Saying For 3rd Birthday

Delicious delight (and spell)

"Here I am there. That is Alex and my three droogs. " That is Pete, Georgie and Dim And we sat in the Korova Milk Bar, smashing the "Gulliver" to know what to do in the evening. The Korova Milk Bar sold "Lattepiù," that some say milk reinforced droguccia mescaline, which is what we were drinking. It's stuff that makes you strong, and placed the exercise of his beloved ultraviolence. " Impossible not to recognize this "verse." It is the beginning of Clockwork Orange the film in 1971 (forty years now) by Stanley Kubrick said that two generations of young people, at least for our times, violence is an "basic" of existence (it is of 'man and is in 'man), and has nothing to do neither with good nor evil.

Violence Kubrick to be ironic, heavy, light, cool, funny, short, can be anything. It is by definition ambiguous. The fight, but we can eliminate - in an artificial way, by conditioning techniques - only if that men may become robots, and so are unable to live fully their time. Violence can be easily handled by those familiar with the power, and in this as in other cases, it is essential to the role of those holding the wires of the fate of others ...

Robetta a bit 'strong, of course, that here or there can remember Hobbes or our Jünger or some novelist from "state of nature" as the Nobel William Golding 83. For some the figure of the hero even recalls the myth of Plato's cave, but with a path exactly opposite. But probably the only film of the '71 side more exposed than a century that saw the fall, one by one (or mix together), the philosophical categories upon which, for better or worse, the world is run until the twentieth century. Clockwork Orange is so great fresco of contemporary nihilism, whose frame is represented by beautiful images pop, clothes, furniture and common record covers of Pink Floyd or the Beatles, accessories quite natural for the universe ... not for young nothing, like a work of Jünger (think In storms of steel ) to criticize Clockwork Orange will use terms such as "aesthetics of violence" or "stage final values. "

The film is based partly biographical novel by Anthony Burgess (British author who died in 1993), a clockwork orange published by Einaudi in 1962, and is, whatever one thinks among the most important film on the international scene of the "seventh art". A film that earned four Academy Award nominations in 1972, but much less than its real value.

Extraordinary interpretation of Malcolm McDowell in the role of the adolescent Alex DeLarge, the protagonist of the film, the copings of a gang of bullies (the four "drug" in fact), but at the same time unspeakably violent and crazy about Beethoven's Ninth Symphony (the " Choral") Beethoven's. But the interpretation of McDowell - who later will work with our Tinto Brass - at ease in the role (and currency) of the English hooligan has something heroic and creative short of substantial. Who has seen the film will remember as well as "common" scenes of violence (beatings and punishments), but the key scene in which underwent a remarkable rehabilitation therapy (individually named "Louis"), Alex is treated with eye dilator, uno strumento “infernale” (e impressionante), che causerà delle vere e proprie ferire agli occhi del ventisettenne McDowell.

Il momento creativo dell’interpretazione è posto invece all’inizio del film, durante lo stupro a casa dello scrittore Frank Alexander. Nella scena è lo stesso McDowell a “inventarsi” il motivetto “Singin’ in the rain” su invito di Kubrick che aveva chiesto all’attore di canticchiare una canzone a suo piacere. Un vero colpo di genio. Una genialata (peraltro assai criticata dall’autore della canzone), che evidenzia il contrasto solo apparente di cui vive Arancia meccanica . La violenza non è figlia né dell’ignoranza né dell’insensibilità, come comunemente si pensa. Ma è una variabile del tutto “indipendente”, e non ha madri o padri che possano fare da capri espiatori. Arancia meccanica dà insomma pochi punti di riferimento: la società va governata, i fenomeni spiacevoli come la violenza non sono estirpabili, vanno semplicemente guidati entro le aree cosiddette istituzionalizzate a tutto vantaggio del potere. L’arte, la conoscenza e perfino la buona educazione ricevuta in famiglia non rendono un uomo migliore di quello che è destinato a essere. E allora? Sembra un circolo vizioso, il circolo vizioso del nichilismo contemporaneo.

Spieghiamoci meglio: secondo una vecchia iconologia, la musica cosiddetta classica va in tandem quasi esclusivamente col professore seduto in poltrona (meglio se vecchio e con la pipa in mano), con le immagini sacre (chiese o luoghi della memoria) o con le elegantissime sale da concerto; la musica dei grandi maestri del Sette-Ottocento veicola altra cultura insomma, è un anello di una lunga catena, un riflesso condizionato che presuppone la visione di immagini altrettanto nobili. Se ci si ciba di grande musica, se si possiede una spiccata sensibilità all’arte (come Alex), non si può essere dei delinquenti. È una tipica visione ottocentesca, da Manual of deviance, a positivist view that, in part, also won our imagination now.

