshasa by road to reach his stronghold of Kisangani, where his relatives had preceded him to prepare the resistance.

But before reaching the center of the country, his executioners arrested him and brought him back to his formidable opponents, who imposed a way of the cross on him until his death by Katangese separatists in Shilatembo, near Lubumbashi, with the support of Belgian mercenaries.

Read also: In the DRC, the King of the Belgians expresses his “deepest regrets for the injuries, abuses and humiliations” caused by colonialism

His body, dissolved in acid, was never found. It took decades to discover that human remains had been kept in Belgium, when a Belgian police officer involved in the disappearance bragged about it in the media. A tooth that this policeman had in his possession was seized in 2016 by Belgian justice.

The burial ceremony will take place on June 30, Independence Day, in a site set up on a major thoroughfare in the Congolese capital which bears the name of this martyr of the independence of the DRC.

Read also A tooth, the only remains of the remains of Patrice Lumumba, handed over to his family

The World with AFP

[date_timestamp] => 1656315446 ) [9] => Array ( [title] => The Prague bars swept the controversy with ??tramák? Mat?j Ruppert [link] => https://bbc-edition.com/music/the-prague-bars-swept-the-controversy-with-stramak-matej-ruppert/ [comments] => https://bbc-edition.com/music/the-prague-bars-swept-the-controversy-with-stramak-matej-ruppert/#respond [dc] => Array ( [creator] => Susan Hall ) [pubdate] => Mon, 27 Jun 2022 07:07:33 +0000 [category] => MusicbarsControversycsdvdMatejmusicserverPragueReviewRuppert?tramákSwept [guid] => https://bbc-edition.com/music/the-prague-bars-swept-the-controversy-with-stramak-matej-ruppert/ [description] => The popular Slovak band Polemic teamed up with Mat?j Ruppert in the new single “?tramák”. The clip for the song was shot in Prague in several popular companies. Mat?j’s wife Tereza also starred in the video. The author of the text of the composition is Michal “Mickey” Novácky, to whom he visualized in the text ... Read more [content] => Array ( [encoded] =>

The popular Slovak band Polemic teamed up with Mat?j Ruppert in the new single “?tramák”. The clip for the song was shot in Prague in several popular companies. Mat?j’s wife Tereza also starred in the video. The author of the text of the composition is Michal “Mickey” Novácky, to whom he visualized in the text before addressing Mat?j to collaborate. “?tramák” – flute and bar sweeper. “The chorus in Czech struck me on the tongue at the idea of ??a guy that almost everyone has in their vicinity. Eternally dressed in stray shoes, with the ambition to enjoy a life in the style of ‘Catch me if you can’. I’m all the more happy, that Mat?j immediately nodded at the guest offer. He started singing creatively, after which we enjoyed a great evening in Bratislava during a private wine tasting and went crazy in a clip, which we came to shoot in Prague with him again, “ summed up Mickey’s cooperation in satisfaction.


© Peter Spurný

“Thank you for the praise. When the boys called me, my lady, who is a Polemic fan, was most happy. So it was clear that I would like to go into this collaboration. It was easy to empathize with ?tramák’s singing and acting roles, because we musicians are used to I also like to dress nicely, so in addition to the bed and cat scenes, I also played a bit of myself. “ complements with a filigree smile Mat?j Ruppert. The clip was filmed by Polemic in Prague in several places – on the Old Town Square, Charles Bridge, in the streets of the Old Town, on a cruise ship on the Vltava, in the meeting room of a company with interiors from the 80s and also in several pubs, cafes and bars. The band members played several smaller roles as investigators, detectives and casual tourists. David Mencl took care of the direction and script of the clip, it was his first collaboration with the band. He is well known for his original music videos on the Czech music scene and did not spare words of praise: “The clip is such a funny micro-detective story. Mat?j steamed the night, woke up in a hotel room with a girl and is slightly surprised. , Mat?j’s wife has the task of finding him, and for Mat?j they eventually come to the bar, where he sits down again in the morning, and surprisingly for him, Mat?j’s real wife also appears in the bar. The icing on the cake is that Mat?j’s real wife is really played by his wife Tereza, I worked very nicely with the band and Mat?j. thanks to all the performers and, last but not least, to the entire crew. “

If you would like to see the band Polemic live, there are several possibilities in the Czech Republic and Slovakia. “The concert summer is in full swing. We are enjoying real dancing people in front of the stage when we have had to limit ourselves for the last two years. We still can’t get enough of concerts and festivals. And what surprised us the most was that we missed traveling, “ adds Peter “Petko” Again. You can find a list of concerts under the video clip.

