How to Write an Essay - Litte Guideline

Obviously, this is no extensive guideline, but I have been successful with it, so I'll post it here.




You start off an essay with the Introduction. Generally you try to make the topic sound interesting to the people, so they want to read it. I usually use some kind of example, like either from my home country, one that I read/heard about in the news and that makes people interested of what I am going to discuss throughout my topic. Sometimes (not sure if it works in this essay, haven't started writing it yet) you can refer back to your introductory story to explain your line of argument along some kind of "common knowledge" that all of your readers have.

Once you caught the interest of your readers, you tell them why you chose this type of introduction (like the story or pole or whatever you talked about in the previous paragraph) and in an academic essay you tell them what you are going to talk about. I usually try not to tell them everything, just a quick review. In an essay that's 3000 words, don't spend too much on telling what you'll talk about, coz it only costs you words.

Try to keep your introduction relatively short compared to the rest. In a 3000 words essay, I'd say no longer than 500 words (unless you need to gain words haha but then you need a good reason to make it longer).


After the Introduction write a sentence or two where you connect it to the main body. There might be examples out there, but my connections usually depend on the flow of the text.

After that comes your main body. There you discuss your argument and whatever interesting facts you found about it. Make sure you keep a coherent way of writing it. In our schools we learn:


First you write down a hypothesis (The sky is blue). Second you argue around it and tell them what you read, what you studied and which sources confirm that the sky is blue. Third you use an example that proves that you have a valid point.

Also, depending on how many arguments you have, you might consider structuring them in one of those ways:

Pro-Sky Blue-Arguments: 

Either: Weakest->Stronger->Strong->Strongest 

Or: Strongest->Strong->Stronger->Weakest

Same with the Con-Arguments - e.g. if you're for the blue sky-argument, put the con's first, so that the weakest argument is mentioned last and then start the pro's with the weakest argument.

Again, make sure you link paragraphs and arguments, so that it becomes a fluid text and not a bunch of arguments thrown together on a page.

Then you write the conclusion: Not so difficult, can be really short. Write down what you and the reader have learned from your essay, refer back to the introduction and conclude the whole thing. There's no guideline of how to do this, you'll just have to improvise and learn on the fly.

Hope this helps a little. Good luck with your work.

The Noise That Makes You Leave

And there I am. Sitting in Student Central, again, like almost every day. I have my table, I have my working ritual. Student Central is a nice place to sit. It has much space, windows on the roof, much light and the coffee shop five feet away. It is a very nice place, nice to study, nice to meet friends, nice to just have a coffee. It seems peaceful, with all its couches, comfortable chairs, tables, it seems like it is just inviting students to sit there and enjoy, with work or without.

But not it is not all as it seems. Those who spend only little time inside Student Central will not recognize. But if you stay in Student Central for too long, you recognize one or two things that start getting on your nerves. One thing is the rubbish that everyone leaves on their place as they leave. But, certainly, this is bothering, but regarding the thousands of people going in and out of student central during the day, this is probably a problem that is rather impossible to solve.

The other problem – one that, as it turns out, is at least as unsolvable as the one with the rubbish – is the noise. I am not talking about people talking here. Obviously Student Central is not the library. It has been made so that people can meet here and talk. Equally obviously would it be pointless to complain about people talking in student central. Whoever is bothered by that, might as well go in the library (given this is as quiet as the signs at the entrance promise). The noise actually being disturbing only turns up close to the end of the day, not every day, but often enough to have itself noticed. As some people might have guessed, I am talking about the student radio. I have been sitting in Student Central for an entire year now, since September, up to now, when I handed in my last assignments. Since the middle of November, when I was sitting in Student Central and couldn’t hear my own words in a conversation, it has become a custom to turn up the music at least once or twice a week.

And so you are sitting in Student Central, minding your own business, studying, listening to music, working with your groups, playing solitaire, enjoying the good atmosphere, until about 7 or 8 in the evening you suddenly hear a noise growing. At first you keep wondering what is it that disturbs you, until you realise that you hear people talking. But you are far from hearing voices in your head. You are not going crazy and all the books you read for the university, are not talking to you yet. And yet, the voices are getting louder, start singing now, start talking then until you feel weird for hearing voices and you take off your headphones. And then you realise that you are not going crazy, that you are not hearing voices in your head. The voices are simply the noise RamAir produces through their broadcasts. And they go right through your headphones, however good they might be, however good the music is, go right through and into your ear, until you hear the music louder than your own, never mind how loud it is.

