Whatever political color you are, I believe there will always be difficult to diminish the genius of Lucio Battisti . If you're right, probably will not have anything to say. If you're left, you can blame the fake populism, the fact that fund AU neo-fascist groups, who have deserted the contact with the public when it called for greater interactivity with the artists, the misogyny in the lyrics even with the excuse that they were written by Mogol .
You can discuss everything in short that out of his innate musical talent, because that was really both as composer and as an entrepreneur and not coincidentally, his record company " Number One" was cradle of extraordinary talents prog-rock : Alberto Radius , Mario Lavezzi , Demetrio Stratos, Posies , Edoardo Bennato , Acqua Fragile , Toni Esposito, The Flight , PFM , Formula Three , Oscar Prudente , Jumbo and many others. The great entrepreneurial vitality and innate musical curiosity, however, not to impedrono Battisti -record attempt also less attractive in productions such as Computers (1969), Luis Guidetti (1970), Noel Luciano Winderling ( 1971), the Man's Jungle (1972), rather than curious works, suspended between melody and classical liberalism -like as that of date.
often counted in the category " progressive" but which have no relevance, the Date were a trio formed in Milan in 1974 by the multifaceted artist torinese Umberto Tozzi e da altri due musicisti, Dattoli e Luca , che malgrado la giovane età (poco più di vent’anni) avevano anch’essi un' invidiabile palmares professionale alle spalle. Il bassista Damiano Dattoli per esempio, era già entrato nella storia del pop non solo per aver composto le musiche di “ Io vagabondo ” per i Nomadi, ma per aver affiancato a lungo Detto Mariano , allora arrangiatore di Celentano , per aver suonato con Mina e per essere stato una delle menti musicali del gruppo Flora Fauna e Cemento in good company with Mario Lavezzi (future member of the "Flight ).
guitarist Luca Massimo was instead a valuable session-man he had and would cooperate with almost all the big stars of the '70s ( De Andrè, Mina, Battisti, Guccini , Earl, Jackson, Branduardi ...) and whose career would continue throughout the next two decades up to produce the likes of Biagio Antonacci and Conjure , as well as write and Albertelli Tempera the ending of a most famous cartoons of the 80s: Grendizer .
Tozzi its part, beyond being a brother of the then famous singer Franco Tozzi, had already played in several youth bands as "The Odd society", played by Patrick Samson September along with saxophonist Claudio Pascoli , made the session man for Number One, the duo collaborated with Prudente - Fossati and above all, written in tandem with Dattoli the song "A body and soul " who would win Canzonissima '74 interpreting Wess and Dori Ghezzi (future Mrs. De Andrè ). And it was the meeting of Tozzi with D'Attolico that arose at last the Date which, of course, had no trouble finding a record deal just with the Number One .
The eponymous album, curiously in a few copies printed at the point of becoming a rarity, was arranged entirely by Claudio Pascoli, mixed by technicians Ezio de Rosa and Piero Bravin (this future "mechanical sound of Cramps Gianni Sassi) and although still remembered today as" White Road ", back cover designed sull'inquietante by Cesar Monti the only group name.
autorali Despite evident ability of the three musicians, the lyrics were all entrusted to well-known lyricist Alberto Salerno (Nomads , Reitano, Di Bari, Vecchioni etc.). for the occasion was signed with the pseudonym of " Manipol the .
said, it is very obvious that musically we find ourselves faced with a solid matrix product autorale with sophisticated compositions like " White Road" and " for my mother." Beautifully arranged, recorded and performed, the disk too often, however, lies on a compositional level light centered mostly harmless on harmonies ("My whole world ", "Me and my monkey ") and already plenty of atmosphere evoked by Battisti and his Formula Three (“ Dove va l’umanità ”, “ Aria in me ”). Anche le tre parti strumentali di De Luca e Tozzi che avrebbero potuto costituire l’ humus per un eventuale sviluppo progressivo , vengono ridotte ad una manciata di secondi e alla fine, di tutto questo tramestio emerge solo la grande classe di tre musicisti, comunque avulsa da qualunque ambito innovativo. “ Data ” è dunque un disco certamente imperdibile per i fans di Tozzi , ma men che meno inscrivibile in un contesto progressivo: considerarlo tale analytical error is difficult to forgive.
A heartfelt thanks to Horatio for his contribution to this place and for its unmatched kindness.
course, open a bottle of Cuvée 733 Jacquesson very common to accompany a risotto with radicchio may seem almost blasphemous. Also because the bitter taste of red chicory salad may help boost elbows with the acidity typical of this prestigious Champagne. But very few moments worth to open a bottle like that, and waiting to threaten to spoil the wine, especially if you do not have air-conditioned cellars. And then sometimes it's nice to test the bubbles the world's finest and most versatile with food apparently 'difficult'. And arrive at the conclusion that no, except for sweets and chocolate for the flow with vinegar and lemon, there is a dish that can not get along with a class of Champagne.
