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Joe Sentieri - Le Mie Canzoni Vol.2


E siamo arrivati anche all'ultimo giorno di febbraio.
Questo mese, tradizionalmente sanremese, sul blog viene concluso con la seconda raccolta di canzoni di Joe Sentieri.
Raccolta che reca parecchi successi del Festival nell'interpretazione del cantante genovese.
Questa sera ci fa compagnia Orlando accompagnato come sempre dalle grafiche di Kurtigghiu.

L'assassino torna sempre sul luogo del delitto, ha detto qualcuno sulle pagine dei commenti. Due anni e mezzo dopo il primo volume, torna pertanto Joe Sentieri con una seconda raccolta del materiale da lui inciso per la CAR Juke Box. Riascoltando queste canzoni, per prima cosa mi viene in mente che è riduttivo ricordarlo solo as the singer of the hop. " Joe Trail was first a beautiful voice, with an unmistakable stamp of vibrato and a much more natural than, for example, Tony Dallara, just to cite a colleague who was often compared because of the common definition of a "screamer."

The comments on the first volume, we discussed why many of the voices of that generation did not survive the after-beat. Of course, everyone will say, it was a style become outdated and Celentano, then, O Little Tony, or Mina, or Johnny Dorelli? These are a few exceptions: at the bottom of the vast majority of people who had said at the beginning of the sixty is suddenly meet the most depressing anonymity within the next two or three years.

In those years of intense exploitation of the media-45s, one of the key factors in the success of an artist was to be able to "guess" the right pieces at the right time by meeting the tastes of an audience as large possible. In other words, to survive the artist should know how to build their own repertoire, with songs that "only he" could sing, and that the public should be able to identify only with one voice. This is what happened to Mina, who has had over the years the opportunity to create a songbook quite unique, as it happened to Celentano, for the charisma that, for better or for worse, has characterized his character. Singers such as Cocky Mazzetti, or Remo Germani, I cite two names at random, 1:00 to 2:00 had great success but a repertoire of a number of pieces mediocre or uninteresting. This is perhaps one of the reasons why the public soon forgot them. Even Joe

trails maybe it went like this: It's after midnight and When evening comes, the singer was in need of confirmation, the repertoire was enriched, but perhaps the only piece in the collective memory to be left in addition to two already mentioned is one of many , song of the great impact the arrangement anticipates the soundtrack "For a Fistful of Dollars , even se Morricone ha dichiarato di sentirsi più debitore di Dimitri Tiomkin e del suo Deguello , pezzo al quale lo stesso Sergio Leone lo obbligò ad "ispirarsi".

Bolle in pentola anche un terzo volume di Joe Sentieri?
Proprio non so, per informazioni rivolgersi al Vampiro in persona.

Grazie per l'attenzione e buona settimana

Orlando

LE MIE CANZONI
01 E' Vero (Nisa-Bindi)(1960)
02 Nun M'Aspetta Dimane (A.Testa-Birga)(1959)
03 Prima Di Te (G.Calabrese-Levinson)(1960)
04 Blu Blu (Green Green)(G.Calabrese-McGuire-Sparks)(1964)
05 Grey Sky (Testoni-Birga)(1959)
06 Piove (Verde-Modugno)(1959)
07 La Luna E' Un'Altra Luna(Biri-Testa-DE Giusti-Rossi)(1959)
08 Uno Dei Tanti (Mogol-Donida)(1961)
09 It's Only Make Believe (Twitty-Nance)(1959)
10 Quella Sera (Ce Soir)(Panzeri-Giraud)(1960)
11 Geppyna (Mengeri)(1960)
12 Buona Notte Roma (Zapponi-Romeo)(1960)
13 Quando Ci Si Vuol Bene (Come Noi)(G.Calabrese-Isola-Zambrini)(1963)
14 Oggi Ho Rivisto Te (G.Calabrese-Reverberi)(1960)
15 Romantica (Verde-Rascel)(1960)

Cat Fountain Do I Have To Replace Filter

unforgivable sin. Medusa's gaze of consciousness.

Antonello Venditti, Portrait of Medusa

Jean Valjean, the protagonist of memorable Les Miserables, made a small theft, a form of bread to feed their grandchildren, orphaned by her father. Despite the noble motivation paid with 5 years' imprisonment (multiplied by the escape attempts): an emblematic case of disproportion between the amount of crime and punishment. Dante in the role of man of the law or a judge would have done better with his law of retaliation, targeted precisely to determine the right and measured correspondence between sin and expiation.
on the concepts of "crime" and "penalty", which is essential in legal science that inspires any sort, will reflect the Italian Cesare Beccaria, the grandfather lit by Alessandro Manzoni, who in turn represent poetically all the ambiguities and contradictions of "positive justice ne The Betrothed and History infamous column.
Meanwhile, with regard to a different level of justice (that concerns the conscience of individuals and not the position of citizens before the law), the momentous changes taking place will gradually thinning towards the concept of sin, refused to as much of morbidly persecution that had accumulated there over the millennia. This character more than anything else connected to the idea or the feeling of shame that dates back centuries and is rooted in tribalism and blood ties: the contexts in which sin is a tare, is generated by the infringement of a taboo and contaminates like a stain.
horror of sin and the consequent need for purification, the clergy of every time he used to control the minds and men, true, but this is not the most significant aspect, namely that the system has kept alive Ethics based on the idea of \u200b\u200bsin. A system that has worked for millennia. In addition to anxiety purification, connect to the idea of \u200b\u200bsin, deliverance from evil, obtainable via the compimeto of ritual acts in the society of the myth, and the idea of \u200b\u200bforgiveness, typical of the 'Christian era.
sin, and that the offense, is recognized as such by the collective conscience, objectivity has to Its so reassuring because it is measurable and therefore punishable can be expiated: that is available to re-enter the circle in which disruption of the (sin or crime) and bitter allow repairs to restore the law that prevails in the right things. Even in this society of myth: Oedipus ends up badly because of 'infringement of the primordial incest taboo, and yet his misfortune was a unanimous recognition that lifts it from the crushing weight of guilt individual place within the framework of the collective. Becoming universal emblem of human guilt, Oedipus is rehabilitated in the eyes of history and the world. be a coincidence that many death row inmates in times of popular culture still impregante performs on the scaffold a few moments before being executed in proposing an effective and even tasty as models to imitate not, berating those present, especially children because they do not give way to the vices and rimassero in the path of virtue?