You will wonder why I am writing an article here, instead of complaining to the people themselves. Well, if you wonder that, I may tell you that I have certainly done that. Throughout the year I have been writing emails to the officials of the Student Union of the University of Bradford, to the officials of the student radio, I even went to the UBU information and to the Just Shop and asked them to turn down their music. The only success I had was the very nice suggestion to go to the library if I want a silent place to work. The Student Central is meant to be a place for entertainment and relaxation of the students. Though this sets me wondering, what is so relaxing about shouting your lungs out, because your friend cannot possibly hear what you are saying?

Here I want to say that I do understand RamAir, that they want to broadcast. I want to become a journalist myself and do understand that people need practice and training in order to fulfil their jobs after they leave university. But what is currently happening is, that a small group of people is taking over control over Student Central, making everyone who does not want to listen to their broadcasting leave, or turn up the music on to maximum. Either option is not favourable, as Student Central is supposed to be a place where all students can relax, chat, work and follow their own business. Having a small group of people dominate the whole building should therefore not be accepted. After a whole (academic) year of getting very annoyed about this and after a whole (academic) year of sending emails to various officials, talking to them and achieving nothing – measurable at the fact that the music is still staying loud – I am making this public now. However the dear reader should keep in mind, that I am not asking RamAir to stop their broadcasting. But what I want is them to keep their music at a volume that allows people to follow their own business if they want to, and not to leave, because they are disturbed by the university’s radio, and forced to leave the building, because their complaints to the officials remain ignored. (Also reminding that due to the amount of money we pay to the university, asking for some degree of consideration is definitely justified.)

the Market's Whims and the world's obedience

Has anyone realized? Just today, France and Austria got downgraded. Greece is at the bottom already, Italy and Spain are on their way.

Rating agencies, like now Standart & Poor’s are controlling the world. They only flick their fingers – or in their case rather their keyboards – and with the influence they have, they send everyone running; companies, people, states, governments.

We are the people of the world. We are electing the governments of the world (at least ideally). They are the representatives of the free states of the world. They have been charged with the task of finding a solution to how the world goes. They have been charged with the task of making the world a good place for everyone.

But over the last two or so years we are facing a new system. Since ever it has been politics deciding over the fate of the world, never mind if through wars or treaties. They are charged with this task, because they represent the peoples of the world.

But this system has changed over the last few years. All we can hear on the news, from politicians, journalists, people in charge and people at the base is about the market regaining faith in us, about us regaining faith in the market. Never mind which new idea the governments of Europe come up with, the overall reason is to restore the “faith in the market” or the “faith of the market”. They have made up an umbrella, called EFSF that is supposed to support states like Greece, Spain, Italy, who are not able to repay their debts to the banks. Greece is forced to make huge cuts in their country, cut incomes, increase taxes, privatize everything, in order to regain the money, in order to get money from the EFSF.

And for what?

They get the money, use the money to repay the debt they have with the banks. People in Greece have to suffer from all that, just so the banks get their money back in time. Governments in Europe and institutions all over the world force cuts over the Greeks, they force them to suffer, to sell their whole country to private actors – and for what? So that banks get their money back in time?

Whenever I see this, I keep asking myself why there is so much money spent, simply to repay banks. There certainly is an important point in repaying the banks on time. There certainly is an important point in being trustworthy towards the people or institutions who you borrow money from. But it always has to be put in relation to the costs. For Greece, in the long run, probably the costs will be higher than the benefits. We are going to look at a country that has been forced to use every Cent on repaying depts. We are going to look at a country that is having everything privatized, and from all the experience we could collect over the last years we know that privatizing is not solving anything, and in the end often costs the state more than it benefits from it – one only has to look at the railway system in the UK or at a housing company in Dresden/Germany, where privatizing was seen as the wonderdrug, and in the long run ended up with the state buying back a totally clapped-out system that it had to renew. I see no reason why this is not going to happen again. Then we can watch Greece that we forced to sacrifice everything, struggle with its burden. 

And then, on the day that all the debts are repaid, all the banks are satisfied, we can look at ourselves – are we going to be content? Are we going to be happy when the market has faith in us again? Are we going to be happy with the rating agencies getting us back on AAA?

Once it is achieved – if we can achieve it –, I do not think we should be happy with that. We have to change the system, and we have to change it now. We have to stop believing that the market needs to recover its faith in us. We need to stop trying. The market has only discovered the immense power it has over the world, over countries and how it can set governments running with only a snap. And after it has licked blood, it will not give this power up easily. Even if we find means to make the market recover its faith in us, our states, our governments, there will be more holes. The market will find ways to make sure governments will not forget the times that it had the power to make them run in circles with their hair on fire. It will be able to do so, until we stand up and refuse to be kicked around and frightened by the “market”.