Jacquesson Champagne Cuvée No. 733 Founded in 1798, the bubbles of Memmie Jacquesson soon became a favorite of Napoleon , which in 1810 gave the Dizy small house on the outskirts of Aÿ , the "gold medal for the beauty and richness of its cellars . Even today the company has maintained its small dimensions of time allowing the current owners, brothers Chiquet, to work in an absolutely non-industrial produced about 350 thousand bottles a year. Without herbicides or pesticides, selecting the best grapes from the premier crus and grand crus of Valley of the Marne and Cote des blancs , and vinified without filtration. The blend is a child number 733 in most of the year 2005, with the 'correction' of reserve wines of the years 2004 and 2001. From the first taste is evident that the predominant grape variety is the Chardonnay , which occupies 52% of grapes, complete with a 24% pinot noir and 24% pinot meunier.
Il colore è giallo dorato cristallino, il perlage è di una finezza straordinaria, e le minuscole bollicine liberano al naso raffinati sentori di agrumi freschi , fior d'arancio, magnolia e giacinto , rese ancora più fragranti dall'aroma del pane appena sfornato e dei biscotti al limone . In bocca è generosissimo e di una freschezza assoluta, un Brut secchissimo - solo 2,5 gr/l di zuccheri aggiunti dopo il dégorgement - di una piacevolezza fuori dal comune. Cremoso, complesso ed elegantissimo, ha una veste talmente delicata da rendere aggraziate anche le forme rustiche e spigolose di un risotto cheese and radicchio. In wine is 45 €, 60 € at the restaurant is still a fair price for a Champagne that leaves its mark. In Italy it distributes Pellegrini.
- Various Authors: White Paper on Pop in Italy (Arcana Editrice, Rome 1976) - ANGIOLINI - GENTILE: Notes Pop Italian (Gammalibri, 1977) - Carol - GENTILE - Pop Archipelago (Arcane 1977)
- RICCARDO Bertoncello - Encyclopedia Rock 70s (Arcana, 1987) - PAUL Barotti: The Return of the Italian Pop (Vinyl Magic, Milano 1990) - Gino Castaldo: The Promised Land (Feltrinelli, 1994) - FRANCESCO Mirenzi: Italian Progressive Rock (Castelvecchi, 1997) - MAURICE BECKER: There was a Once the RCA (Coniglio Editore, Rome 1997) - Piersandro PALLAVICINI: Quei bravi ragazzi del Rock Progressivo (Costa & Nolan, 1998) - CESARE RIZZI: Progressive (Giunti Editore, 1999)
- PAOLO BAROTTO: 100 foto storiche di pop italiano (Stampato in proprio, 2002) - RICCARDO STORTI: Progressive in Italia (Associazione Nonsolomorego, 2002) - CESARE RIZZI: Progressive & Underground '67 - '66 (Giunti Editore, 2003) - GIORDANO CASIRAGHI: Anni '70 Generazione Rock (Editori Riuniti, Roma 2005) - GABOLA - BRASS: Progressive Italian (Giunti Editore, Firenze 2005) - DOMENICO CODUTO: The Book of Area (Auditorium, Milan 2005) - TIZIANO WOODWORM : Beat Italian (Castelvecchi, Rome 2005) - MAXIMUM OVENS: Along the streets of prog (Palladino Editions, 2008) - Riccardo Storti: Rock Map (Aerostella, 2009) - Matteo Guarnaccia: Re Nudo and other Pop Festival 1968 - 1976 (Free Flight, 2011) antagonists on the movement and Italian creatives since the war to the 80s:
- BEAT: - Melchiorre Gerbino: documented history of World Beat ( unpublished writings) - SILLA Ferradini: clear Flowers (The Green Monkey, Milan, 1976) - Fernanda Pivano: There was once Beat (Arcana, Milan 1976) - UNDERGROUND: - Various Authors: My love will never die (Arcana, Roma 1971) - ANDREA VALCARENGHI: Underground a closed fist (Arcana, Roma 1973) - COUNTERCULTURE: - VALCARENGHI ANDREA: Do not count on us (Arcana, Roma 1977) - Circle of the Proletariat YOUTH, AUTONOMY, community centers - Various Authors: that there will be a risotto bury (imbalance, Cologno Monzese, 1977) - Various Authors : self-managed community centers and youth clubs (Feltrinelli, Milan 1978) - Various Authors: Leoncavallo 1975 - 1989 (a cura di Democrazia Proletaria, Milano 1989) - MEDIA (Radio libere) - MARCO GAIDO: Radio Libere? (Arcana, Roma, 1977) - B. BERARDI, E. GUARNIERI: Alice è il diavolo (Shake, Milano, 2002 - IIa ed.) - MOVIMENTO '77 - A.A.V.V.: Settantasette. La rivoluzione che viene. (Castelvecchi , Roma, 1997) - SUBCULTURE ANTAGONISTE E MOVIMENTO OPERAIO: - PRIMO MORONI - NANNI BALESTRINI: L'orda d'oro (SugarCo, Milano 1988) - JOHN N. MARTIN - FIRST MORONI: The moon on the house (Shake, Milan 2007)
W. "A". MOZART & THE MAGIC FLUTE: THE WORK ESOTERIC
The genesis of the Magic Flute is shrouded in darkness. E 'rightly so. All great works should be shrouded in mystery.