But it is only with the advent of companies lose that man is the way of final spiritual liberation from sin. It is not just to restore a measure of estipare but sin with forgiveness. An act of forgiveness, love and renewal done countless times ("seventy times seven"), because we are human beings and we need constant confirmation.
true that this new way of thinking about sin (not final and forgivable) has led to businesses unclean (such as the sale of indulgences) and the ridiculous computisteria establishing for all sin, grave or venial, the measure of punishment Correspondent, for example in terms of years months days to spend in Purgatory.
However, the knowledge that they can obtain forgiveness for sins committed on the basis of "only" genuine repentance, enough to illuminate an entire life. And this is the message of many novels of Dostoevsky, Victor Hugo, Manzoni, to name only a few. of forgiveness is perhaps the greatest revolution of all time.
There are risks, of course. Insisting on the authenticity of repentance in the first place (the only prerequisite ottenre for forgiveness), Christianity insists on something which in itself is not measurable because it has to do with the interior. Only its manifestations, and its acts (which may deceive) can be judged objectively. It is not easy even for the sinner to be sure of the purity of his repentance: what we consider that it is sometimes only shame of his own weaknesses (perhaps irreconcilable with a new self-image) and so all in all a form of pride. The so-called sinner could ever have suspected that the forms with which it is trying to atone not outweigh the gravity of the sin of being too entrusted to his "feeling" (subjective). This is a stronger and more ominous possibility in Protestant Christianity, where the rejection of the sacramental character of the confession of sin and delegates responsibility for its interpretation to the only sinner.
The risk is short, that the sense of sin turns into guilt. Ambiguous , pervasive and so vague as to be elusive so slippery, unreliable. This would explain the success of psychoanalysis, which often makes use of the pressure of the discomfort caused by guilt and a desire for absolution. Task which usually takes place in contextualizing the blame so that it is justifiable. And once again tying the men through the fault, as in the societies of pre-Christian myth or (having tried to rid Christianity of guilt dall'atavicità through baptism). If Gianni hurts women because of affective disorders forwarded to him by his mother, the latter in turn can tell right of them acquired from his mother, and so on ad infinitum. Thus, unlike sin, guilt is forgiven but is justified (historicizing it and inserting it in a chain of relationships causalistic). It is justified as denying guilt (ie, presenting it as the necessary result of a series of facts), which ends up making unjust, unable to recognize our responsibilities. Later (after the first raised when we see it is the fault of another) that will make us feel guilty intimanente and perhaps unconsciously, since the roots of our moral conscience suffer from having to tolerate a "cheater." Psychoanalysis risk in this to make us jump back a few thousand years to heal from the despair of guilt forgiven offers us something that is very close to Tara: the ineluctable necessity, the result not of the will of the gods but of insufficient parental figures and even "calibrated" to "lesser gods" in short. As if the free and personal character of spiritual life and the choices it had never been revealed.
Over the past sixty years have witnessed the attempt to dissolve even the concept of guilt (as has already been made to sin) in the name of freedom of desire. Apart from the social and political, it is clear that if the concept of guilt can be ideologically denied with relative ease, no guilt. Why not sink in ideology but in feeling and behavior. Apparently the man is not only rational but also moral being and consciousness of good and evil can not be "liberated." If anything, the guilt is removed, and without falling back into the shady areas of consciousness, where, however, works by taking all elements of chthonic deities and being so out of control, greedy and powerful. For the most naive souls
and fewer defenses (other that they fall asleep under the bark of moral relativism and cynicism) the pressure can become intolerable. The impossibility of forgiveness and atone for mistakes to correct, every little drop makes it unacceptable, because they lived as an indelible stain. Therefore we claim for themselves and their own existence, the absolute perfection. People live with anxiety every little mistake. There is little frightening storm, with results that in extreme cases can be tragic. Why, in front of the spot and in the absence of a culture of forgiveness (which presupposes that of sin), the temptation to destroy everything, tearing the paper on which he was writing and ruined by a drop of ink, can be great. Not be able to destroy and destroy accept imperfect. Disfigured.
few days ago I read about a boy who, after provoking a simple buffer with no dead or wounded, disappeared. Only a tragic sms to a friend, as if the accident had caused irreparable damage to those that make it impossible to resume the normal course of life. I wondered if this guy is not one of those troubled souls who by themselves do not accept mistakes. He decided to tear the paper if the design is not perfect.
If we no longer know what sin, what sin and error thing. If you do not admit that the road to perfection is that of humility in which we show to be poor sinners whose hope is in the forgiveness (of the message to me important Legend of the Holy Drinker J. Roth) is the risk of becoming intolerant to their mistakes and not being able to more objectively assess the extent of a fault or of an offense. Even a slight then handed to the court of conscience, perhaps scupolosa too, can take on a disproportionate significance and push to forms of punishment or self-punishment appalling and unjustified.
say "unjustified", but in the eyes of whom? The eyes that evaluate the relationship between guilt and punishment provide the yardstick, but if the meter was rejected ... if you accept only the conventionally crime (and not to blame), and then for reasons of public policy, that is pure convenience ... Well, then there are the eyes of our consciousness. It does not mean that they are more compassionate than the judge who sentenced her to five years for a little bread, the famous Jean Valjean. Compared to a similar court turns out to be more cruel than those who live in the soul of Pink imploded, the protagonist of The Wall (album and then film of Pink Floyd) and a symbol of humanity sucked into a crazy spiral of subjectivism. Humanity naked in front of Medusa.