Over the past years, the market has set the rules in the game that is called world politics – or global governance. Rating agencies have had the liberty to decide over the faith of states, banks have had the power to get states into incredible debts. And yet, after the market has shown its horrible and cruel face to the world, even though it kept dictating the politics actions for the past years, politicians still keep talking about recovering the “faith” of and in the market, feeding their banks with money, on the costs of their own people, and on the costs of the power of the world’s political system. Over all this time that they have been debating about how to satisfy the next dictate that came from the market, they have never thought of an alternative. They have never even tried to recover their power over the world. One might even wonder if they even want to recover their power, or if it is easier to be kicked around like an old football, and to always only react to whatever it brought on, instead of creating something new, that allows more power to act, that allows to be creative oneself, to make the billions we stuff in to Greece be used properly and sustainably, in order to have a world that maybe does not have faith in the market, and doesn’t gain the faith of the market, but instead is a world that is not dependent on the market, that can choose its own path without having to peer towards creditworthiness anymore, a world that has creative peoples as well as politicians who are brave enough to dare changing the world into a world where we have a market that does not overshadow everything, into a world where the most important thing is no longer growth and money, but making a country a place that people can be proud of, and happy to live in. This is the world I am imagining, and this is the world that, right now, is covered by the dictatorship that the market, and with it the rating agencies, exercise.


Here is a link regarding the financial problems in Italy and how Europe is managing the crisis:
http://tagesschau.de/wirtschaft/ratingitalien106.html

Ein sehr akademischer Aufsatz über ein Wort.

Schreib ein Word. Ein Wort, das so kompliziert ist, wie du es dir nur irgendwie vorstellen kannst. Und dann noch ein Wort. Und dann noch ein Wort.

Und dann ein Wort.

Und dann ein Wort.

Und dann ein Wort.

Und dann ein Wort.

Und dann ein Wort.

Und dann ein Wort.

Und dann ein Wort.

Und dann ein Wort.

Und natürlich muss jedes dieser Wörter so kompliziert sein, wie du es dir nur irgendwie denken kannst, sonst schreibst du natürlich keinen ordentlichen akademischen Aufsatz.

Und wenn du dann genug Wörter zusammengeführt hast, liest du deine Arbeit noch einmal. Und du liest dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und dein Wort.

Und wenn du mit dem Lesen fertig bist, und dich selbst dafür bewunderst, dass du dir so viele schöne komplizierte Wörter ausgedacht hast, dann liest du es nochmal. Dieses Mal aus der Perspektive desjenigen, der diese Wörter, die du erfunden hast irgendwann einmal lesen muss.

Du liest ein Wort. Und ein Wort. Und dann ein Wort. Und dann ein Wort.

Wenn du herausfindest, dass all diese Wörter, die du erfunden hast, so komplex und nichtssagend sind, dass du sie selber nicht mehr verstehst, hast du gute Arbeit geleistet. Am besten schickst du sie sofort an einen Verleger. Und dann schaust du dich am besten nach einem richtigen Beruf um, denn von dem halben Duzend Bücher, die du verkaufst, wirst du nicht leben können.

A Very Academic Essay About A Word.

You write a word. A word as complicated as you can possibly imagine it. And then a word. And then another word. 

And then a word.

And then a word.

And then a word.

And then a word.

And then a word.

And then a word.

And then a word.

And then a word.

Of course each of those words have to be as complicated as you can possibly imagine them, otherwise you’re not writing a decent academic essay.

And when you have assembled many words, you reread your work. You read your word.

And then your word.

And then your word.

And then your word.

And then your word.

And then your word.

And then your word.

And then your word.

And then your word.

And then your word.

And then your word.

And then your word.

When you’re done reading your words, and admiring yourself for making up so many complicated words, you read it again. This time from the view of the person who has to read the words you invented.

You read a word. And then a word. And then a word. And then a word. And then a word.

If you find out that the words you invented are so complex and vacuous that even you don’t understand what you wrote anymore, you have done a great job. Best you send it to an editor right away. And then get a real job, because you won’t be able to live from the five copies you are going to sell.

Waldbühne – A trip to Berlin and an awesome concert for everyone to enjoy.