Maybe even today, in a dark place surrounded by the most absolute secrecy, a man is working on an immortal work.
Officially, the libretto of the Magic Flute was written by Schikaneder, Mason of a Lodge in Vienna, but we must admit that is strongly influenced in any direction of the writer and Freemason Mozart.
He decided that this work was his spiritual testament. Too higher the symbolic meaning of the text to be able to give only Schikaneder, certainly clever man of the theater and good singer, but right interpreter in the work of the character of Papageno and not to Camino.
On the other hand already in the finale of Mozart Abduction from the Seraglio turned a fictional story in a parable lessinghiana on generosity and on human society.
We know that documents of the 'era of Mozart testify unequivocally belonging to the Lodge "The Charity", which was started December 14, 1784, in Vienna.
this condition, the has certainly helped in the study of mythology and in particular on its deeper meanings.
Mozart probably read the essay by Plutarch on Isis and Osiris and the last book of the Metamorphoses of Apuleius.
He was unable however to be aware of the esoteric meanings of the Sphinx and the pyramids of Egypt, because they still waiting for Napoleon in the sand of the desert.
papers.
Some authors have used consciously Mozart Masonic symbols, symbols that are certainly a philosophy and a particular moral, but they seem to be mediated in some way from the spirit of the eighteenth century humanist and progressive. Amazing
instead is the fact that this work is constantly permeated and enriched by the fullness of unconscious symbolism and meaning contained are based on universal human archetypes.
The Adventures of the Magic Flute is the story of the passing hours and chase, the light and shadows of darkness becomes light that returns.
early as Papageno, singing and whistling out of the woods it is morning. Sarastro down from his chariot in the hot midday.
Then the day tilts toward the twilight and the universe is hidden by a 'terrible darkness in which he begins the journey of initiation of Tamino. A few hours pass.
closed by the choir of Priests of the Temple began to invoke the splendor of light.
The three Genii announce that soon the sun will come back to walk his golden road.
The perils of the night have not yet won, and only when Tamino and Pamina will have gone through the fire and water, full sun, the sun without shadows and light scrub the floor.
The same journey is the soul of every initiative that could repeat the cry of Tamino: "O night when backhoe and disappear ? When the light will last my eye? ".
The ritual initiations of all men have a motto:" Through the night into the Light.
"This means that the direction of what happened is determined by a symbolic journey from that night of 'Hero of the sea, known as solar symbolism.
dying in the evening at' the west, the sun must make the journey through the sea's dark underworld and death, to rise again, transformed as a new sunshine 'east.
This symbol is the solar archetypal model of all the heroes and all the ways in which the initiatory' hero is the principle of consciousness that must be achieved and who is able to combat the dark forces of the 'unconscious.
addition the hero must also leave the treasure to fill all the topics related to it and must do so by fighting the dark forces of the enemy's consciousness.
Paradoxically, we can say that Mozart is the 'Hero and The Magic Flute is a treasure to be freed him.
is not the intention of this paper to summarize the plot of 'work, but it is interesting riportare in sintesi il contenuto di quelle parti iniziali del libretto che, seppur scritte, non vengono mai rappresentate.
Se ciò accadesse molte delle incongruenze di cui è accusato il testo cadrebbero automaticamente.
Prima della nascita di Tamino e Pamina una coppia sovrana dominava il mondo: un Re solare, di cui ignoriamo il nome e la potente Regina della Notte.
Tra il principio virile e quello femminile, tra luce e tenebre esisteva allora un mutuo accordo.
Questo appare evidente dal fatto che il Re tagliò il magico flauto dal tronco di una quercia millenaria in un ora stregata, fra lo scatenarsi dei tuoni e dei lampi, nel rumore della tempesta notturna:
cut it with 'decisive help of the Queen of the Night which then belonged to the sovereign as the charms night.
Some might therefore believe that at that time harmony reigned between the opposing principles, and only the good "nourish the earth."
In fact, the union between the two monarchs was a compromise rather than a loving embrace: with contempt because her husband kept his wife away from things, the text reads, which are incomprehensible to the feminine spirit.
Neither the strength of the King must be understood as beneficial to the whole: he wore on his breast the sevenfold circle the sun, the sign of its power that it consumed all things.
The sun, as it was incarnated in him, was a force that burns and dries, which gives life and takes it off, remove the vegetation that absorbs the power of mother ' humidity, makes it uninhabitable and barren soil.
With the death of the sovereign sun the two kingdoms of light and darkness fall, they become enemies and the queen is defeated.
now lives in his house full of birds and surrounded by dense forest vegetation.
A Temple cult still remembers her three ladies lend their services, but has lost the solar circle of her husband and her daughter, the only reminder of the luce, le è stata strappata ed è prigioniera nel castello di Sarastro.
Il settemplice cerchio solare, simbolo della forza, ora riposa sul petto di Sarastro venerato da un popolo di Sacerdoti e di schiavi.
