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Många uppmärksammar nu att Alternativ för Sverige blev större än Liberalerna i skolvalet. Nyligen intervjuades jag av P4 Skaraborg om det: https://t.co/D79wLSKdfF Det är visserligen glädjande. Men, det är viktigt att förstå att vårt verkliga stöd i skolvalet är mycket högre – det sker nämligen ett utbrett valfusk på olika sätt. För det första förbjuds vi att lämna in våra valsedlar på de allra flesta skolor. Även elever som hämtat valsedlar på torgmöten och kommit med det till skolröstningen, har fått valsedlarna beslagtagna. Därmed följer skolvalen inte de regler som gäller för de allmänna valen, där ett parti alltid kan lämna in valsedlar. Än värre är dock att många skolor inte godkänner att man röstar på Alternativ för Sverige eller andra partier utanför riksdagen, ens med en handskriven valsedel. De rösterna räknas som ogiltiga. Ta Timrå Gymnasium som exempel. Över 300 röstande. "Övriga partier" har 0 %. Däremot 16 % ogiltiga röster! Vem som helst begriper att detta kommer att ge oss ett alldeles för lågt valresultat i skolvalet. Nu bryr jag mig inte så mycket om det, för jag vet vilket enormt stöd vi har på skolorna – det är bara titta på hur många elever som flockats på våra torgmöten i stad efter stad. Men jag tänker inte kommunicera det officiella skolvalsresultatet som en framgång, eftersom det skulle legitimera det valfusk som sker från skolorna och dessutom förminska det stöd som vi faktiskt har. #Skolvalet #Valfusk #AlternativFörSverige

Ook Trees is aanwezig in #DenHaag. #XR bezet de #A12. Politiehelikopter hangt hier al enige tijd boven. Eerste bus met ME is inmiddels uitgestapt. De handschoenen gaan nu aan en ze voeren druk overleg. Nog niet omgeroepen dat men moet vertrekken. Ook nog geen vervoersbus gezien. https://t.co/dqyFpQIztM #DenHaag #XR #protest

Remember Hajrush Ziberi. Bijeljina, Bosnia and Herzegovina, April 1992. A 24-year-old Albanian civilian was captured, tortured and murdered by Arkan’s Tigers. His raised hands became one of the most haunting images of the Bosnian war: a young man pleading for his life while armed https://t.co/KILqweN8sw #BosnianWar #HumanRights #JusticeForVictims #BA #XK

NATO DEFENDS NORTHERN IRELAND 🇬🇧🛡️ Trump — hands off Northern Ireland. Northern Ireland is not Washington’s property and it is not Dublin’s property. Its constitutional future belongs to the people of Northern Ireland under the Good Friday Agreement. I oppose any attempt to https://t.co/sV9cgIv9GN #NorthernIreland #GoodFridayAgreement #Trump #GB #US #IE

Die Bio-Türkin Cansin Koktürk, Abgeordnete der linksextremen Antifa-Partei „Die Linke“, die nach ihrem unflätigen Benehmen 2 Ordnungsrufe (2000 Euro Bussgeld) den Bundestag wutentbrannt verlassen hatte, tritt auf Instagram gegen Bundestagsvizepräsidentin Andrea Lindholz nach. „Andrea Lindholz spricht von ,Leidenschaft´, wenn ich mich als migrantische Frau gegen rassistische Aussagen wehre. Frau Lindholz, ihre Maske ist heute gefallen. Nun denn Frau Lindholz, gehen Sie ihre Wege und führen Sie ihre Debattenkultur mit Faschisten weiter. Ich nehme die Ordnungsrufe im Namen des Antifaschismus dankbar an.“ Köktürk warf dem AfD-Abgeordneten René Springer Rassismus vor. Dabei sagte dieser im Kern nur: Wer per Haftbefehl gesucht wird, bekommt kein Bürgergeld, im Jobcenter klicken die Handschellen. Grundsicherung solle zuerst Deutschen und unverschuldet arbeitslos gewordenen ausländischen Erwerbstätigen zugutekommen. Köktürk reagierte im Plenum: „Was ist das für eine rassistische Scheiße?“ Lindholz warf sie anschließend vor, „Faschisten“ zu schützen. #Antirassismus #Migration #Politik