Kubrick, a great observer / interpreter of the advance or advances, reverses this conviction. Break the chain that links images to music and artistic expressions "stereotyped" in a completely natural (as will happen in almost all his movies, think of the most famous 2001: A Space Odyssey ), uses the notes of the great Rossini as the theme for the misdeeds of the four "drug", and indeed even the "pianissimo" and "very strong" may be the orchestral source of inspiration for the violence that consumed by blows of knives and sticks. It is an extraordinary range of aesthetic revolution, upon which, perhaps, he never thought enough ... In the film, music copyrights, as a further note of ambiguity, the woman composer Wendy Carlos (born Walter, that man ), combines its electronic arrangements with the mythical "Moog", creating effects suggestive of a real contamination, played on the weight of time and changes due to inevitable progress.

An aesthetic revolution that is the language used in Clockwork Orange, a different means of communication, a monitor on the ambiguities and changes in the twentieth century and particularly in the sixties.

Obviously we can only speak of the link between art and individual sensitivity. But we can also say the language used by Alex and his gang, an artificial language also, ambiguous because a triple junction (English, Russian, and slang), invented by Burgess: the so-called Nadsat ("Gulliver" for example stands for " head "," Devocka "stands for" girl "and" Bog "for God), which symbolizes a universe" new " exclusive, made by young people and young people. Almost necessary in this "world apart" and in the sixties - when the novel was published - is the emergence of youth in full, and even more necessary in that "round him" From the wide represented "class" of violence. In this case, surely even more that in the revolution for the use of music, Kubrick was able to anticipate a time when a language "encrypted" characterizes the membership of a group.

in 2007 after 36 years from first release, A Clockwork Orange was finally aired for the first time in an Italian television late night (La7), thanks to the decision to turn down the ban under the age of 14 years (before it was instead under the age of 18). For several years, then, Kubrick's masterpiece has gained new audiences, that is always new levers with which the film seems dedicated masterpiece. It should, however, in that regard, do not forget a basic lesson: the aestheticism of violence, hyper-reality with which it is represented, is not an "invitation" to practice but rather is itself a "call "condemnation. A great director is not screaming in fact. It acts as a great essay indicates directly and silently the moon. All that is left is only our responsibility ...

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Happy family

begin by saying what Happy Days, the well-known sitcom aired in the United States since 1974 and in Italy since 1977, is not. Or rather what is not. It is easy to understand the title: America is not "bad," America at war and in war, but even that is not worried by political turmoil and some handfuls of young 'Gascon or a little' burnt '. Happy Days sitcom is probably the best known of the history of U.S. programs exported to Italy, and was born as the story of a family of Milwaukee - the Cunninghams - set in the years between the fifties and sixties, happy years (and idealized), wedged between the U.S. efforts: McCarthyism, the Korean War - ended summer of 1953 - and that much of the ponderosa Vietnam.

In particular, Happy Days, is not American Graffiti, George Lucas's film of 1973 between the first evidence of the revival Use the fifties and sixties, film to which the series is often compared, and an America that draws '62, very little "happy" .

That Lucas is an America that is going to look out over the years of lost illusions, well represented by four friends (Richard Dreyfuss, Ron Howard, Charles Martin Smith and Paul LeMat) who wander aimlessly in a night like many others, unable to imagine and adults to take a step toward the antechamber of the "dream". American Graffiti is the "prologue" of an America that approaches the brink of a psychological and information environment, the challenge in a nutshell (and thereby almost indefinable) of the thugs and their race car. One goal, one purpose, only entertainment: women, songs of DJ "Lone Wolf" and the violence of a small big city mysterious and elusive.

Happy Days version is rather tame and familiar America before Vietnam. The face of "noble" of a medal in sterling. America is a bit 'of miraculous conformist fifties, the explosion of the middle classes but also del baby boom . Happy Days celebra la famiglia com’era, come non è e come (forse) mai sarà. Papà (Howard), mamma (Marion), due figli maschi (Charles e il più noto Richard) e una femmina (Joanie). Lui possiede un negozio di ferramenta, lei è casalinga, i ragazzi sono poco più che adolescenti .

  I problemi dei Cunningham sono i problemi legati al tempo libero ( non grandi problemi) e soprattutto al futuro dei figli. La società del benessere, se è una vera società welfare, therefore allows to plan the future in the best way ...