Visto dall'esterno il Flauto Magico è un' opera divisa in due atti, ma in realtà è ordinato secondo il numero tre, numero sacro per la Massoneria, che è presente nella partitura musicale con le note del triplice accordo dell' ouverture, ripetute all' inizio del secondo atto e al momento della iniziazione di Tamino.
Tale atto, ad un più attento esame, finisce con la ventesima scena e quindi possiamo identificare sicuramente un terzo atto nascosto per la esigenze teatrali del tempo di Mozart.
Questa parte inizia con il coro dei sacerdoti.
La struttura dell'Opera si fonda sul simbolismo prettamente massonico della piramide.
Il primo atto costituisce la base: in esso predominano le forze ctonie e la Regina della Notte.
Nel secondo atto si ascende con l'iniziazione alla zona centrale dell'edificio dove si rappresenta la lotta fra la luce e l'oscurità.
Il terzo atto costituisce la cima della piramide e in esso viene celebrata l' unione fra il maschile e il femminile, come segreto di Iside e Osiride.
Vista questa disposizione appaiono più chiare alcune analogie. Nel primo atto la Regina della Notte si manifesta come madre buona, nel secondo diventa madre terribile, nel terzo è sprofondata all'opposto della cima della piramide, cioè negli abissi.
Anche la triplice comparsa del tema musicale si inserisce a vari livelli. Nel primo atto appare quando viene elaborato il principio d' amore della natura, nel secondo ritorna quando l' umanità raggiunge il paradiso della ragione e ritrova il suo stato originario divino.
Per la terza volta il motivo ritorna all' inizio dell' ultima parte in cui viene compiuta l' unione misterica tra Tamino e Pamina.
Mozart ci vuole esprimere come ciò che a livello inferiore avviene nella natura and the average in the human community, also penetrates the center of 'man. No coincidence that there are three temples: one at the opposite sides of Nature and that of reason and at its center is the Temple of Wisdom.
's work of Mozart, it is highly symbolic, can be read with varying degrees of significance.
We have written before how it is constantly pervaded by an unconscious symbolism that makes it possible to have different interpretations.
If we consider it a fairy tale certainly has its roots, like all fairy tales, in the archetypes of 'humanity, but perhaps more of the other reveals to us and immerses us in the great world of primary fact, most of the stories of ancestral 'Oresteia, most of' King Oedipus, Faust, King Lear.
If we examine the text in this light, it becomes even more clear the nature of the bottom of the conflicting figures represented on the one hand and by the Queen of the Night 'by another priest Sarastro.
Queen of the Night is the dark side of what the moral experience as men "evil" in the course of 'action becomes the image of all affected hazardous, especially revenge and pride, but above all is the principle that embodies the power of evil and the death of the criminal wants to take the bright side, the sun of the Good.
The women once again becomes the tempter, fully assumes the role of the devil by deception, superstition, deceit. When the Queen of the Night says.
"Revenge of the 'Hell boils in my heart" and even "death and despair in me burn," she expresses the deepest secret of his being.
Astriffiammante is the original symbol of the world, the unconscious, which is opposed to the male that is consciousness, which is light on the path of self-realization.
Ella è anche il simbolo della Grande Madre, la Dea della Notte che l' Eroe mitico Tamino deve sconfiggere nel suo cammino verso l'iniziazione.
Nel corso della trama altri rapporti vengono a legare archetipicamente i personaggi. Il primo è quello tra la Regina della Notte e Pamina che corrisponde alla situazione archetipica rappresentata dal mitologema do Demetra e Core.
La stretta unione di Pamina e più in generale della figlia con la madre, il suo ratto ad opera del maschile e la resistenza alla madre, costituiscono a tutt'oggi un conflitto essenziale nello sviluppo del femminile, momento nel quale si decide se la figlia apparterrà al mondo matriarcale, a quello patriarcale o a quello dell' meeting with the 'beloved.
Pamina will run this latest way to fly up to join to form the couple Harmonica with Tamino.
Interesting I can still look at a 'different relationship: that between Tamino, the' Hero-Prince and Papageno, the 'bird man.
Goethe about this kind of characters he wrote in Faust. "Ah, two souls dwell in my chest, the 'one you want to separate from' other.
's a clinging, with sound bodies and fierce joy of' love in the world, the 'other stands' s surge dust on earth to the fields of remote ancestors. " The
cammino iniziatico dei misteri è, senza dubbio, il cammino dell' eroe, di Tamino, ma il suo slancio ascetico-idealistico sotto il segno della virtù e della saggezza è in naturale contrasto con la razionalità di Papageno che rappresenta la paura e l' indolenza dell' uomo comune che si ritrae dall' ascesi e dallo sforzo.
Papageno dice. " Io non voglio in fondo sapienza, io sono un uomo naturale che di sonno, cibi e bere si accontenta e se è possibile catturare una bella donnetta".
Tamino è invece l'eroe che va verso la notte rischiando la morte per arrivare al celeste piacere dell' iniziato.