💥 Nuevo iPhone 18 Pro y iPhone 18 Pro Max -Nuevo Chip A20 Pro de 2nm -Nuevos colores: Burgundy, Deep Black, Silver, Glacier Blue -Compatible con todo lo nuevo de Siri AI, disponible en español en Octubre -Siri AI no estará disponible en Europa ni China. -Nueva cámara de vapor para mejor rendimiento -Batería 18 Pro 24 horas y 18 Pro Max 30 horas de uso con una carga -Cámara principal de 48 megapixeles con Apertura variable automática -Pro Controls para más personalidad en tus fotos y videos. -Photographics Styles incluyendo ajustes en piel -Nuevo Apple Reference Image para probar autenticidad de fotos originales. -Isla dinámica más pequeña y puede tener 3 actividades en vivo. -Mismo número en 2 iPhones (Hands Off) -Precios desde (256gb) iPhone 18 Pro 1199 USD y 18 Pro Max 1299 USD -Preventa 12 de septiembre y venta 18 de septiembre #iPhone18 #Apple #Tecnología

Den heutigen Politikern ins Stammbuch geschrieben. Kohl und Strauß waren erbitterte Rivalen, bei wichtigen Dingen aber immer Partner und hatten immer einen respektvollen Umgang miteinander. Und das Wichtigste überhaupt: Sie waren den „einfachen“ Menschen zugewandt. Wenn Kohl irgendwo hinflog, dann begrüßte er immer die Piloten und die gesamte Crew mit Handschlag und plauderte kurz mit ihnen. Seinen Fahrer begrüßte er jeden Morgen mit Handschlag und duzte ihn. Kohl hatte ein dickes Notizbuch, in dem alles Mögliche vermerkt war und so wunderte sich kein CDU‑Politiker, CDU‑Bürgermeister oder CDU‑Landrat, wenn er von Kohl einen Anruf zum Geburtstag bekam. Und immer fragte Kohl, wo ihm der Schuh drückt, hörte dann sehr aufmerksam zu und war somit immer ganz nah bei den Menschen. Bei Franz Josef Strauß lief das so ähnlich. Gerade wenn er im Biergarten war, konnte jeder mit ihm reden. Einfach so. Keinerlei Scheu, geschweige denn Angst vor den eigenen Bürgern. Wen ruft eigentlich der Merz so an? Und warum erinnert mich in der Beziehung der Ulrich Siegmund der AfD so sehr an Kohl und Strauß? Oder täusche ich mich da in ihm? #Politik #Respekt #Bürgernähe

The stupidest political argument of the century (imho) is rearing its ugly head again in the wake of @AfD's stunning electoral victory in Germany. It goes something like this: "If you adopt the negative framing around immigration, you're playing into the hands of the far right." #ImmigrationDebate #AfD #PoliticalArgument #DE

🚨 Harry Kane on the Ballon d'Or: “Of course, now it is out of my hands, it is down to the voters and the people who decide it. The season I had was my best season by far, and we'll have to wait and see”. “I'm happy that I am in contention, so we will have to wait and see”, told https://t.co/TK93w4EH9j #BallonDor #HarryKane #Football #Nospecificcountriesarementionedinthetweet.

One of my pet hates is those childproof caps on containers of stuff that might endanger kids. If they were perfectly implemented, no problem but they NOT! Manufacturers have started putting dangerous chemicals like concentrated hydrochloric acid (spirits of salts) and caustic soda solution in extremely thin easily collapsible plastic bottles capped with these childproof caps. The downward pressure required to release the cap can be so great in some cases that it collapses the fragile plastic container which can then burst. I had exactly that happen to me this morning - a plastic container of caustic soda solution burst whilst I was trying to open it, pouring concentrated caustic soda solution all over my hands, legs and feet. Not a good start to the day! PS I'm 76 so not capable of being "heavy handed" or using very much brute force, these days