Netopia Ter Gusb2-n Free Driver

MANUAL OF LOVE 3 by Giovanni Veronesi

Manual of Love 3

DIRECTOR: Giovanni Veronesi

ACTORS:

Robert De Niro

Carlo Verdone,

Riccardo Scamarcio

Monica Bellucci

Michele Placido

Laura Chiatti

Donatella Finocchiaro

Valeria Solarino

Emanuele furthers

Carlo Monni

GENRE: Comedy

LENGTH: 100 min

First episode. Bella Scamarcio with the opening scene (in the movie Robert Thomas, a lawyer rampant) that makes a proposal of marriage to Valeria Solarino (Sara in the movie)! Nice to see Castiglione della Pescaia (my favorite place in the summer) to the cinema!

the Fort toscanaccio Carlo Monni! which always seems the same time by Benigni and Troisi. Excellent conversation in a bar in the center of Castiglione della Pescaia in pure toscanaccio! a bunch of crazy people halfway between the bulls of "Friends" and the geek films Pieraccioni.

And so begins Manual of Love 3, a lawyer who is sent rampant in Castiglione della Pescaia to evict a family of farmers (as Mona) and instead to evict will love the crazy Micol (Laura Chiatti) and of the gang at the bar because he still evoke the life that is going to morirgli inside and he still wants to enjoy instead. Veronesi

transmits serenity in this film, especially in this first episode (maybe for the effect of beautiful music by Morgan), serenity and pleasure. Rarely happen to be at the cinema so relaxed.

phrases for effect, such as: I'm afraid to go home ... but that is not one that fits his whole life on the road ... (fear that married life is closed). Trivial but insightful.

Second episode with Verdone. It is always Verdone Verdone: obnoxious, weight, irritating, incompetent and faithless forever - in short, the same role, and even changes with Veronesi Veronesi although when it is better than his movies because at least here really makes me laugh.

Third episode or the Miracle: Bellucci that has learned to speak, that is, act! (Well ... so to speak). Veronesi effect or effect with which De Niro play? About De Niro: De Niro's a really funny but also tender, as I had ever seen.

Conclusion: An enjoyable film, funny (entertaining ) and not boring at all. Go see it, I highly recommend it. Especially if you are depressed. Depression will pass, if only for 100 minutes.

Three and a half stars.

Restoring Chrome Kitchen Set

AA.VV - Le Canzoni Di Febbraio 1976


1975-1976: la classifica dei 45 giri è da qualche tempo molto eterogenea: ci puoi trovare il brano "liscio" alla Casadei come il funky Ike and Tina Turner.
Nothing is impossible at this time quite unusual in the history of Italian music. Abnormal why? Why the defeat of the Sanremo Festival and the end of the competitions Rai (Disc One for the summer and Canzonissima) lead to a fall style "Roman Empire" unprecedented.
In the sense that singers deemed "TV" (Orietta Berti, Massimo Ranieri, Rosanna Fratello, Gianni Nazzaro, etc..) Disappeared from the record charts.
Ranking, which - to be honest - have arrived only in the case of some event or tournament singing attended.
After the heyday of progressive even in the charts are starting to talk about a thirty-three some obsolete language in Italy: that of dancing, which until '73-'74, they were considered places where you went to dance and pick up.
Since 1975 the club also change the face and customers. So much so that the disks that once would have remained inside the ballrooms of yarn to be ranked as happens in the U.S.. And then Barry White, Donna Summer, Silver Convention, KC & The Sunshine Band, Gloria Gaynor Trammps and more artists are not "one shot" or "singlet" to dance in the summer
Also new is the tendency for the songs children, usually combined with a TV code. They sell like hot cakes and characters as "serious and upright" he began to produce reasons for to an audience of children.
Some do it with ease, and others with educational purposes, such as Toby Lightman, who manages to be intelligent even talking about turtles that are crazy in the woods of lettuce and dachshunds investigators.
The marks are still a TV bonanza for performers and writers, when he guessed that one in particular, make havoc across Europe.
SANDOKAN is one of those.
Modugno on one of his many "second youth", launches the picture story-song: after arriving CRIES THE PHONE THE MASTER VIOLIN.
If he had to sing - I know - Tony Del Monaco, was taken to tomatoes in the face ... but it is always Modugno Modugno, even when it comes down to levels from home popular. Another symbol is
RANGE leading in the standings a serious professional who is not very practical top ten: Enrico Simonetti. There is also the factor G, in this exploit.
G is for Green Goblin, the group of his son Claudio, who between October and January was constantly clinging to the first and second positions of the rankings at 45 and 33 laps. The long wave has also led then Dad hit parade.
There are two ladies of the Italian song: Mina and Ornella Vanoni.
Mina, after the important e 'END, makes us feel (from the album LA MINA) UAPPA, a very nice song written by Luigi Albertelli, Enrico Riccardi, that the blog has already celebrated in English and in the instrumental .
Ornella Vanoni, dopo FILI (FEELINGS) e NON SAI FARE L'AMORE punta tutto sulla title track dell'album UOMO MIO BAMBINO MIO e su CANTA CANTA, versione italiana del successo eclatante (in Brasile e in Francia) di Martinho Da Vila e la sua CANTA CANTA MINHA GENTE.
E concludiamo parlando di sei gruppi nuovissimi o seminuovi per le classifiche:
i Matia Bazar, che dopo STASERA CHE SERA, per l'inverno '75-'76 rilanciano alla grande con PER UN'ORA D'AMORE, miscelando sapientemente la melodia italiana alle sonorità latino-americane.
Il Giardino Dei Semplici, reduci dal successo di fine estate M'INNAMORAI. Questo gruppo, vocalmente molto bravo, usa una tecnica nuova ed antica nel contempo: la voce leader duetta with the chorus that repeats in succession a few highlights of the song and the orchestration - usually classic - lingering effects on modern conveniences such as electric guitar that suddenly appear when you least expect to. In TU CA NUN CHIAGNE this dynamic between the components is the most characteristic feature and the track becomes essential function of literary expression. The
BEANS products by Gianni Bella, existed for some time but had never seen up close the list of the best sellers. Like Rain, a song of 1918, brings them to the summit. The Schola Cantorum with
The three bells after a year and a half of hard work and an album especially appreciated by the critics, become popular. Do not forget that the song is a song 1946, originally played by Les Compagnons de la Chanson.
What is very funny that there's three new complexes in the standings with three very old songs (TU CA NUN CHIAGNE are as high as 1915). The holy
California (of which I have often said plague and horns) this time showed a pretty good piece. AN ANGEL has an accompanying triplets that looks a lot like the opening of the first movement of the sonata of Beethoven MOONLIGHT.
destraggiarsi They are very adept at singing, counterpoint and chorus without interference except when you need it (the soloist at times is absorbed by the crown and other dialogues with it).
Complex young (age range from seventeen to twenty-one) is to La Bottega dell'Arte, self-sufficient group that writes his own songs, usually in pencil sketches of situations or teenage first love. Never vulgar, very romantic. Maybe they use a language from comic to thirteen, but they are always very delicate.
As is often repeated in these columns at that time, the period of music that ranges from 1975 to 1980 was seen by experts as the decline of total and big names.
Now the impression - as we have seen several times - it's totally different.

