Top Telugu OTT Releases This Month (August 2025): Kothapallilo Okappudu, Constable Kanakam, Maareesan, and More
OnePlus Nord Buds 3r Launched in India With IP55 Rating, 12.4mm Drivers: Price, Specifications
Everything We Do Is Music by Elizabeth Alker review – how the classics shaped pop
From Stravinsky to Donna Summer, the story of connections that enriched music – in both directions
One of many things I did not expect to learn in this book is that the BBC benefited from Nazi technology. Its standard tape recorder, in use till the 1970s, was called the BTR-2: EMI’s original model, the BTR-1, had been copied from a captured example of the German “magnetophon”, as used by Hitler to record a radio broadcast.
Musicians who liked fiddling with machines, too, benefited from this legacy. Delia Derbyshire, the BBC Radiophonic Workshop pioneer who produced the original Doctor Who theme tune and otherwise particularly enjoyed playing an enamel green lampshade, influenced Paul McCartney’s experiments with tape loops, while Steve Reich hit upon his compositional technique of “phasing” phrases in and out of sync with one another on tape recorders, before training live musicians to do the same.
Hà Nội mưa to do ảnh hưởng bão số 5, đường phố ngập nặng, giao thông ách tắc
Người Hà Nội xếp hàng một tiếng chờ sửa xe chết máy
Price Drop: Upgrade to Windows 11 Pro for Only $13
Good and Evil and Other Stories by Samanta Schweblin review – grasping the essence of horror
The Argentinian writer maps a journey through fear, healing and the terrifying permeability of our boundaries
Horror, in essence, is about porousness. Our terrors take varied forms but horror probes their single, existential source: the terrifying permeability of our boundaries. If spirits can swim back from the world of the dead, if the living body can degrade to the point where it becomes malleable or parasitically possessed, what hope can there be for our fantasy of security and selfhood?
Argentinian writer Samanta Schweblin’s most recent collection of stories, her third in English, may not be categorisable as “horror” in the traditional sense, but it shares with the genre its spiritual core. In Schweblin’s vision, the barriers that separate one thing from another – the wanted from the unwanted, the environmental from the bodily, the unthreatening from the violent and chaotic – are so porous as to be nonexistent. True horror, she reminds us, is neither otherworldly or supernatural, it is simply the acknowledgment of life’s fundamental conditions.


