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Der Fall Hüber und seine Übernahme in den Bundesgrenzschutz Wer nachvollziehen will, was für ein Chaos und Durcheinander damals herrschte, muss sich dieses Video vom 02.07. 1991 in voller Länge anschauen. Hier werden alle Fragen, die wir heute in diesem Zusammenhang haben, beantwortet. Denn die Journalisten waren damals ja noch ganz nah dran und ahnten schon, was da für ein Pfusch läuft. Es gibt Aussagen von STASI‑Offizieren, die von Bundesgrenzschutz zu Tausenden übernommen wurden. Ein Staatssekretär, der völlig überfordert nicht einmal den Inhalt des Einigungsvertrages kannte. Der Chef des BGS der locker flockig meint: „Wo STASI draufstand, muss ja nicht unbedingt STASI drinnen gewesen sein und ganz verzweifelt: „Wir brauchen doch die Genossen jetzt." Eine Sachbearbeiterin, die resigniert berichtet, dass die Kaderakten der STASI‑Offiziere aus zwei, drei Blättern bestehen und die echten Akten wohl alle geschreddert wurden. Das alles entschuldigt aber nicht, dass man hier etwas später hätte nachbessern müssen, sprich noch einmal etwas genauer hätte hinsehen und nochmals überprüfen müssen. In jedem einzelnen Fall, wie eben aktuell bei dem Hüber alias IM „Paul Schnelle". Quelle: Ein Film von Wensierski/Jahn #Bundesgrenzschutz #Stasi #Geschichte

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Kimi Antonelli remains unstoppable with his victory in Madrid and has extended his lead in the championship race to 81 points, while his pursuers George Russell and Lewis Hamilton resign. (translated)

WM-Dominator Antonelli weiter unaufhaltsam, die Verfolger stehen vor der Kapitulation

🚨🟡🔵 BREAKING: Fenerbahçe manager Ismail Kartal has resigned after 1-1 draw against Roma. “I stepped down from my duties this evening. I made this decision to clear the way for my club. I resigned while the path is still clear, with no intention of ever returning”. https://t.co/sfaoAwQnRG #Fenerbahçe #IsmailKartal #FootballNews #TR #IT

"Contrary winds are strong, but we refuse resignation. Only an informed and mobilized civil society can prevent the democratic catastrophe. We propose to experience this collective adventure together." (translated)

BFMTV 7d

The article by Marschall Truchot addresses the rise in fuel prices in France and questions the resignation of the French in the face of this difficult situation. (translated)

Marschall Truchot : Le prix des carburant explose… les Français résignés ? - 09/09

Jacob Coxon’s resignation from Anthropic, after having also worked at OpenAI, raises a discussion that should not be dismissed too easily: is there an existential risk to humanity from the race toward increasingly powerful AI systems? I have always tried to place myself, to #AI #ExistentialRisk #TechEthics #Nospecificcountriesarementionedinthetweet.Therefore #therearenocountrycodestoreturn.

The findings of the European Commission are clear. Andrej Babiš did not resolve his conflict of interest. He deceived the president, parliament, and his voters! The prime minister must be able to defend the public interest without any doubts. If he does not meet this basic requirement, he should resign. (translated)

The situation is alarming; it is proof of the irresponsibility of those who want us normalized and resigned to Spanish dependency and a system that does not seek to form critical citizens, but rather as many addicts to consumption and social networks as possible: it remains to be shown that the (translated)

PISA: we do not have the right to resign ourselves The results of the PISA survey are a warning sign. But they should not be another opportunity to comment on the decline of our School without ever taking action. Behind the numbers, there are children, teachers, and a (translated)

The article by Luís Campos Ferreira discusses how the lack of effective responses from the State to complex social problems, such as violent crime and the slowness of justice, generates distrust and resignation in society, highlighting the importance of institutional credibility. (translated)

A lei do menor esforço

I'm getting into politics. And if you want to take action with me, head over now to 👉 https://t.co/tYxDECFhHa In my interview on BFMTV, I explain why I refuse to resign myself to political impotence. Sovereignty, reindustrialization, School, salaries, (translated)

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.