The Vindication of the “GIO Festival”: “BroadwayWorld” Celebrates Marina and the Umberto Giordano Theatre of Foggia SOURCE: https://www.linkedin.com/pulse/vindication-gio-festival-broadwayworld-celebrates-sardella-ph-d--8zzce/ SOURCE: https://www.letteremeridiane.org/2026/08/la-rivincita-del-gio-festival-broadwayworld-celebra-marina-e-foggia/ The GIO Festival has been, to put it mildly, overlooked by Rai3 Puglia and several regional outlets. Yet the festival dedicated to Umberto Giordano — promoted by the Chamber of Commerce of Foggia together with the Municipality and the Province, and supported by the Apulia Region and the Fondazione Monti Uniti — has achieved a remarkable vindication, landing on the homepage of BroadwayWorld thanks to the world première of the opera Marina, staged on 5 June at the Umberto Giordano Theatre in Foggia. This is no small feat, considering that BroadwayWorld is among the most influential American platforms devoted to theatre and the performing arts. The transatlantic debut of the opera by Foggia’s great composer did not escape the attention of Luciano Magaldi Sardella, who submitted to the editorial board of Lettere Meridiane an in‑depth and compelling contribution, reproduced below. In the article, the author masterfully reconstructs the extraordinary story of Giordano’s first opera, composed in 1888 and left without a staged production for 138 years, until its historic performance on 5 June at the Giordano Theatre. Above all, he recounts how the inaugural edition of the GIO Festival has restored Foggia to the centre of the international operatic stage, through the rediscovery and valorisation of Marina, the involvement of major musical institutions, and the attention of the American press. It is a stimulating reflection on the cultural and identity‑driven renaissance of a city that, for far too long, bore Giordano’s name on the façade of its theatre without managing to turn it into a lever of international visibility. (g.i.) + + + + + There are moments in the life of a city when past and future clasp hands upon the stage of the present. Foggia experienced one of these moments on the evening of 5 June 2026, when the curtain of the Umberto Giordano Theatre rose upon Marina, an opera composed in 1888 by a young man of twenty‑one — Umberto Giordano — then a student at the San Pietro a Majella Conservatoire in Naples. After one hundred and thirty‑eight years of silence, that score finally found its first scenic breath in the world. “It is not an ordinary event. It is a turning point. A void filled. A story rewritten.” Umberto Giordano, one of the most celebrated verismo composers of the fin‑de‑siècle — born in Foggia, author of masterpieces such as Andrea Chénier, Fedora, Siberia — had remained, until now, the only great Italian opera composer without a festival entirely dedicated to his oeuvre. A paradox that weighed like a historical injustice upon a city that bears his name engraved on the pediment of its most beautiful theatre. This is the extraordinary journey of Marina, Giordano’s first opera, which after 138 years of oblivion received its world première in scenic form on 5 June 2026 at the Umberto Giordano Theatre in Foggia, as the opening event of the GIO Festival — the inaugural edition of the Giordano International Opera Festival. The manuscript, preserved in the Frederick R. Koch Collection at Yale University’s Beinecke Rare Book and Manuscript Library, has travelled an astonishing path: from the elite libraries of America’s East Coast to the beating heart of the Daunia. On the night of 5 June 2026, at the Umberto Giordano Theatre, that silence was finally broken. The GIO Festival was conceived in Foggia as an ambitious cultural project promoted by the Chamber of Commerce, the Municipality, and the Province, with the support of the Apulia Region, aiming to transform the artistic legacy of the verismo composer into a driver of territorial development and cultural tourism. Under the artistic direction of conductor Gianna Fratta and violinist Dino De Palma, the event at last fills a historical void. Its model is explicit and ambitious: a project inspired by the great festivals dedicated to Italian composers — such as the Verdi Festival, the Puccini Festival, the Rossini Opera Festival — while maintaining a strong territorial and participatory dimension. In other words, Foggia formally claims its seat at the table of the greats. And it does so with the credentials required: an unrepeatable world scenic première (parallel to the concert première at Milan’s Teatro Dal Verme, recorded by the prestigious opera label Decca Classics), a high‑quality operatic production, and the support of leading cultural institutions (Teatro dell’Opera di Milano, Fondazione Teatro Petruzzelli of Bari). The festival benefitted from the collaboration of the Orchestra of the Conservatoire and the Chorus of the Fondazione Teatro Petruzzelli of Bari, the Umberto Giordano