To understand what it was America in the fifties and as the environment and everyday life influence each other, we report a step History of the United States of America Massimo Teodori (Newton 1996): "Even more important for the 'American Way of Life were domestic movements to metropolitan areas. Endless stretches of single-family homes surrounded by small gardens became the favorite house of the Americans who left the centers cities to live in what is called suburbs, with no civic centers and social facilities, dominated by private existences contained in the center. Automobiles, appliances and monoabitazioni represented, at the same time, the aspiration of the average landed at the social welfare and the limits of his life ... It was in this context, dominant in much of a sense of urban conformity pervaded the entire society ... ".

The Cunningham are surrounded by friends. Within the show the Generations are left behind ( Happy Days is not the Rebel Without a Cause James Dean!). Parents and children (though fans will remember that the eldest son of Cunningham, Charles, appear only rarely and then disappear completely ...), are divided roughly the same friends, or better: the relationships between adults and children are the utmost respect: the parents accepted the company of children and the children did not dare delegitimize the role of parents. Happy family in short, fully justifying the title of the series .

Ralph Malph e “Potsie” Webber, i due amici di Richard Cunningham/Ron Howard (in seguito, come sanno i cinefili, diventato uno dei registi più importanti di Hollywood), sono due tipi un po’ grulli, e sono tutt’altro che teppisti da “notte brava”... Anche Ralph e “Potsie” dunque offrono leggerezza alla sit-com: battute, risate, risatine e condotte un po’ maldestre, narrano di una certa spensierata “felicità”, soprattutto adolescenziale. Lo si diceva negli anni Settanta: una “felicità” che può essere di questa terra e soprattutto di un’America ricca, pacifica e moderna …

Everything so Happy Days? Not really. Cunningham is one of the family show a light, enjoyable, maybe at times "fairy" - the most classic of American dreams - but not a show bland or, worse, insincere. Gradually, within the 11 television seasons - 255 episodes in all - in fact the body will take the shape of a new idol for those who have never stopped loving the "disorder" (even if a disorder is a bit 'soft ). This is the mechanic of Italian origin known as Arthur Fonzarelli Fonzie .

Today, especially in Italy, after more than thirty years no one has forgotten him and who played him, that the New Yorker Henry Winkler. Or because Happy Days has been repeated for an infinite number of times - even now is planning for Mediaset - either because of that Fonzie is an unforgettable figure, indeed the limit. It is rebellious, but also reassuring, it is nice and communication (his catch and his "tics" were famous), and is rational, judicious and "neutral" quanto basta .

  Motorizzato-latin-lover carismatico nella sua “uniforme” anni Cinquanta formata da Jeans, stivaletti, maglietta e inseparabile giubbotto (il più delle volte di pelle nera), Fonzie, a suo modo, è anche molto elegante… è il tocco da maestro per l’America dei Settanta, è il cattivo non-cattivo, è la “quadratura del cerchio” all’interno di un magmatico ambiente giovanile. È il “ribellino” che tutti vorrebbero in famiglia. Fonzie è un antiborghese, che sceglie in assoluta libertà la quasi-irreggimentazione family. The witness "living" in open rebellion and that the family can be a normal (happy) third way.

At first glance, is the classic bully fifties, like the young mechanic among the stars of American Graffiti (what will the race car) . But Fonzie is more of a bully and a night owl too. He has no family and "adopt" its (the family, of course, is that of Cunningham) is a romantic rebel who loves freedom, is brave and accept challenges but that is not violent, not a provocateur, not a time waster. Appreciates honesty, is very respected and respects those who respect him. Arthur finally has an unassailable moral (read between the lines): all you need to earn it is, indeed deserve, above all must know how to keep ... In short, Arthur is basically a good, a kind of James Dean (which is his idol), which went to his death and chooses life for themselves and for others. A guy who has noticed that the rebels-without-cause they have a lot to lose. A good family (acquired), for example, with mum, dad and brothers who give respect, affection and understanding .

Fonzie is a nice-and-damn that rather than opt for the hell chose the more "bourgeois" purgatory. Not really a fool would say there ...

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Of that La Pira ...

Probably more than in Italy is remembered abroad. And the reason is quite clear. Over the years of the Cold War, the East-West confrontation and the fight against communism, he (Democratic Left), takes the side of dialogue and openness policy. During the period in which the mayor of Florence, then, the city stands as a protagonist of an intercultural dialogue is not without substance (as he reminds Andreotti in 1991: a mid-sixties, his "religious and cultural openings" were also "seem extra- vagantes " but "track instead of lines contact between Christians, Jews and Muslims are still traces of which they consider positive, useful to the good name outside of Italy) .

speak of Giorgio La Pira, the mayor-saint of the city of Florence, "apostle of peace in the world and important political figure of our Republic, born January 9, 1904, several miles south of "his" Florence (where he is buried next to Savonarola, Poliziano and Pico della Mirandola), namely in Pozzallo in the province of Ragusa. One of the lesser known provinces of Sicily, but incredibly rich in history and culture .