A special thanks to Guido HPI for having made available the number of Music & Discs Kurtigghiu inherent in February 1976 and for his unparalleled collaboration.

the successes of 01 February 1976
Mina - Uappa (Albertelli-Riccardi)
02 Domenico Modugno - The Master of Violin (Modugno-Caruso)
03 Oliver Onions - Sandokan (Guido & Maurizio De Angelis) 04 Bruno
Lauzi - La Tartaruga (B.Lauzi-Caruso)
05 Louis Armstrong - Tu Ca Nun Chiagne (Bovio-Di Capua) 06
Beans - how it rains! (A. Gill)
07 Abba - SOS (B.Andersson-S.Andersson-B.Ulvaeus)
08 Vanoni, Ornella - Sing Sing (g.calabrese M.Da-Vila) (Sing C
09 Matia Bazar - For An hour Love (Star-Marrale-Cassano)
10 KC & The Sunshine Band - That's The Way (I Like It) (Wayne-Casey-Finch)
11 Silver Convention - Fly, Robin, Fly (Levay-Prager)
12 Enrico Simonetti - Gamma (E. Simon)
Schola Cantorum 13 - The Three Bells (Villard-Beretta-Albula)
14 I Santo California - An Angel (Polizzi-Natili)
15 La Bottega Dell'Arte - How Two Kids (P.Calabrese-M.Calabrese)
16 Antonello Venditti - Compagno Di Scuola (A. Venditti)
17 The Grizzly Bear - Clown (Paulo Morelli)
18 Juli & Julie - A Love Story (Eliop-Polizzy-Natili-Ramoino)

Need To Reformat And Want To Keep Office

Tales of the Earth for children. So a civilization dies

image here

THE SNAIL ALDINI
Roberta Borsani

It 's a fine day in April. The wild apple trees are all in bloom. The snail Aldina decided to leave the clump of wild chicory, where he lived so far. He wants to know the Great Lawn, a beautiful place, vast and full of sun, which they were spoken. The house, you know, the Aldine always brings with it. Not likely to remain wet in the rain.
Aldina is very nice to everyone. Say hello to the ant, moles, the blackbird, the daisy, even nettles.
"How are you?" Polite request "can I help you?".
If someone asks a young leaf, a root, a droplet of water, while Aldina is done in four of make him have. And they all love her.

It 's almost sunset, and Aldine is go crawling next to a tiny house, looks like a sand-colored eggs and the size of a fingernail. Looking out the window there is a butterfly at night, crying.
"Why are you crying?" Asks Aldine.
"I wanted so much tonight," answered the other between sighiozzi "going to a concert by Pierre, the French cricket"
"Well, why do not we go?"
"I can not play to the clump of Periwinkle, is so far for me. " Then, wiping his eyes with his wings, he continues, "You know, I am so young ... I do not know the Great Lawn. In the dark of night I find the way back ... Alas "and again burst into tears" Pierre is expected tomorrow in the Riviera. There will be another chance "
" I also like the music, "answered the Snail in a dreamy voice," We're going to be afraid insieme.Non "
The two beasts they travel. After less than an hour are already friends.
The butterfly said to be out of the cocoon only six days: "My name is Fanny," said "before I was a caterpillar"
Aldina strip while leaving a ribbon of drool on the streets of silver.
"Shine magically under the pale moonlight, tonight, "said his companion that flutters beside" It will be easy to find your way back. "

The concert was very exciting. Aldine Amica are two young romantic with a great desire to dream. And Pierre's voice is so delicate! Nobody can sing like him. Even the cicadas are listening enraptured.
Zolla of the Periwinkle are all creatures of Prato. Aldine keep them amazed. Some had never seen: they have such strange shapes! There is an insect, for example, the blue body long and thin, transparent wings that vibrate with the fast and enormous eyes.
"It 's a dragonfly" Fanny says.
What a great idea to leave the clump of chicory and drive away, the world is just magnificent. Aldine feel happy.