Conservatoire of Foggia, the Fondazione Monti Uniti, and the Fondazione Apulia Felix. A network of excellence that lent the event national resonance and stature. The Umberto Giordano Theatre is a nineteenth‑century jewel of rare beauty — the oldest functioning horseshoe‑shaped historic theatre in Apulia. Yet for decades it lived in a state of semi‑clandestine cultural marginality, relegated to the periphery of the operatic routes that matter, hindered by long interruptions in its use from 2007 to 2014, including recent fire‑safety compliance requirements. Some referred to it, with a mixture of condescension and provincial resignation, as a “provincial theatre”, destined merely to bear Giordano’s name. That label is now destined to fall. It is precisely in Foggia that this youthful gem received its first scenic staging, placing the city on the international map of opera. A positioning without precedent in the city’s recent history. The Giordano Theatre recorded a full house for the historic première of Marina, welcoming hundreds of spectators, while many more followed the performance from outside via a large screen installed for the occasion. The production met expectations with full artistic dignity: the staging transposed the narrative to the First World War, heightening the opera’s dramatic and realist character. On the podium, the Symphony Orchestra of the Umberto Giordano Conservatoire conducted by Matteo Dal Maso. Sets and costumes by Alfredo Troisi; lighting by Massimo Russo. An ensemble of talents worthy of the name the theatre proudly bears. The definitive seal of this moment’s historical significance arrived from across the Atlantic. BroadwayWorld, the world’s most influential outlet for live performance criticism and reporting — with over 5.5 million monthly views — dedicated exclusive coverage to the event, publishing a complete photographic gallery of the world scenic première curated by Chloe Rabinowitz and a substantial critical review by Rachel Stone. The American article emphasised the historical value of the undertaking and the bond between the composer and his native city, highlighting the musical quality of the score, deemed surprisingly mature for the composer’s age. For the first time, the Umberto Giordano Theatre appeared on the New York‑based site alongside institutions such as the Los Angeles Opera House, Houston Opera, and BBC Classical Music at the Royal Opera House. It is its natural place. It should have been there decades ago. Until now, the world knew Giordano through his Milanese triumphs, not through the youthful opera written between Foggia and the Naples Conservatoire — the lost (and later rediscovered) Marina of 1888. Let us be clear: this is no minor detail. BroadwayWorld does not grant exclusive galleries to provincial theatres. It does so for events that shift the coordinates of musical and theatrical history within the circuits that matter. This time, those coordinates shifted to Foggia thanks to the GIO Festival, in the name of Umberto Giordano. For the record — and for those who may not yet know — the GIO Festival is a new and ambitious biennial event conceived by the Chamber of Commerce of Foggia, with the aim of celebrating the genius of Umberto Giordano and transforming it into a powerful engine of development for the entire Capitanata. Biennial means continuity, planning, vision. It means that Foggia does not intend to be a meteor in the operatic firmament, but a stable and recognisable presence within the international festival circuit. Andrea Chénier, Siberia, and Fedora had already carried Giordano’s name to the Metropolitan Opera House in New York for more than a century, where his works are still performed to great acclaim. Now Foggia itself — not merely its scattered operatic legacy — claims its rightful “place in the sun”. The composer whom his city struggled to recognise in life, and whose name it preserves on its theatre, its square, and its conservatoire, may finally become the lever of an unprecedented cultural, economic, and identity‑driven renaissance. The GIO Festival 2026 is not, one hopes, a point of arrival. It should be the first chapter of a new story for Foggia, for the Capitanata, and for the cultural South of Italy. The Umberto Giordano Theatre is no longer merely an architectural jewel to be preserved: it has now become a place of creation and inspiration, capable of attracting international press attention and hosting events that enter the annals of world opera. To those who still whisper that Foggia is a provincial city, the answer is now written upon the world’s stages: on the evening of 5 June 2026, the periphery became the centre.

A man from North Rhine-Westphalia has claimed responsibility in handwritten letters for several attacks on the power supply, motivated by his rejection of power generation from fossil fuels and accusations against the German state for supporting offenses in the Middle East. (translated)