To begin in the province of Ragusa (Modica, a country known for its chocolate) was born 110 years ago the Nobel Prize Salvatore Quasimodo ( Elio Vittorini's brother in law), a great friend of La Pira and three years older than him. And Comiso, a country of the Ragusa Gesualdo Bufalino were born, much appreciated writer (to whom he dedicated Franco Battiato, ultimately, a work in DVD) and the artist, painter, sculptor, writer, Salvatore Fiume .

Pozzallo is one of the most in the south of Italy, extending for about two kilometers on the Mediterranean Sea. Within its core (located behind the "Torre Cabrera" was originally to defend the warehouses and the beaches from pirate raids) a short walk from the central Piazza of Remembrance is the Foundation familiare Giorgio La Pira – segni della memoria”, promossa e curata dagli stessi discendenti del sindaco di Firenze. Leggiamo su un pieghevole stampato per i cento anni dalla nascita di La Pira: « Si tratta di un particolare percorso espositivo che ha un’impostazione prettamente storico-documentaria perché è testimonianza della formazione umana, religiosa culturale e politica di Giorgio La Pira e, nello stesso tempo, segno dei legami con la sua famiglia e la sua città » .

  L’abbiamo visitata e possiamo offrire una nostra testimonianza. Si tratta of a place (a room in the basement, a former entertainment premises for the youth), in which the memories are mixed with secular spiritual suggestions. A course divided into a bright room, chock full of objects, snapshots (the grandfather of Garibaldi La Pira, parents, Gaetano and Angela Occhipinti), correspondence, articles, pages of newspapers and books. In almost schematic and to give the reader an idea. In the first room, are preserved objects and documents of the house-natal: tools, knick-knacks and photos, in the second room, the memories of the family La Pira nuns and sisters, in the third room, memories of the monastery of Montevergine di Messina in which Twenty years La Pira - initially dannunziana training and future - is converted ("Montevergine perfume, scent of a Virgin Mountain, the city can attract it to Whole joys of beauty," he said) in the fourth room, yet personal and interesting manuscripts of Giorgio La Pira, related to the Florentine period .

Giorgio La Pira, a servant of God for the Catholic Church, was a very normal boy, mischievous as the boys of his generation, says the grandson who looks after us gently throughout Sicily at the premises of the "Foundation" Via Pascoli. The family did not era ricca… ed egli poté intraprendere una prestigiosa carriera grazie alle sue capacità e alle amicizie… Giorgio ebbe un ruolo importante in seno all’Assemblea costituente del 1946... perfino l’art 2 della nostra Costituzione è ispirato ai suoi principi, oltreché, naturalmente, ai diritti dell’uomo .

  Tappa fondamentale della sua vita, oltre la conversione, è la laurea in Giurisprudenza a Firenze, ove nel 1933 La Pira diventa ordinario di “Istituzioni di diritto romano”. Naturalmente bisogna anche ricordare his membership of the Christian Democrats as the exponent of the "Dossetti. Finally, his friendship with Amintore Fanfani (of which he was secretary), the historic horse race of the DC .

With Fascism has a great relationship, at least until the outbreak of war in this period is even opposed by the arrangements. Mussolini, however, and over the years (in 1965 for example), a non-Serb remember much negative. A "good Democrat" La Pira lived his two great loves (politics and Catholicism) with inspired harmony: "... the political commitment - that is a direct commitment to building a Christian society inspired in its laws, starting the economy - is a concern for humanity and holiness ...." He began his tenure as mayor of Florence in 1951 (it will be until '64). His vocation "popular" and its proximity to the suffering and the needy, put him into conflict with some colleagues, sometimes as in the case of the defense of workers of "Pinion" even manages to involve the government itself. Many people think of him is a "white community" one who acts with too much "zeal" in business ... the economy between unfavorable opinions about La Pira, Luigi Sturzo to (another Sicilian), which judges negatively statism of party colleague and that of Luigi Gedda who does not like some of the attempts at dialogue with the La Pira 'On the other hand the "red" in the sky political .