E 'night. The cricket French, received the applause is gone. Each creature of the Great Lawn is wrapped in sleep. The two companions set off across on the way back. Below the silver ribbon Aldina left on the road.
"It 's nice to be a snail," a mysterious voice whispers in the meantime, all satisfied. It 's the voice of the heart of Aldine.

Pinewood Star Wars Design

AA.VV - Alta Pressione (1962)


It returns to normal after a week to talk about Sanremo.
The beauty is that I have not even talked about having seen me!
Before leaving for Orlando to entertain us on HIGH PRESSURE (in TV and hard) I would ask you to go read the last comment on the previous post where resumed Tortlo that a written head Mario Monster Fegiz Luzzatto. Apart
so bad that one should not even go out in the morning from home if not before covered with cloths of all the mirrors in the neighborhood, but the trouble is that for some historical misunderstanding is considered an expert on music.
Perhaps because 42 years ago was the columnist-set a special for you?
ugly and stupid then, and unwatchable ass today.
If I were the director of his newspaper kicks him in the ass making me give back all salaries over the past 40 years. Plus interest.
But probably the director of his newspaper will be more ass than he.
Ah ... the wife of Alberto Testa died in 1980, not 1966.

This post was to be published last week, but the vampire who wanted to speak of Sanremo, so I was off topic. A link could be: Gianni Morandi, after almost fifty years is present in this record that on the stage of the Ariston. But it was a link a bit 'pulled the hair, so I waited until the five days and I moved to this evening.

Although short-lived and despite having been relegated to the second channel baby, High Pressure had a strong impact on the style of the time and influenced the very way of doing entertainment television. Before then, the so-called variety was anchored in patterns inherited from the revue theater, which alternated between the number of fantasy to the ballet, the gag comic musical attraction, with the end of the main dish (usually represented by the International vedette or our local) and the final parade. All with the rigid division between stage and audience, between fiction and reality.

Enzo Trapani, forte della possibilità di sperimentare nuovi linguaggi in un canale nato da meno di un anno e visibile da una minoranza di spettatori, volle rompere questa invisibile barriera tra spettatori e spettacolo e piazzò in uno studio televisivo una quarantina di teen agers (tutti puliti ed educati, per carità, giacca e cravatta e neanche una sedia fuori posto pur in un'aria di apparente disinvoltura) insieme all'indimenticata Renata Mauro per animare una trasmissione dedicata ai gusti del pubblico giovane. I protagonisti erano gli stessi delle classifiche discografiche del momento: fuori quindi i vari Achille Togliani, Nilla Pizzi, Claudio Villa, Carla Boni eccetera; il nuovo era rappresentato da Adriano Celentano, Domenico Modugno, Mina, Peppino Di Capri. Alongside these established artists were already in the Hit Parade, new characters were proposed as Johnny Halliday, Edoardo Vianello , Geronimo (presented by the same Mina), Rosy , the seventeen year old Gianni Morandi in a sequence taken replicatissima from the cradle to the even younger Rita Pavone.

From this sort of anti-Canzonissima, which aired in the fall of 1962, RCA obtained a compilation where do the lion's share just the last two people mentioned, Rita Pavone and Gianni Morandi, with two tracks each. The record of Via Tiburtina lot on the two points, although newcomers. And rightly so, given the distinguished career of both.

After winning a couple of local competitions for new entries in November 1961 John was presented in Rome for an audition with Franco Migliaccio. The audition did not go well and the boy had returned disappointed and resigned to make evenings in the dance halls in Emilia for a few thousand lire. You all know the story told by the same Migliacci, who a few months after recovering accidentally tape recorded by Gianni Morandi and he decides to record a piece sent to him by Tony Doris, a strange character, a miner who emigrated to France and amateur musician. The piece was a hundred miles an hour I went , which Migliacci would not sign the text with his real name for fear di un fiasco. D'altronde era sempre l'autore di successi internazionali come Nel blu dipinto di blu e Tintarella di luna e non poteva permettersi errori...

Il 16 aprile 1962 Gianni viene finalmente convocato a Roma e incide la canzone, proprio all'indomani di una vittoria a Bellaria nell'ennesimo concorso per voci nuove. Per lanciarlo, la RCA tuttavia aspetta l'autunno e la trasmissione adatta. Il disco vende poco, ottantamila copie (oggi sarebbe disco d'oro con quella stessa cifra, o di platino, non so); un po' meglio fa il successivo Go kart twist , che viene inserito nella colonna sonora di "Diciottenni al sole" ed entra, anche se per sole due settimane, in classifica. The text of this passage, incidentally, is signed by a stranger. But Pilantra is the pseudonym of another famous person, Luciano Salce. The real success will come however with the third 45, the famous not Tell Mama, released a few months later.

Rita Pavone is present in this collection with both sides of his sensational debut. the game of football know it all ; of Love Twist, which I always preferred the two, the liner notes of the disc indicate the young age (fifteen years) of the author, Angelo Bovenzi, revealed at the Feast Ariccia strangers and immediately disappeared again anonymous.