23 August 2011. We are watching a concert of the Berlin Philharmonic Orchestra. Maestro Riccardo Chailly invited everyone to a place – in German we call it “Waldbühne” (which literary translated means “forest stage”) – and it really is in the middle of the forest. The forest stage is a gigantic amphitheatre that is placed on a steep slope with thousands of seats, benches without numbers. They all face towards the centre, towards a stage that is on the bottom of the slope. The forest stage has enough space for approximately 10 000 people. It is almost impossible to describe the atmosphere of this amazing place.

Walking from the Berlin city train towards the stage, we are among thousands of people of any age, origin and many languages. The closer you get to the entrance, the more you see people trying to sell their tickets. Seeing all the people heading towards the stage, I am quite convinced that all of them will sell their tickets before the concert starts. Once we manage to gather three tickets for ourselves, we go though the ticket check. The people checking tickets are all very nice and patient, even though there is a crowd queuing and waiting to have their bags checked and to be let in. Through the barrier we reach a big place that leads towards the forest stage, that we call “Waldbühne” in German. We follow the path and feel like Harry Potter on the way to the stadium of the Quidditch World Cup: Everywhere we see people, everyone is enjoying themselves, we just can’t see singing flags or leprechauns dropping faked gold on the heads of the visitors. In a semi-circle, close enough to the slope with all the seats are shacks where they sell everything, from crêpes, coffee or tea to strawberry punch and cocktails. If you get closer to the slope you see a big tent on the bottom, that is illuminated by blue and white light. Hundreds of gentlemen and gentlewomen, nicely dressed, explain to the visitors how and where to find their seats. We go towards the left side, our seats are in H block. There are no seat numbers. Everyone can find their own seat within the block. Having found a seat, we enjoy the view until, only a few minutes later, the maestro steps on the stage.

When maestro Chailly steps on the stage, the sun just set, and the sky is turning dark. Though it is not yet dark when the Berlin Philharmonic Orchestra starts with the Suite for Jazz Orchestra No.2, composed by Dimitri Shostakovich. The suite consists of eight parts that remind me very much of soundtracks, especially of those composed by the Japanese Joe Hisaishi. One part even sounds like the tune in a childrens’ program called “Mole”. This is an excellent start for this concert, the audience is awesomely keyed to the next two hours of contemporary, classical music. After the eighth part of Shostakovich the orchestra earns a hurricane of applause. For me, this is the best piece of music they play before the break.

Next is actually a soundtrack, composed by Nino Rota (1911-1979). The piece is called “La strada” and has been composed in 1966. It is a “Suite for Orchestra from the Ballet  after Federico Fellini’s film “La strada” from 1954” (tells me the programme). Even though it is played in a very impressive way, it does not cast a spell over me, as has been done through Shostakovich’s suite. If I had been able to influence maestro Chailly’s choice, I would have suggested a different soundtrack. And yet, even though Mr Chailly and I certainly have different ideas of good soundtracks, the magic of the evening is not broken at all. Under the intensive and grim music Nino Rota composed, night falls over the amphitheatre. We can clearly see now, how the trees are illuminated by floodlights. Now and then, we see blinking planes fly past somewhere in the sky and I wonder if through the clear night they can imagine the spectacle that is happening down here. From time to time I see a little bat flying through the light.

After Nino Rota’s soundtrack, the Berlin Philharmonic Orchestra needs a break. Many visitors  – which is not typical – stay on their seats instead of running towards the shacks, where they offer everything, from Chinese wok until strawberry punch. I enjoy my crêpe, chat and look around in the arena, that, in the middle of the night, is still illuminated by flashlights.

The break ends without any sign, no bell sounds, and everyone standing at the shacks is surprised by sudden applause, as maestro Chailly returns to the stage. The second half of the evening sounds Italian. Ottorino Respighi is the composer, Fontane di Roma (1915/16) and Pini di Roma (1923/24) are his compositions. Both are performed very well. Looking back, I especially remember the last few minutes of Pini di Roma. Several minutes, blowers and tympanos lead the orchestra. It seems as if Caesar himself marched into Rome in a triumphal procession. Ottorino Respighi’s music shines through the gigantic amphitheatre in the middle of the forest over which night fell completely. After the end of the huge spectacle, and therefore after the end of the concert as the program tells us, applause rises among the audience. For Riccardo Chailly and the Berlin Philharmonic Orchestra, people rise from their seats, and remain so as the orchestra is already in the middle of the first encore. It is almost as energetic as Pini di Roma.

The second encore is similar and sounds, like everything that evening, like modern classical music from the first half of the 20^th century.