La Pira is that in an attempt to unite socially (unite people, beyond their differences and unite them with dialogue), divided politically. Sometimes the big combines and divides by the ingenuity ... (for some a false naivete) with which it wants to override "hierarchy" and established patterns and methods to pass on the cold war. In Florence gives rise to social initiatives and organizes international conferences for peace, traveling the world (even the "evil" they say that his greatest ambition is the Nobel Peace Prize), he went to Moscow and even in Vietnam. "La Pira was a frantic international activity," wrote Sergio Romano on Corriere della Sera, 24 January 2009, "sent letters to the men of state, full of exhortation and prophetic announcements ...." It stands as a willing protagonist of a "historic" interview (organized by the same wife Fanfani) with Gianna Preda editor del Borghese periodico tutt’altro che amico di Fanfani e della sua corrente .

  Per l’occasione, si lascia andare a critiche gentili ma “scorrette” verso gli americani e, al contrario, ad aperture “pericolose” verso i comunisti. Il risultato è scontato: le dimissioni di Fanfani da ministro degli esteri (anche perché nell’operazione è “coinvolta” la moglie, diplomaticamente menzionata come “un familiare”) .

How will it end? We are in the First Republic and the remoteness of the Fanfani ministerial power only lasts a few months ... The La Pira Pira or not, at the end of February '66 is back in the saddle toscanaccio .

La Pira died in '77 leaving correspondence, writings and thoughts later published. Since the mid-eighties, began talking about his beatification .

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love Picasso, Brigitte Bardot

Paris Montparnasse cemetery. Site of the largest in France, then the world. Take the first right avenue and you will find the grave of Jean-Paul Sartre and Simone de Beauvoir semi-abandoned, snubbed by the tourists, who look and pass on (we do not want to say it, but it's true). Spend where? Pass to whom? A Tristan Tzara Dada's dad? In Ionesco's father of the 'absurd'? A father of the poets Baudelaire delusional? Yes, maybe. But ... we are not sure ... Of one thing we are certain to visitors instead of Montparnasse, that turning to those places you will find many indefinable, unique, testimonies of affection on the grave of Serge Gainsbourg, star of the Paris asleep a few years ago. Stella cursed in love with a star style that was not beat, it was not casual, that was not fully rock or jazz and nothing else, but that was just her. Serge the Russian-jew escaped totalitarianism (born Lucien Ginsburg); man from the "cabbage head", to paraphrase the title of his famous album of 1976, the man who loved music, cigarettes, alcohol and poc 'else. And sometimes (not always) the life .

Twenty years have passed since the death of a character that seems invented: they like the bad, the ugly that takes a pen and paper, he began playing piano and composing unforgettable music, the bad, which behaves like a boor with women and men, young and old. The "dirty" that has happened. Gainsbourg is a novel of the twentieth century the transition between different epochs: the modesty a little intolerant tolerance 'modest, up to (almost) to the "anything goes" to an artist, as Casanova, the Venetian Gainsbourg has managed to offend the right time and with the right people. Who was engaged to Brigitte Bardot, it is said, much can be allowed. Even to report his instincts on live television to Whitney Houston. The brief scene between the drunkard and Serge has already embarrassed the Whitney in myth and in the decades to save of our century.

Gainsbourg Who was up to 2 March 1991, the day of death at just 63 years? It was a bold artist, an experimenter, a singer with a warm voice, very French and not American, author of dozens of songs, most of them unknown to the general public, enamored of decadent poets, Charles Trenet and Boris Vian. A man who loved women and sex, so much to write the song perfect for all types of couples, at least on Picasso (who seems to have inspired it): Je t'aime ... moi non plus . Queen of the tracks d'amour physique, the right song for those who "translated" into music the emotion of sex or (simply) the pleasure of love or phrases whispered intimacy. After Gainsbourg (and after groans, sighs and verses that would be unnecessary to translate), all compilers / composers of the songs would have a lean sexy figure ... Patience. To inspire, as well as the artist pour excellence of the twentieth century, including Brigitte Bardot, in a period (late '67), not among the best. Or so they say. The song - a gold mine for traders on Valentine's Day - is recorded by Gainsbourg with BB (released several years dopo, nel 1986, in questa versione) e con l’inglesina Jane Birkin, altra ex di Gainsbourg e mamma dell’attrice e cantante Charlotte Gainsbourg. Più volte censurato (non c’è bisogno di dire il perché), in Italia il brano è stato cantato da coppie a dir poco “improvvisate” e, in verità, non in cima ai sogni erotici dell’occidentale cosiddetto “medio”. Anche questa è una storia (un po’ miserella), che andrebbe raccontata nei dettagli …

  Chi è invece Gainsbourg a vent’anni death? It is the artist in honor of the late twentieth century. The man who played out the last part of himself, has conquered a good part of the audience, playing to the last of the Mohicans a world of hastily disappeared between transgressions and provocations and nights out. Today, inside the castle (apparently) that gold is the environment of chansonnier -style Gainsbourg is among the most imitated. Gestures, tics, exaggerated and that "something more" that made him unique .