The Vindication of the “GIO Festival”: “BroadwayWorld” Celebrates Marina and the Umberto Giordano Theatre of Foggia

Il a hérité de 200 millions et possède maintenant plus d'un milliard car faire travailler 9000 personnes ça enrichit beaucoup. Il est fier comme un paon. Mais le plus frappant est que la plupart des petits entrepreneurs présents le félicitent (ils s'y voient eux aussi). Toute sa vie des gens lui ont ciré les pompes dans l'espoir de récupérer une petite pièce, alors il en oublie que c'est son argent qui a travaillé pour lui et il se compare aux grands inventeurs... Il explique qu'il a claqué 200 000 euros en un resto et que son train de vie c'est 20 millions par an. Il fait marcher l'économie dit-il. Des millions de travailleurs (y compris ceux qui sont derrière les gamelles dans les grands restos ou font la plonge) rêveraient d'aller au resto 2 ou 3 fois dans l'année et faire "tourner l'économie". Puis il annonce qu'il va licencier une centaine de personnes prochainement. L'IA serait capable de remplacer des comptables. Personne ne lui demande pourquoi il va licencier. 1 milliard de capitaux n'est pas suffisant pour exercer son pouvoir ? Faire joujou avec 20 millions par an non plus ? Il faut qu'il enleve leur gagne pain à 100 personnes. "Il ne fait de mal à personne, il ne faut pas être jaloux,,, "a -t-on entendu. Mais ce Monsieur a un POUVOIR énorme sur 25 000 personnes dont il tire ses richesses. Il va faire grossir le chômage. Il accapare et monopolise des capitaux que l'on devrait pouvoir gérer collectivement pour repondre à nos besoins essentiels. Et c'est un petit milliardaire... non, il ne faut pas accepter, pas nous résigner à nous faire exploiter et diriger par ces gens là ! #Économie #Inégalités #Travail

The article analyzes how the Trump administration has underestimated Europe on several occasions without this provoking a significant response from the European Union, which seems to have resigned itself to following the pace set by the United States on key issues such as defense and trade. (translated)

Los meses en los que Trump ninguneó a Europa sin que nadie se inmutase

À la base, ça devait être un projet de 6 mois… et aujourd’hui, HavoK fête déjà ses 2 ans 🤍💛 Avant que Wazz m’envoie son message il y a 2 ans, j’étais quasiment résigné. Après 8 ans dans l’esport Fortnite, je m’étais fait à l’idée que ca resterait une passion, mais que je ne pourrais probablement jamais réellement en vivre Et quand je regarde où j’en suis aujourd’hui grâce à Havok, c’est difficile de mettre des mots dessus En 2 ans, j’ai vécu des expériences que j’aurais jamais imaginé vivre un jour, ressenti des émotions que j’avais jamais ressenties auparavant, connu des moments qui resteront gravés en moi toute ma vie Mais surtout, pour la première fois en 8 ans, je peux réellement dire que je vis de ma passion Et rien que pour ça, je serai éternellement reconnaissant envers Havok et toutes les personnes qui ont rendu cette aventure possible 🥲 Mais mon plus grand merci, il est pour VOUS 🫵 Vous avez aucune idée d’à quel point vous êtes importants dans tout ça. Si 2 ans après on est toujours là, si ce projet qui devait durer 6 mois est devenu ce qu’il est aujourd’hui, si on a pu vivre tous ces moments ensemble et continuer de rêver encore plus grand, c’est avant tout grâce à vous Alors vraiment, du fond du cœur, merci pour tout ce que vous nous donnez depuis 2 ans ❤️ Et surtout continuez de croire en nous ! Parce qu’on a encore énormément de choses à vivre ensemble et je peux vous assurer d’une chose : l’avenir est plus que radieux 👀 2 ans de Havok, et j’espère sincèrement qu’on en fêtera encore beaucoup d’autres ensemble 🙌 #HVKWIN #HVKFOREVER 🤍💛 #Havok #Esport #Passion

Il faut arrêter de nous prendre pour des lapins de 6 semaines... Vous croyez sincèrement que nous ne connaissons pas le contexte actuel ? que nous n'avons pas pensé dans le détail la façon de procéder au niveau européen ? La différence fondamentale avec vous est que vous êtes convaincue qu'il faut se soumettre, se résigner et accepter l'ordre libéral. Nous affirmons haut et fort qu'un autre monde est possible et nous avons un programme extrêmement détaillé pour le démontrer. En réponse à votre thread fait d'affirmations erronées nous concernant, voici une note de blog, sans prétention, mais suffisamment claire pour être comprise du grand nombre : https://t.co/qmKhsbRhmx #JusticeSociale #Alternatives #EngagementCitoyen

LE PLUS GRAND JOUEUR DE TOUS LES TEMPS EST ICI POUR RESTER... ✅🐐 🇫🇷 @ZYWOO RESIGNE AVEC 🇪🇺 @TEAMVITALITYCS JUSQU'À FIN 2028. 📝🐝 https://t.co/eJO57wSlaK #Esports #CSGO #TeamVitality