A third character, Roby Ferrante, who was also present with two songs in this LP, was linked to the other two promising author Rita Pavone ( At my age) and then a successful songwriter ( Whenever paired with Paul Anka in Sanremo 1964), double with the same Gianni Morandi choruses of "collars" in Rita Pavone, such as in television and carousels Algida. Unfortunately, Roby died at the age of 24 in a car accident, returning from an evening spent at the Bussola in Viareggio with some friends.

conclude a final plea, pointing out that, although part of a drive to "high pressure", dates back to 1926: a forgotten standard, Dinah , celebre ai tempi del dixieland ed eseguita da Duke Ellington, Louis Armstrong, Django Reinhadt e altri grandi del jazz. Qui i dissacratori Flippers la trasformano in un cha-cha tutto da ballare, ma pochi anni prima era stata ripresa da Ricky Nelson in una versione confidenziale, jazzata, la versione che io preferisco.

A presto

Orlando

ALTA PRESSIONE (1962)
01 Rita Pavone - La Partita Di Pallone (Rossi-Vianello)
02 Edoardo Vianello -Guarda Come Dondolo (Rossi-Vianello)
03 Gianni Morandi - Andavo A Cento All'Ora (Camucia-Dori)
04 I Quattro Di Lucca - The Madison (A.Brown)
05 Roby Ferrante - A Woman Like You (Rossi-Robifer)
06 Rosy - Minuet twist (Ross-Polito)
07 The Latins - What Your Red Dress (Mogol-Marcellos Rigual)
08 Gianni Morandi - Go Kart Twist (Pilantra-Morricone) 09
Rita Pavone - Amore Twist (Bovenzi) Roby Ferrante
10 - The Ship Talpa (Rossi-Robifer) 11 Gianni
Meccia & Jimmy Fontana - Liar (Mecca-Fontana)
12 The Metaphysical - Psicotwist (Bonicatti-Latessa)
13 I Quattro Di Lucca - Be-Bop-A-Lula (Davis-Vincent) 14
The Flippers - Dinah (Young-Lewis-AKST)

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THE FATHER AND THE Ricky Tognazzi



Il padre e lo straniero

REGIA: Ricky Tognazzi

ATTORI:

Alessandro Gassman

Amr W aked

Ksenia Rappoport

Leo Gullotta

Nadine Labaki .

GENRE: Drama

LENGTH: 110 min

Diego (Alessandro Gassman) e Walid ( Amr W aked ), l’amicizia fra due uomini e una confusa storia di terrorismo (?) internazionale. Questo è il succo del film.

I due uomini si incontrano, a Roma, in un istituto per bambini minorati. Tutt’ e due i padri hanno un figlio minorato. Sembra un incontro banale e piuttosto scocciante per Diego, che non ama suo figlio, Giacomo, o almeno non lo ama come lo ama la moglie, con la quale a causa di questo ha ormai rapporti difficili.

Walid invece ama suo figlio come una madre e più di una madre. E insegnerà Diego to love his son James in an extraordinary way.

Their friendship is between two men males. E 'friendship mainly dominated by the charm of Walid, the stranger. And 'one who comes from Syria and that speaks sententious. It has a mysterious charm and sometimes sinister. The charm of 'Arab treacherous, though always polite.

Diego'll be enchanted and follows him everywhere. For a Rome that appears in Damascus and turned up in Damascus on board a military plane that seems to belong to the rich Walid.

Walid sometimes takes the figure of the preacher (but announcer what? peace is lacking in Diego with his partner? or his inability to love his son, James?). Sometimes, however, Walid looks like a fallen Lucifer, in a plot of international intelligence services (very bad part of this film) which seems to have taken advantage of the friendship Diego for its terrorist plots.

Sometimes the film will act as an introduction to the beauty of the East (Arabic) as if the only way of salvation for civilization and chaotic neurotic Italian.

It 's a movie that surely reflects the influence of Ferzan Ozpetek (Il bagno turco – Hamam/La finestra di fronte), molto manierato, con ripetute ed insistite oleografie e con un mistero (alla “Finestra di fronte”) che alla fine non porta da nessuna parte.

Ancora una volta la preoccupazione dello stile supera quella della narrazione. Non si riesce a fare narrazione senza gli scrupoli del bello stile (fin troppo ricercato).

Si ritorna di nuovo alla radice del problema: il cinema italiano si rende conto di essere indietro rispetto al cinema internazionale e cerca allora di fare un cinema mainstream ma con all the goodwill and good ideas (and this film has good ideas) can not make a good product.

[I would hazard a guess: my feeling is that the producer / director or film does not have a cultural background that will take him far beyond the average or not there is wisdom and cunning of research (marketing) produced a film on how to go mainstream or all 'and two]

The finish is pretty trivial and thus contradicts the law of Charlie Kaufman (a save a great final film).

However, as my friend Matteo Patrone says, "is a step in the room." And if it has any merit Tognazzi's film is to believe in the dialectic between East and West. An urgency that has become more urgent than ever now, with the recent riots in Arab countries, by young people who ask for bread, work, dignity, justice and respect for human life and no longer want to tyranny and exploitation.

Three stars.