There was or was he doing? In a few have understood. Gainsbourg was a man messy or really knew how to "manage" their own "look" to modern wild and natural fake? Sophisticated, disheveled, cigarette in mouth (Gitanes one hundred a day), jeans and white moccasins inevitable. Brash, ironically, with that arrogant way too explicit flag-waving in the breeze "Gainsbarre" (so called, in a "bad") was fully "in line" with the twentieth century artists hard, bold, courageous, sure to rise to leadership and model of youth. Aristocrat up almost to capacity, regardless of God, country and family (Four children by three different companies). A different way ( very different) her to scream to the world, " La France c'est moi! ".

twentieth century? The Twentieth Century by John Lennon, for example, that during the boom Beatles claimed that the Liverpool were now more famous than Jesus Christ, the twentieth century of the stars that never cease the habit of scene, or out of the cinema or theaters or, a fortiori, far from television studios or cameras. Celebrities are not hiding anything, that does not flinch even when they have to do it ... All false? We do not believe ... On 25 January, Stefano Montefiori the Corriere della Sera he wrote to commemorate the legend to Gainsbourg (almost) twenty years after the death: "The number 5 bis Rue de Verneuil, including antique shops and chic art galleries, the procession rock is never finished. It began when we lived with Serge Gainsbourg Jane Birkin, the height of success, and continues today, twenty years after his death, now that the white walls of the palace in the heart of Saint-Germain are completely covered with graffiti in memory of ' man with the head of cabbage ... Rue de Verneuil is the "Abbey Road " Paris: London taking pictures on the zebra crossing Beatles fans here, and tourists pay homage to the place where ... Gainsbourg died, but his myth. " Even its myth as a myth ... and Gainsbourg seems to be never belonged to this land. never born and never died (in spite of the grave), as a "guru" pop. Its weird - burn a bill of 500 francs for the sake of provocation - or his "performances" against consumerism (other than talk to Adriano Celentano!), Rather than the "taste" Gainsbourg seems to be daughters of one period of our age. Daughters of the proactive and "experimentation" figlie insomma delle correnti spirituali di una capricciosa “avanguardia” che si è servita degli uomini come semplici testimoni …

  Per ricordare in modo concreto, i vent’anni dalla scomparsa di un artista come Gainsbourg, anche pittore e uomo di cinema, non bastano quattro note e un filmatino di repertorio. Da tempo le librerie francesi sono piene di biografie di Gainsbarre e siccome i “cugini” sanno fare le cose in grande (la grandeur l’hanno inventata loro), hanno dedicato a Gainsbourg una mostra alla galleria “Charpentier” con ritratti d’autore, fra cui quelli di Helmut Newton. Anche la casa discografica “Universal” ha fatto la propria parte, pubblicando un cofanetto di 20 Cd e 250 canzoni di Gainsbourg, fra le quali alcune inedite o soltanto ripubblicate in versione inedita .

Perfino il cinema, infine, ha dedicato alla “testa di cavolo” un bel film di Joann Sfar, il cui titolo, Gainsbourg. Vie heroique , è già tutto un programma. Fra i protagonisti Laetitia Casta (nei panni di Brigitte Bardot), anche lei, anni dopo, mortalmente affascinata dall’«anima nera» del poeta Gainsbourg. C’era da crederci, non vi pare ?

Shelfield Stainless Steel Pocket Knives

Mark Iacona, booklet published by the liberalism Solfanelli (series "Knowledge") As we were

Il liberalismo, l'unica vera rivoluzione dei tempi moderni, spiegato in breve.

Una corrente politica e di pensiero che si pone, alla prova dei fatti, come punto di non-ritorno, una meta conquistata tappa dopo tappa: l'orizzonte di una liberazione del genere umano .

L'acquisizione del concetto nuovo di libertà presuppone l'abbandono lento ma categorico di qualsiasi vincolo comunitario e/o trascendente. Ma l'individuo soggetto pensante e libero attore, l'individuo in nome e per conto del quale il liberalismo si è battuto, non ha ancora vinto alcuna scommessa. Poteva farlo ?

Invitation Wording Pay For Their Own Meal

Red Ring of Death.

Sounds like a death metal band, and instead has led the friendly name given to the xbox 360 when there is an error in the console. Happened recently, and I give you advice do not waste time calling customer service Italian on Saturday, do not work -.-


(my xbox360, hope is still under warranty ..) What about

apart "that bad luck"?