28.6. Bratislava – Beach under Ufa
30.6. Beckov – Castle
1.7. Poprad
2.7. Thorns
2.7. Bojnice – Welcome summer festival
8.7. Zemplínska ?írava
9.7. Willows
9.7. Tren?ín – Pohoda festival
10.7. Tábor (CZ) – Mighty sounds festival
14.7. Komárno
15.7. Stod u Plzn? (CZ)
16.7. Olomouc (CZ)

) [wfw] => Array ( [commentrss] => https://bbc-edition.com/music/the-prague-bars-swept-the-controversy-with-stramak-matej-ruppert/feed/ ) [slash] => Array ( [comments] => 0 ) [summary] => The popular Slovak band Polemic teamed up with Mat?j Ruppert in the new single “?tramák”. The clip for the song was shot in Prague in several popular companies. Mat?j’s wife Tereza also starred in the video. The author of the text of the composition is Michal “Mickey” Novácky, to whom he visualized in the text ... Read more [atom_content] =>

The popular Slovak band Polemic teamed up with Mat?j Ruppert in the new single “?tramák”. The clip for the song was shot in Prague in several popular companies. Mat?j’s wife Tereza also starred in the video. The author of the text of the composition is Michal “Mickey” Novácky, to whom he visualized in the text before addressing Mat?j to collaborate. “?tramák” – flute and bar sweeper. “The chorus in Czech struck me on the tongue at the idea of ??a guy that almost everyone has in their vicinity. Eternally dressed in stray shoes, with the ambition to enjoy a life in the style of ‘Catch me if you can’. I’m all the more happy, that Mat?j immediately nodded at the guest offer. He started singing creatively, after which we enjoyed a great evening in Bratislava during a private wine tasting and went crazy in a clip, which we came to shoot in Prague with him again, “ summed up Mickey’s cooperation in satisfaction.


© Peter Spurný

“Thank you for the praise. When the boys called me, my lady, who is a Polemic fan, was most happy. So it was clear that I would like to go into this collaboration. It was easy to empathize with ?tramák’s singing and acting roles, because we musicians are used to I also like to dress nicely, so in addition to the bed and cat scenes, I also played a bit of myself. “ complements with a filigree smile Mat?j Ruppert. The clip was filmed by Polemic in Prague in several places – on the Old Town Square, Charles Bridge, in the streets of the Old Town, on a cruise ship on the Vltava, in the meeting room of a company with interiors from the 80s and also in several pubs, cafes and bars. The band members played several smaller roles as investigators, detectives and casual tourists. David Mencl took care of the direction and script of the clip, it was his first collaboration with the band. He is well known for his original music videos on the Czech music scene and did not spare words of praise: “The clip is such a funny micro-detective story. Mat?j steamed the night, woke up in a hotel room with a girl and is slightly surprised. , Mat?j’s wife has the task of finding him, and for Mat?j they eventually come to the bar, where he sits down again in the morning, and surprisingly for him, Mat?j’s real wife also appears in the bar. The icing on the cake is that Mat?j’s real wife is really played by his wife Tereza, I worked very nicely with the band and Mat?j. thanks to all the performers and, last but not least, to the entire crew. “

If you would like to see the band Polemic live, there are several possibilities in the Czech Republic and Slovakia. “The concert summer is in full swing. We are enjoying real dancing people in front of the stage when we have had to limit ourselves for the last two years. We still can’t get enough of concerts and festivals. And what surprised us the most was that we missed traveling, “ adds Peter “Petko” Again. You can find a list of concerts under the video clip.

28.6. Bratislava – Beach under Ufa
30.6. Beckov – Castle
1.7. Poprad
2.7. Thorns
2.7. Bojnice – Welcome summer festival
8.7. Zemplínska ?írava
9.7. Willows
9.7. Tren?ín – Pohoda festival
10.7. Tábor (CZ) – Mighty sounds festival
14.7. Komárno
15.7. Stod u Plzn? (CZ)
16.7. Olomouc (CZ)

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