Egli rappresenta il principio della coscienza che deve essere raggiunta and who is able to fight with the dark forces of the 'unconscious.
He is the treasure hunt that is the symbol of 'expansion of consciousness, which is the profit of each initiation such as in the famous work of Apuleius, where the' Osiris gets started, that is enlightened and enlightening.
Papageno is unable to participate in 'higher spiritual flight of Tamino, but not without undergoing a transformation, only that it takes place in the' context of the natural world, not less, but that vibrates at a frequency large.
Mozart's greatness is expressed in all of its light when he shows us how the mystery of the top 'initiation is filled with the same force d 'love that animates the world of Papageno.
We have seen how the Queen of the Night is the unconscious, especially as a terrible mother, as Papageno is "the shadow" of Tamino and Pamina as not only the 'beloved Tamino to conquer the outside, but is a symbol of' soul to conquer through the test.
Let me explain more clearly: Pamina of Tamino is the soul itself, the 'image of women living humans.
But Pamina is not only to save the princess, she is transformed, experiencing the feminine symbolic death, that is detachment from the matriarchy, in Tamino's bride worthy of initiation.
The mystery of the Magic Flute is performed and the union between male and female is accomplished by taking the maximum symbolic value.
In 'the face' initiation is Pamina Tamino himself led by the hand to the evidence of 'water and fire. This does not mean its dominance, but the greater affinity of women to nature and the principle of 'love, as the essence of the heart, leads to a level of wisdom.
The perfect union of two lovers bears the sacredness of everything and then they will be not only the 'hermaphrodite, the' androgynous, but reborn deified, and so, like Isis and Osiris, will be triumph over death.
We see the last character is a priest Sarastro.Egli solar, such as those that prevailed in the ancient theocracies' s East.
possesses superhuman qualities, a kind of sixth sense that makes him recognize the innermost thoughts and secrets of 'man.
The most serious songs, the music more solemn rites more impressive, the 'atmosphere more darkly mysterious and venerable form the backdrop to an endless echo to his figure.
It can be noted as Sarastro represents the male principle that is not entirely done with the 'union with the female.
E 'a priest, not a God incarnate, in his kingdom there are not only free men and slaves.
Sarastro is indeed the shining sun that beats on the night, but it is a minor figure compared to the couple's triumphant.
the scene of the Magic Flute happens mysteriously 's event for thousands of years the earth waiting for: the light and dark, the masculine and feminine, consciousness and the unconscious, meet the principle of Love.
In this fable there is apparently one of the secrets revealed more real than the initiatory journey we must walk.
This is the noble message that Mozart gives us, a message that he is well aware that for many, even as he started in the Masonic lodges, only a hope.
Sarastro in 'last scene is at the top, the whole theater is light and joy of trumpets and celebrates the triumph, but what does this triumph, perhaps, the darkness and night were annihilated?
seems rather than as Tamino and Pamina make their journey, the sun is harbored at the source of the night: his treasures, which are absorbed the music, the passion of love, pain, nature, and they cleansed and purified and illuminated itself.
So really the Queen of the Night was emptied by the energies of his kingdom and its former power between thunder and lightning and falls into 'abyss from which it can no longer rise.
But the manly realm of Sarastro has come to an end with his chains, his slaves and the destructive force of the sevenfold circle the sun. A new age is born something that no one had ever known.
If man and woman love each other, if virtue and justice are the path to our existence, if the sweet calm down in our hearts, then "the earth is a heavenly realm of gods and mortals. "
This is what Mozart is proposed, what esprime all' unisono la sua musica e la sua poesia.
In fin dei conti la musica è l' arte in cui gli abissi dell' inconscio sono fusi misteriosamente con la creazione spirituale, l' arte dove si realizza la conjuctio fra maschile e femminile tanto cara a Jung.
Non a caso sarà il flauto che con la sua musica magica permetterà ai due giovani di superare le prove iniziatiche.
La scala dei sentimenti propri della musica mozartiana che abbraccia tutto il mondo, trova nel Flauto Magico la sua espressione più alta.
Il tono popolare e comico, la sensualità istintiva e la solennità sacrale di fronte alla morte si succedono e si alternano continuamente.
We can say that when it reaches its climax in the musical sense and spiritual, is immediately introduced a motion to reverse that prevents spiritual lyricism to become romantic and solemn seriousness of becoming tragic.
Mozart which was started by switching between white and black on the floor of the Lodge 'only viable path, that of the thread of unity.
The music and poetry to lead the Magic Flute 'ineffable, we see once again that flash of light that shone for a moment during the collapse of the Temple of Solomon when the curtain fell.
DA Freemasonry: symbols and archetypes in The Magic Flute by WA Mozart Bruno Gazzo
"A masterpiece of animation, the Magic Flute by Emanuele Luzzati - taken from ' Mozart's opera of the same name - use two-dimensional figures give meaning to more than ever, people find it even more profound and disturbing.
Luzzati reinterprets the music in Mozart's fairy-tale key, without the empty Its authentic content.