Au \u200b\u200brevoir. (

Wishing Happy Journey Sms

A Catania di speciale c’è anche questo. Qui le stagioni non sono come le abbiamo imparate a scuola, non durano pochi mesi e non si susseguono con un ordine stabilito e regolato dai cicli della natura. No, a Catania può capitare che inverno e primavera durino degli anni e può anche capitare che la gente accolga l’evento con la tipica scrollata di spalle del siciliano rassegnato. «E chi cci putemu fari?». And so on, until you do not know what the phenomenon, a "new" that might give the scossettina to change everything, so all that remains always equal to itself ...

To tell the penultimate decade of "our" Catania (ie the nineties), we thought King Charles I, former student of the extreme right, in a book out recently (Spring of Catania, Enzo Bianco and Nello Musumeci and consensus between government , Bonanno, pp. 150, € 13.00), built on the figures of two administrators and political protagonists the decade 1993-2003, the decade of the "spring of Catania", namely the revival of the city, the desire to exit the tunnel of the 100 murder victims a year of ill repute, lace-wear and existential precariousness .

Enzo Bianco (former Republican mayor of Catania from '93 to '99, then Interior Minister D'Alema government) and Nello Musumeci (President province of Catania from 2003 to '94, former MEP and MSI doc stravotato), two young Sicilians different but basically so similar. The first is career with the La Malfa father and son, was elected mayor of Catania in disbelief, for the first time in '88, but just a little over a year to figure out what stuff is done. Already in the end of the decade, when Catania is an untranslatable lot of ill repute, thanks to him begins to breathe fresh air, clean. Catania I remember it a few years later, when thanks to the law for the direct election of the mayor to send him directly to rule over the town after a runoff with Claudio Fava, Goofy's son, killed by the Mafia .

  Musumeci, invece, è “allievo” di Enzo Trantino, monarchico, avvocato di fama e gran signore e di Vito Cusimano missino d’antica foggia. Ammira Almirante (in verità chi non ammira o ammirava Almirante a Catania?), ed è testardo e battagliero. Quando nel febbraio del ’94 vince al ballottaggio col docente centrista Mangiameli, anche la sinistra comincia a innamorarsi di lui .

  In realtà a quel tempo, a Catania, dire cosa è di destra o cosa di sinistra è un bel problema. È un esempio (in positivo) the end of ideology. What matters are the facts and "facts" of our two managers are specialists. Inaugurate a season of dialogue with the citizens as he had never seen before (want to put a gray bureaucrat Democrat, struggled with Italian running a guest on TV?), Like culture (yes, Catania had a culture with capital C, if you can), and enter into a period of collaboration between research institutions, universities, church, police forces and the freedom of association. In the nineties in Catania crimes decreased by a couple of zeros and companies discover new opportunities to highlight and export the "product" Etna. In 2000 Catania shows how our country growth model to the European Council in Lisbon. It is the victory of a "piece of the world" forgotten. There is optimism (especially among young people, who are given what basically seek opportunities to show off, and tools for planning the future). The results are these: the international center "Etna Valley" long-haul roads, work for the port, airport and subway .

The beauty of the city seem to flourish: with old and new buildings and theaters. Museums are born, si inaugurano mostre (nella storia quella dei “futuristi” e degli “aeropittori” al centro “Ciminiere”, già pietra dello scandalo della tangentopoli catanese). La città prende vita: d’estate con Franco Battiato, Vincenzo Spampinato e l’“Etna Jazz” e in qualunque periodo della stagione con la “movida” e i pub in stile irlandese .

Tutto bene dunque. Già… solo che il finale del libro di Lo Re è triste come una poesia di Emily Dickinson. Dopo l’uscita di scena dei due “mattatori” rimane ben poco, solo il ricordo di una stagione irripetibile. Una “primavera” lunga dieci primavere. Come solo a Catania può succedere .

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scandal to call Gide

André Gide è stato uno degli ultimi scrittori liberi e sinceri della vecchia Europa o, forse, dell’intero pianeta. Un uomo che perfino dopo la morte, avvenuta sessant’anni fa a Parigi, il 19 febbraio del 1951, continuò a essere disapprovato a causa delle scelte di vita e delle opinioni politiche. Quando però un artista riceve così tante critiche (ma anche tanti elogi, perché quattro anni prima di morire Gide ricevette il Nobel per la letteratura), difficilmente può essere considerato an ordinary man. For those not familiar point in our country lived and thought, only a man can be brought to the writer born in Paris in 1869: Pier Paolo Pasolini .