The third encore is, just like the forest stage that is called “Waldbühne” in German, a highlight that you can only find in Berlin: The Hymn of Berlin, composed by Paul Lincke. The whole audience screams enthusiastically in the first few beats, whistles, clapping and singing echo through the whole amphitheatre whenever the music comes close to the chorus („das ist die Berliner Luft Luft Luft“ –“this is the air of Berlin”). The enthusiasm throughout the arena is almost corporeal. Everyone dances, sings, sways, sings, claps, whistles and enjoys their life. The Hymn of Berlin is the last highlight of a fantastic evening. As the last beats and the last clapping fade away, a crowd of 10 000 flows towards the exit. A crowd that climbs the stairs flows out of the barrier where we had to show our tickets, a crowd that moves towards the Berlin city train. The night is still tepid and enjoyable, and everyone is exhilarated and satisfied through the third encore. And that is this years’ end of the concert in the forest stage, as a crowd of happy, satisfied people is waiting for the city train, crowds its way into the city train and go their own year – maybe until next year.

In der Waldbühne

Es ist der 23. August 2011. Wir sind in der Waldbühne in Berlin, um das nachgeholte Konzert der Berliner Philharmoniker unter der Leitung von Riccardo Chailly zu sehen. Die Waldbühne sieht aus wie ein gigantisches Amphitheater. Sie ist eine Arena, auf deren einer Seite sich ein steiler Abhang befindet. An diesem Abhang befinden sich viele tausend Sitze, Bänke ohne Nummerierung. Alle Sitze laufen hangabwärts auf einen Kreis zu, an dessen Ende sich die Bühne befindet. Die Waldbühne fasst schätzungsweise mehr als 10 000 Menschen. Die Atmosphäre ist kaum zu beschreiben.

Als wir von der S-Bahn in Richtung Waldbühne laufen, befinden wir uns inmitten von tausend andere Leute, allen Alters, aller Herkunft, vieler Sprachen. Je näher man dem Eingang kommt, desto mehr sieht man Kartenverkäufer, die ihre Eintrittskarten noch verkaufen wollen. Bei den Menschenmassen, die in Richtung Waldbühne strömen, kann ich mir es gut vorstellen, dass die Karten verkauft werden können. Als wir unsere eigenen Karten ergattert haben, gehen wir durch die Kartenkontrolle. Die Kontrolleure sind allerseits sehr nette und geduldige Menschen, trotz den Menschenmassen, denen sie Karten und Taschen kontrollieren müssen. Durch die Absperrung, auf einen großen Vorplatz, von dem aus ein Weg zur Waldbühne führt. Wir folgen dem Weg und fühlen uns wie Harry Potter auf dem Weg zum Stadion der Quidditch Weltmeisterschaft. Überall Menschen, überall gute Laune, nur keine singenden Fahnen und Leprechaun, die falsches Gold auf die Besucher fallen lassen. Vor dem Abhang, der zu den Plätzen führt, hat sich ein Ring aus Ständen aufgebaut. Dort bekommt man alles, von Crêpes über Kaffee und Tee bis hin zu Erdbeerbowle und Cocktails. Wenn man sich dann dem Abhang nähert, sieht man ein riesiges Zelt am fernen Ende des Amphitheaters, angestrahlt mit blauem und weißem Licht. Hunderte Herren und Damen in feinen Anzügen erklären den Besuchern, wo und wie genau ihre Plätze zu finden sind. Wir machen uns auf den Weg auf die linke Seite, in den H Block suchen uns Plätze (es ist ja freie Platzwahl) und genießen den Ausblick, bis nach wenigen Minuten der Dirigent unter Applaus die Bühne betritt.

 Als der Dirigent die Bühne betritt, dämmert es gerade. Es ist noch nicht ganz dunkel, als das Orchester der Berliner Philharmoniker die Suite für Jazz-Orchester Nr. 2 von Dimitri Schostakowitsch anstimmt. Die Suite besteht aus acht Teilen, die mich an Filmmusik erinnern. Besonders an die Filmmusik, die der Japaner Joe Hisaishi komponiert. Eine Stelle klingt sogar ein wenig so, wie die Musik der Kindersendung „Der kleine Maulwurf“. Der Beginn des Konzertes ist gelungen, das Publikum bestens eingestimmt auf die nächsten knapp zwei Stunden zeitgenössischer klassischer Musik. Für ihren hervorragend gespielten Schostakowitsch bekommen die Berliner Philharmoniker großen Applaus. Für mich ist es das schönste Stück vor der Pause.