Emanuele Luzzati enchanted with its representations of reality and child was the most significant and original authors not only of Italian, but the animation of the sixties and early seventies. "
THE MAGIC FLUTE
IO embodied soul in this world, I CAN ONLY SAY THAT MAYBE NOT HEAVENLY ANGELS OF HEAVEN CAN BRING THE MELODY.
THANKS "AMADEUS".
YOU IN THIS WORLD THROUGH MUSIC unable to connect to God and make me AGAIN feel part of all creation.
In the second half of the '60s, the British rock lived a moment of great effervescence is driven by the economic boom which served as a driving force for the recording industry, is the extraordinary business of Beatles who had confirmed England as epicenter the new youth creativity: a nation that had become not only commercially impervious to any attempt to imitate their music and re (for example, by the American garage bands) , but a constant generator of styles that were beamed around the world: psychedelia, blues, folk, pop and hard rock .
In 1967, however, with the release of their masterpiece 'Sergeant Pepper's ", many experts began wondering with some anxiety what would happen when the Beatles had exhausted their creative course: what which also occurred within two years.
The solution was to run quickly to shelters offering a new style that was not only modern and musically unprecedented , but where the generation of "Swinging London " had been able to identify and recognize just as he had done until that moment with the british beat . A genre that was so subversive what caught enough to attract even the middle class so far snubbed the collegiate rock; deeply rooted in European culture to avoid any confusion with the American rock- and so poetically dreamy conndensare by a single kernel in the utopia of flower power with the great tradition of English fiction, from Shakespeare to Tolkien.
The brainstorm came from one of the most innovative record labels then the world scene, the Decca Records, which to launch his new label Dram and his new recording technology called "Sound Deramic " (a primitive consists of two eight-track recorders, 4 track working simultaneously) , called the band the Moody Blues asking them to compose and record a rock version of "New World Symphony " master of the Czechoslovak Antonin Dvořák .
According to the testimony of Derek Varnals , then coach of Decca, the Moodies but did not succeed to complete the original project, but remained fascinated by the prospect of being able to mix rock and classic.
against any skepticism of their record company, then summoned the teacher Peter Knight and the London Festival Orchestra for the realization of a concept in a rock-symphonic: the story of a man any day of waking up at night the model of 'Ulysses of James Joyce. And move was the right one.
At first the work was heavily criticized by the fringes of respectable British company for alleged drug use by the group, (see the lines "the smell of led you to dream ) but more realistically, the unanimous enthusiasm of all the youth audience - middle-class and otherwise - made of "Days of future passed " one of the seminal hard rock history. In fact, his unusual blend of classical and pop , the use of new technologies and production equipment , its extraordinary homogeneity narrativa e nondimeno l’altissimo valore esecutivo , avrebbero consacrato l’opera dei Mood ies ad apertore del genere progressivo.
Infelicemente, la Deram-Decca prestò tanta attenzione al progetto originale quanta distrazione nel conservare le matrici originali su nastro. Alchè, molte delle ristampe del disco che si susseguirono ininterrottamente a partire dalla prima reissue 1978, tradirono in molte parti la prima stesura che oggi è diventata assai rara da reperire su vinile in buone condizioni.
Ciononostante, anche ascoltando il nuovo mixdown, è davvero impossibile non grasp the extraordinary fluidity of the work that begins with the orchestral " The day begins and ends with the resounding success of" Nights in white satin "that will be taken from all over the world, including our Prophets, Gatti Rossi , Bit-Nik and especially by the nomads who renamed " I defended my love" .
The liquidity of the continuum musical and narrative leaves no doubt that a new type of music is coming and will not be long because a number of sensitive musicians and classical music until then confined in the conservatories and schools of 'art seize at the chance to reinvent themselves with new stylistic proposals from the first Nice of "The Thoughts of Emerlist Davjack " (1967) until the apartment-historical In the court of the crimson king "(1969 ) of King Crimson through the Caravan, and the Colsseum Soft Machine.
who attributes the authorship of a prog " Freak Out" by Zappa (1966) must quickly change their minds because of the obvious distinction between the work of an isolated genius and a real movement notes that from of Moody Blue s involve the whole world.
When he came out in theaters in 1976, the film Lugi Faccini " Red Carnation," based on the novel by Elio Vittorini , attracted the attention of much criticism than those of the public.
remained in first run just under a week and enjoy some more appreciation, had to emigrate abroad, and particularly in Italian Film Festival of San Sebastian , where his young star Miguel Bose (then twenty years old and already in its fifth role as an actor!) was awarded a special award.
The plot takes place in Sicily in 1924 and narrates the journey from adolescence to puberty the young Alessio Mainardi through the various experiences he has faced: the approach to the city to attend high school, interest in fascism by his inculcatogli Tarquinio and love for his school friend Joan who gave him a red carnation a sign of eternal fidelity. Giovanna but disappears into thin air and Alessio takes refuge in the countryside to lick their wounds. In parents 'house, all anti-fascists, Alessio will meet with the values \u200b\u200bof the rural world and definitely will be converted to' socialist ideology to the point that he returned to Syracuse, became interested in the work of a cell Communist underground.