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Commento Finale /Roberto Vecchioni - La Pioggia E Il Parco (1968)

Consistency has never been the highlight of the existence of Roberto Vecchioni. Drawn from the world of intellectuals (those that count, not the bohemiennes!), If he had other studies probably would have been a completely different artist.
out of the system, as it was once actually had his feet firmly planted on the executive's show into gear.
sgioccioli high school teacher already in the sixties, was divided between songs and academic lessons.
write for all ("Flack you write, write songs, write more and more they're good and do the Danè) Morlok by Giuliano and Nocturnes, by Daliah Lavi
the Son of the Wind. He wrote to Ross (HO PERSO IL CONTO) e se pensava di aver dato le classiche "perle ai porci", senza nessuna etica professionale se la riprendeva facendola diventare LUCI A SAN SIRO. Scriveva per Leonardo e procedeva con la stessa logica. Cosicchè GIRAMONDO diventava I PAZZI SONO FUORI.
Se qualcuno gli diceva " ma Roberto, parli parli però anche tu vai al Disco Per L'Estate con canzoncine scacciapensieri come quelle della Berti ".
Lui rispondeva " sì, ma le mie hanno una morale ed un'altra chiave di lettura ".
E se gli si replicava " ma guarda che se DONNA FELICITA' ha una differente chiave di lettura, anche VIA DEI CICLAMINI ce l'ha !" lui rispondeva " ma io sono un professore. And left. Daniele Pace who is ?. "Ah, here ... right, I forgot ...
Yesterday" and Rubert "won Sanremo. A 71. If I had said - I know - in '77, he took his party crazy. I think took away the palm of victory to those of San Remo and San Remo has fields: Albano.
Albano was never invited to the Club Tenco Vecchioni. yet comes from the people, born of poor people, the deep south . But there are people, and people.
Albano is the one where does not have the right "dress code" and probably the ballot is not suited to certain environments.
Albano What is a people that smell of sweat and labor. The Club Tenco was the carpet: You do not want to become soiled le zolle di terra sotto la suola degli scarponi da contadino!
Dal Club Tenco all'Ariston cosa cambia? Niente. E' anche lo stesso palco.
Ma vuoi mettere quello scintillante e glamour di febbraio con quello sfigatissimo di ottobre/novembre? Oh, il nostro non se n'è perso uno, dal '74 in poi!!
...e intanto scriveva per gli Homo Sapiens!
Vuoi mettere l'ebbrezza del televoto che ti fa sentire tanto in un reality con le tristi giurie del Tenco? Giornalisti con la barba grigia e lo sguardo spento e giurate che hanno tutte la stessa faccia, da ex femminista repressa ed invecchiata in solitudine ed in fregola (alla Camusso, per intenderci).
Caro Professore, da che parte stai? Da quella di Emma (ennesimo pupazzo incolore uscita dai programmi della de Filippi) o da quella di Francesco Guccini e Lella "sfiga" Costa? Faccelo sapere , tra un'espressione sdegnata e l'altra, tra una firma su un manifesto a favore di un qualsiasi Mbudu 'Ngwedi del Gabon e una cena con i quadri dirigenziali del Pd. Intanto mi piace ricordarti con questo tuo primo singolo datato 1968. E poi dicono che le date non condizionano la vita della gente!

Chiosa finale: riguardo certi sedicenti comici: qual'è la differenza tra un servo perfettamente consapevole del suo ruolo ed un servo che si crede libero o perlomeno liberto?
Che nel secondo caso, oltre ad essere servo sei anche un illuso. Illuso di ritenerti libero e to speak through the mouth of a false freedom. Whereas six twice servant. Of a regime that exploits and that you will consider only a "useful idiot".

Verdier

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THE FOREIGN GRINTA Joel Coen, Ethan Coen

THE GRINTA

DIRECTION: Joel Coen, Ethan Coen

SCREENPLAY: Joel Coen, Ethan Coen

ACTORS: Jeff Bridges , Hailee Steinfeld , Josh Brolin , Matt Damon , Barry Pepper , Paul Rae , Jarlath Conroy , Domhnall Gleeson , Elizabeth Marvel , Ed Corbin , Dakin Matthews , Joe Stevens , Leon Russom , Mary Anzalone , Bruce Green (II) , Brian Brown , Mike Watson

Titolo originale: True Grit

GENRE: Drama, Western, Adventure
LENGTH: 110 Min

A girl of 14 years, Mattie Ross, stubborn and cheeky style that speaks of more Jewish money as an old man of 80 years should be in the city where his father was killed by a gunman named Tom Chaney to collect the remains.

wants revenge and to do as much rent between bad and drunk Marshall: J. Reuben 'Rooster' Cogburn ( Jeff Bridges).

But the child is bad, arrogant and tough like the old Marshall unscrupulous, who shoot first and then asks the name of the victim.

nell'aspro In this long journey west will join a Texas Ranger: LaBoeuf (Matt Damon) on the trail of Chaney because he killed a senator.

The three bicker constantly until when the true values \u200b\u200b(those of respect and friendship) come out (when dealing with death).

However, the film style, a bit 'cartoon, fun. Never get bored and keeps alive the interest and a certain tension, because it has a story to tell and fast line without paying much attention to style.

shows scenes from real western movie where the girl above shows the attributes and becomes almost the very fabric that gives strength to the film, in a surprising way. But history is also made of bizarre and grisly surprises and encounters that make it compelling as a comic Match Tex Willer.

The film fills us with eyes and ears wide open spaces of endless chatter of Cogburn and his continuous quarrels with LaBoeuf (big on bluster founded the incessant bickering between the two!).

Deboluccio the final. Coen brothers we have been accustomed to other end.

Four stars.

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Enough Machismo Italian Style (commentary)

Enough Machismo Italian Style (commentary)

First of all let me say that Berlusconi has now run its course (because he did not know how to use properly) and then must leave. She did not understand, all these years, he can not make the man bar but it is the Prime Minister. And if you did not understand now hardly can understand it in the future. Besides her daughter Barbara has criticized 's inability to act as his role demands. Now is not that choose a suitable successor and retire, because now we are tired of seeing all the pages filled with sex scandals, D'Addario, Ruby and stuff like that ... Of course I do not think all the scandals that are assigned to be true but it is equally difficult not to believe that something is not true there is.

agree, however, Berlusconi's opinion that we have a judiciary becoming increasingly pervasive (over the role that compete) and, unfortunately, spendthrift of the money we pay in taxes (exaggerated).