For a long time was considered less a perfectionist with no real depth, first at that depth and spirit that had characterized even the French literature his time. Approached also by Marcel Proust and Paul Valery, then the elite of transalpine letters, often, however, there was talk of him as a capricious landlord from the pen easy, convenient claims by a man (Had no children by his wife, but wishing it got from a friend's daughter), guilty of never having been committed for the literature part, together with policy, resolution "practice" of the evils of humanity. He was also criticized for its "vanishing" during the German occupation in World War II and especially his relationship with Communism .

encyclopedia In 1952, ironically as an adjective "modern" - and then published a year after the death of Gide - you law that the writer had "abnormal tendencies" (sic), many journalists and critics, forty years ago, but even now if we make the case, have difficulty expressing an opinion on the books of Paris, many of them autobiographical, Oscillating between the "trust" in Christian morality (and stiff tax) and the "trust" in freedom of action. And the difficulty is, of course, by his homosexuality. As it was, and is the PPP, the profile of the writer and conditions strongly conditioned the opinion on its influence. But even more homosexuality, which at the time was a big deal and that the writer hid up to a certain point in life, is the ambiguous relationship the Communists not to please the critics. Fast of Marxism, and enthusiastically joins Gide perfect naive to communism and its formulas "magic". During a trip to Congo and Chad, in the twenties, with his friend Marc Allegret, is struck by the harsh conditions of the colonized people, a passion for their condition, politics and ideas that promise freedom without any distinction. But then if they repent and - even worse - put him twice in writing to the end of a journey into the mysterious lands of the USSR in the thirties. How many "friends" of travel - but Gide is a bit 'more sincere - he realizes that the promises of communism in situations "real" are nothing but a gross lie. The dream of freedom that Westerners find in the East does not really exist. And in the Soviet republics homosexuals are treated like animals, worse than countries Puritans ... Obviously, the Quaranta when communism is about to triumph, someone manages to charge the "vice of freedom," a man who is honest Intellectual its flag.

They give him the "Fascist" (But he is not, in fact refused to cooperate with the Germans), a thesis "supported" by the fact that his detachment from politics after the war, it becomes final. For him, as for other intellectuals, is ready damnation, not to be one of many to quote Vittorini "piping for the revolution" and shrugged essersene officially rules of good conduct. " Yeah ... Great reader of Nietzsche, Schopenhauer, but also, an admirer of Dostoevsky, Camus forerunner of our point of reference for surrealists and existentialists, Gide is one example of a life outside limit of rules, rules that because of very strict education, received at home and in schools in Alsace, they become real straitjackets.

Thanks to his work first, then soak it for delivery to the author's own will ( The Notebooks of André Walter - 1891, translated by us for Bloomsbury Publishing), Gide approaches Maurice Barres and Stephane Mallarme, Oscar Wilde after he discovers and alerts the "danger" of his lifestyle. But of "deeds" and habits of the writer dandy, Gide also perceives with clarity a "charm" to which eventually can not say no. Just two years and in '93, with friend Paul Laurens, he left for North Africa and Italy in search of sexual adventure (narrated then it Immorality ). It is the first in a series of journeys applicants undertaken with his wife Madeleine. In followed in many rebuked him for being one of the "creators" of that 'habit "now known as" sex tourism ". Some like Paul Claudel and Francois Mauriac Nobel future after "convicted" is "simply" to pray for healing .

Even the critics, meanwhile, seems to have targeted despite some opinions on his work to be flattering (the narrow gate , 1909), Gide is not feel understood and can not stand the habit of critics to interpret too autobiographical characters in his books. The decades of the century, however, are the best, those in which Gide manages to give the best of himself. Birth of the prestigious journal Nouvelle Revue Francaise , public Underground Vatican, which for a wry touch, or do not like the Catholics or to atei e inizia a scrivere Corydon un saggio che affronta finalmente i pregiudizi sull’omosessualità ispirato ai dialoghi di Socrate. Il lavoro (una difesa a tratti molto nobile dell’omosessualità), forse oggi non fra i più noti, esce in modo completo e non anonimo solo nel 1924. Fra i suoi libri migliori: I falsari , l’opera che Gide considera il suo unico vero romanzo, e i fondamentali Se il seme non muore e Diario 1889-1939 (in Italia in tre volumi per Bompiani) .

Per comprendere quello che Gide ha dato alla letteratura occorre From a consideration, namely that his diary is essential to know the French culture of the time, and then of course also the reason given by the Academy of Sweden for the award of the Nobel: "To humanity el ' importance of his artistic work in which all human problems have been gutted with a deep sense of truth and a great psychological acuity . No need to say more at a distance of sixty years, if not a sincere invitation to open its books.