In the end, after his sexual initiation with a prostitute Zobeida , reunited with Tarquinio (since he started with Joan ) which urges him again join the fascists giving him a gun, but Alex refuses. The weapon will end up in the hands of the communist youth that if the Sparta in turn as a pledge and promise of future anti-fascist resistance.
a capstone to a performance so articulated, mixed and full of different environments , director Faccini decided to entrust the soundtrack to one of the most versatile groups until then in circulation: The Banco del Mutuo Soccorso .
However, contrary to what happened with Deep Red whose success and launched the ennobled Working Goblin, half the flop of "Red Carnation " dragged into oblivion even if all the music of Banco .
In fact, this attitude corresponded to trivialization of a work that is true that it was comprimaria images, but even the intellectual entire film a startling sign of modernity and awareness . And 'one of the last signs of Tour " movementists " which espoused the cause of the anti-fascist story Vittorini and painted with Figurative extraordinary elegance the essence of the film, " its discretion, the intensity in the hatch of the characters and the taste of memory " (see Luigi Bini in "Readings") .
The usual group of modernity, here sublimated by more ingenious inventions of timbre Nocenzi , seems to evoke the timeliness and persistence of those libertarian values \u200b\u200bexpressed in 1942. Musically it is the unmistakable hand of the band in the prog-jazz digressions of title track, her fairy-tale aulicità in “ Quasi saltarello ”, le meraviglie tra il classico e il pop di “ Tema di Giovanna ” e il maestoso prog sinfonico di “ Funerale ”.
A chi volesse relegare “ Garofano Rosso ” a lavoro di serie B per la mancanza del cantato, ricordiamo non soltanto che in una soundtrack l’assenza della voce è più che accettabile ma che - se proprio vogliamo essere onesti sino in fondo -, Faccini non avrebbe potuto compiere una scelta migliore.
Dato il modesto impatto del film, dicevamo, this excellent symbiosis between music and images was never considered a duty, but as often happens in these cases (remember "God is dead " Nomads of , but censored by the RAI broadcast by Vatican Radio) to notice of his two-way was just a journalist is completely alien to prog that the movement : Virgilio Fantuzzi of Civilization Catholic who said: " We can identify a trend in film music, chanted in three movements, as in a classical concert ... " And that" classical concert "was really the work of Tour.
David Icke - BEYOND THE CUTTING EDGE 2 (Part Reptilian)
David Icke (Leicester, 29 April 1952) is a British writer, the best known authors on the conspiracy theory that considers the so-called Illuminati looking for ways to gain total control over the world.
Icke since the nineties advocated his theory that the world would be dominated by a small circle of "elected," the Illuminati ", linked to the Protocols of the Elders of Zion, published in booklet form in 1905.
Icke mentions in his works in particular World War I and World War II, the Holocaust, the Oklahoma City bombing, the bombing of PanAm Flight 103, the conflict in Bosnia, and the terrorist attacks of 11 September 2001 as examples of events caused by the "secret government ".
They were even to theorize control and resposabilià by it on most of the negative events of the last two centuries.
The Illuminati / New World Order (NWO).
David Icke ITALY IN THE April 30, 2011
David Icke - BEYOND THE CUTTING EDGE 2 (Part Reptilian)
This is one of the last conference held in the David Icke Brixton Academy in 2008
* Second part of the conference held in the David Icke Brixton Academy in 2008.
(ITALIAN to view subtitles press CC box after starting with PLAY VIDEO)
PART TWO (the Reptilian)
"the great dragon, that ancient serpent, he who is' called Devil and Satan, who deceives the whole world, was hurled ON EARTH WITH HIM his angels were cast down." (Revelation 12:9)
* "A Velazquez" (1985), the painter Bellano Giancarlo Vitali. now for some time is becoming a fixture on New Year's dinner with two old high school classmates and universities. The first year living in Beijing and come back only for the Christmas holidays. The second lives in London where he is attending a master's degree in journalism. A native of Nice, is not driving. Consequently, the choice of the board of the traditional reunion wheel comfort always around the lakeside town of the writer Andrea Vitali . And so, for the second consecutive year, we went to dinner Orrido, hotel restaurant loved by the same author A window overlooking the lake and other best-sellers set in the Fascist period. The restaurant's cuisine reflects perfectly the soul half Lecco mid thirties the family that runs it for many years. dumplings in soup or butter and sage, buckwheat Taleggio ravioli, braised venison with polenta and fresh water fish in carp. And so on. Do not you kill in quantity but the food is good and we met up from the table to go to the bench for a round of grappa and pay an account that never exceeds 32 € , bottle of wine included. This time it touched the Nino Negri Quadrio .