Als nächstes hören wir Filmmusik aus der Zeit um die Hälfte des 20. Jahrhunderts. Komponist ist Nino Rota (1911-1979), das Stück heißt „La strada“, stammt aus dem Jahre 1966 und ist eine „Orchestersuite aus dem Ballett nach Federico Fellinis gleichnamigem Film von 1954“ (so das Programmheft). Obwohl sehr eindrucksvoll gespielt, reißt mich die Musik nicht so in den Bann, wie es vorher Schostakowitsch getan hat. Hätte ich die Auswahl der Musik beeinflussen können, hätte ich Riccardo Chailly wohl andere Filmmusik empfohlen. Und doch lässt die Tatsache, dass Herr Chailly und ich wohl andere Vorstellungen von guter Filmmusik haben, die Magie des Abends keineswegs schwinden. Unter der intensiven, und teilweise etwas düsteren Musik Nino Rotas wird es nun endgültig dunkel. Man sieht jetzt deutlich, wie die Bäume von mächtigen Scheinwerfern angestrahlt werden. Von Zeit zu Zeit sieht man blinkende Flugzeuge weit weg am Himmel vorüberfliegen und man wundert sich, ob die das Spektakel hier unten durch die klare Nacht erahnen können. Ab und zu flattert auch die eine oder andere Fledermaus verwirrt durch das Licht.

 

Dann ist Pause. Viele der Besucher bleiben – ganz untypisch für Konzerte – einfach auf ihren Plätzen sitzen, anstatt sich auf die Buden zu stürzen, wo alles angeboten wird, von chinesischen Wok-Gerichten, bis hin zu fast so exotisch klingender Erdbeerbowle.

Die Pause verklingt ohne einen Ton, kein Gong ertönt und alle, die an den Buden stehen, werden von plötzlichem Applaus überrascht, als der Dirigent wieder auf die Bühne tritt. Die zweite Hälfte erklingt ganz in italienisch. Ottorino Respighi ist der Komponist, Fontane di Roma (1915/16) und Pini di Roma (1923/24) sind seine Werke. Beide sind sehr schön gespielt. Besonders im Gedächtnis bleiben dabei die letzten Minuten von Pini di Roma. Eine ganze Weile lang spielen Bläser und Pauken die Hauptrolle, als würde Caesar persönlich mit einem Triumpfzug in Rom einmarschieren. Und so strahlt die Musik von Ottorino Respighi durch das große Amphitheater im Wald, in dem es mittlerweile vollkommene Nacht geworden ist. Nach dem Ende des Riesenspektakels, und damit auch nach dem Ende des Konzertabends, wie er auf dem Programm steht, erhebt sich allseits großer Applaus. Für Riccardo Chailly und die Berliner Philharmoniker stehen die Menschen von ihren Plätzen auf, und setzen sich auch dann nicht wieder hin, als das Orchester schon längst zur ersten Zugabe anspielt. Die ist fast so schwungvoll wie die Pini di Roma, die soeben verklungen waren. Die zweite Zugabe ist ähnlich schwungvoll, und klingt, wie alles an dem Abend nach moderner Klassik aus der ersten Hälfte des 20. Jahrhunderts.

Die dritte Zugabe ist, genau wie die Waldbühne, ein Highlight, das es nur in Berlin gibt: Die Berliner Hymne, komponiert von Paul Lincke. Das ganze Publikum schreit begeistert bei den ersten Takten, und durch die ganze Waldbühne ziehen sich Pfiffe, wann immer der Refrain sich nähert („das ist die Berliner Luft Luft Luft“), Klatschen und Singen. Die Begeisterung, die sich durchs Amphitheater zieht ist greifbar. Alle tanzen, schunkeln, singen, klatschen, pfeifen und freuen sich ihres Lebens. Die Berliner Hymne ist der letzte Höhepunkt eines fantastischen Abends. Als die letzten Takte und das letzte Klatschen verhallt sind, wälzen sich die Menschenmassen von immer noch um die 10 000 Menschen aus der Waldbühne heraus. Ströme von Menschen, die die Treppen emporsteigen, aus der Absperrung um die Waldbühne strömen und sich in Richtung S-Bahn bewegen. Der Abend ist immer noch lau und angenehm, und durch die dritte Zugabe ist die Menge beschwingt und zufrieden. Und so steht an der S-Bahn ein Haufen glücklicher, zufriedener Leute, der sich langsam in die S-Bahn drängt und seiner Wege fährt – bis zum nächsten Jahr vielleicht.