Valtellina Superiore DOCG 'picture', 2007, Nino Negri Made with grapes chiavennasca softened with a 10% merlot , from all five sub-areas of Valtellina, this red is named from the fifteenth century square castle Chiuro, built by Filippo Visconti in 1432 and belonged to the governor of Stefano Quadrio Valtellina in the fifteenth century, before being bought by Nino Negri 1897. Since then, the castle houses the company, from 1986 passed under the IRP (Italian Wines Group ). The wine is garnet red color clear and bright. At the nose the aromas are intense, complex and fine of blueberries, cherries , more and red flowers withered , which start embracing also a well known herb and ethereal. The mouth has a structure of b uona freshness and flavor, tannin and gives the sensation of dryness that sticky notes on the language of plum, licorice and sweet tobacco , clearing the table from the palate strong flavors of the Taleggio ravioli and braised venison with polenta. A really good wine, personality, yet easy to drink, at a price that the restaurant is around 16 € .
BOOK BY STEPHEN KING cinematic masterpiece by Stanley Kubrick.
Shining (The Shining, faithfully translated would sound like "glitter" or "Shimmer".
This translation è quella scelta per il doppiaggio italiano) rappresenta una tappa dell'itinerario di attraversamento-appropriazione-sfondamento dei generi operata da Kubrick nel corso della sua carriera.
Nel romanzo omonimo da cui il film è tratto, Stephen King rielabora in chiave thriller il topos caro alla letteratura di fantasmi della casa infestata, trasformandola in albergo e mettendo in rapporto con gli avvenimenti soprannaturali che vi si verificano un nucleo familiare composto da una coppia e dal loro unico figlio dotato di poteri paranormali.
BREVE TRAMA
Jack Torrance (Jack Nicholson), scrittore fallito, unemployed teacher with a problem of alcoholism and accepts the job of guardian winter in a huge hotel in Colorado, the Overlook, lost between distant mountains and countless hours of travel from any town.
In their interview, the hotel manager Stuart Ullman, says the work is not heavy but reserve problems of adaptation required to remain isolated from the snow five months, ten years before In fact, another name in charge of Delbert Grady, during his long stay with his wife and daughters, he suffered a nervous breakdown, losing the strong light of reason and exterminated the whole family with an ax.
almost amused Jack argues that this is not a type of situations that could happen to it, at the end of the opening season, he moved with his wife Wendy (Shelley Duvall) and son Danny.
Danny, Jack's son has telepathic abilities, immediately noted by the African-American cook, Mr. Halloran, who reveals himself to be in possession of so-called "glints "(shining), or through some sort of power with which people can predict future events, reliving those past and communicate with each other.
Man confides to Danny that lived in the hotel's might see some of the bloody events that have happened, but should not be afraid because they are not real images.
The recommended approach, however, not completely to room 237, but without another word.
"WENDY? ARE AT HOME, LOVE." (Jack)
SHINING
DIFFERENCES BETWEEN NOVEL & FILM
When Stephen King saw the film, I was disappointed, saying that was not much inherent in his novel, which had been cast. In response, Kubrick said that the book was not a great masterpiece. "
room * The protagonist of the book is 217, not 237.
* The death of Jack Torrance is different in the book is caused by the explosion of the boiler, in Jack film in order to kill Danny, is lost in the maze the Overlook Hotel dying exposure: in the book the hotel is destroyed by the explosion of the boiler and the resulting fire, nothing happens in the movie of this.
* In the book, Wendy is blonde, while the film is blackberry. In addition, Jack and Wendy are considerably younger in the text: Jack, we learn how to read, has just 30 years, while in the movie the actor Jack Nicholson has 43.
* In the book there are many more characters. Just to name a few: Al Shockeley, friend and colleague Jack has found the job all'Overlook talking Ullman and spent many nights drinking with relatives, the Dr. Bill Edwards, the student beaten by Jack when he's washing the tires of the car, the two gay ghosts Harry and Roger (who appear in the book for a long time while in the film are seen in only one appearance), guard Howard, etc. .. .
* In the book, Ullman is a cynical director who thinks only of the job and that will smooth his superiors, earning their respect, and the hatred of his subject. Ullman in the movie is nice and friendly.
* In the book, Jack is holding a bat roque to attack his family, while the film has an ax: in fact, Hallorann, when hit by Jack in the book survives, while in the film dies.
* Kubrick in the film ha completamente tralasciato le siepi a forma di animali, le quali si animano durante la notte e attaccano Halloran, Danny e Wendy, in quanto troppo difficili da fare: optò invece per un labirinto di siepi.
Whatever political color you are, I believe there will always be difficult to diminish the genius of Lucio Battisti . 
guitarist Luca Massimo was instead a valuable session-man he had and would cooperate with almost all the big stars of the '70s ( De Andrè, Mina, Battisti, Guccini , Earl, Jackson, Branduardi ...) and whose career would continue throughout the next two decades up to produce the likes of Biagio Antonacci and Conjure , as well as write and Albertelli Tempera the ending of a most famous cartoons of the 80s: Grendizer . 
autorali Despite evident ability of the three musicians, the lyrics were all entrusted to well-known lyricist Alberto Salerno (Nomads , Reitano, Di Bari, Vecchioni etc.). for the occasion was signed with the pseudonym of " Manipol the . 