But reading the article by Chiara Ruffa and Red Raffaelli, springs back to the eyes rhetoric typical of a left incapable of producing anything that is not the Berlusconi, because Berlusconi has produced the left and not Berlusconi ipse. The

always speak on behalf of others that does not generate empty views especially in the era of 'Homo Digitalis, which features its own in having access to all media to talk in person.

Why then should not have women who want to make the home instead of being professionals, the author of the article should explain it to me? Being a housewife has an equal all'esser professional?

How should I explain why not let them talk about the various choices of Ruby's life instead of speaking to them in the name of Ruby?

I'm surprised, moreover, that the authors are scandalizzino for the way men look at women but did not tell us anything about the way women look for men who, in reality, little different. Not even this rhetoric? The desire anyway positivization at the expense of the feminine as masculine rather have equal status

... Why do not lead back to the current situation un'imporsi (mainstream, that is, global) of a pornographic vision of life at the expense of erotica? (As a matter of reducing the eroticism of eros to 'Private I - as an extension of eros pornography in private audience).

The fall of ideologies has certainly led to the expansion of a force (eros) in the life actually lived and experienced in itself, in the flesh, in leather, in the streets, fighting in the streets, or virtually in social media, under endorsements (the private) which calls for respect and dignity in all its forms manifested. For which a tissue or an escort has the same right to respect of a protester Arab struggle against the regime that oppresses him.

But still the "left" is not able to grasp this change and remains ( noblesse oblige? ) wrapped in 'ideological overshadowing the reality that produces only retorica, e vuota soprattutto.

E’ una forma di neoplatonismo che continua a guardare la realtà osservando le ombre dalla caverna quando invece potrebbe guardare direttamente in faccia quella realtà che preferisce vedere solo adombrata.

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Enough Machismo Italian Style

Enough Machismo Italian Style

By CHIARA RUFFA and ROSA RAFFAELLI

Italy is a place full of contradictions.

It is a country with quality education but poor career opportunities; extraordinary culture and beauty but poor protection of its artistic and natural treasures.

It is one of the Group of 8 most industrialized countries, but with regard to women it seems stuck in the Middle Ages. It is always at the bottom of European statistics related to female employment (only 46 percent of Italian women work, in contrast to an average 59 percent in the rest of the European Union), women’s wages and the number of women in influential positions.

It is a country where each citizen is strongly connected to a community but is also left alone by an unequal, distant and often corrupt state system.

In the past few weeks, however, the country has seen debates and mass demonstrations that leave us hopeful that the country might find its way to a dignified, more equal, less fragmented future. This is due in large part to the response of Italy’s women and men to the latest of many embarrassing scandals that have revealed a society in which women are too often not taken seriously.

The scandals have sparked a broader debate on the role of women in Italian society. This debate stretches back to October 2009, when during a TV talk show Prime Minister Silvio Berlusconi told a well-respected, 58-year-old female politician, “You are increasingly more beautiful than you are intelligent.” She replied, “I am not one of the women at your disposal, prime minister.”

Indeed, many Italian women feel that men — or at least some men — look at them as if they are interchangeable goods, to be disposed of at their will.

But last week, thousands of women and men filled the streets to protest such affronts to the dignity of women. Demonstrations have taken place in almost every Italian city and also abroad, and, as far as we have seen, they were crowded, peaceful and lacking in partisan politics. The organizers specifically asked that participants not carry political signs, as this was meant to be a demonstration for every woman, whatever her political views. Many people, however, saw the protests — not without reason — as a political manifestation against Berlusconi.

In our view, the recent scandals involving our prime minister are just the last drop, though the cup has been filled over many years.

For decades, women have been used on Italian television shows as speechless bodies serving an audience-enhancement purpose. It is enough to turn the TV to any channel at any time to observe this. Advertisements also often make use of women’s bodies to sell everything from tires to antivirus software, using sexual double-entendre, and sometimes even brutal slogans.

We remember once, at Rome’s Fiumicino Airport, staring shocked at a huge advertisement for holiday cruises displaying six half-turned naked women and the slogan, “We have the best backsides in Italy” (in Italian the word also means breast).

Many Italian men would look at this image of women as the normal role of females. Becoming a showgirl is, in fact, a tempting ambition for many teenagers — their looks are often the only road to success, riches and sometimes even a political career. When women are appointed to political office based on their beauty portfolio, as has happened several times, they might learn how to do a good job, but they will never be taken seriously (as an intelligent and also beautiful government minister, who used to be a showgirl, recently learned).

Last year, at a ceremony conferring the prestigious Campiello literary award, a well-known journalist, on presenting the prize, commented on the low-cut dress of the young, promising winner and asked the camera to zoom in. In the debate that followed, many argued that the woman should have worn a different dress if she did not want to hear such comments.

We have all suffered, or have seen friends suffer, from one form or another of machismo: professors not taking us seriously, boyfriends expecting us to perform typical housewife roles and not willing to share tasks, relatives reminding us that since we are women we should not be overly ambitious — we should marry an average man, take up the household chores, bear his children, take care of his parents and find an average job to help with the family budget.

If we dare to say that we want to struggle for the job that we dream of, that we have worked and studied hard to have that opportunity, we often get labeled as “wonderwomen” or heartless “career girls.” Indeed, we know plenty of girls who have studied hard but now just follow their boyfriends, abandoning their own careers.

We have met plenty of girls who are much more intelligent and hard-working than their male colleagues, but who still feel the need to justify whatever success they have. Of course, this is not just an Italian problem, but we have traveled across Europe and beyond and have never seen advertisements as shocking as those in Italy, or so many half-naked women on afternoon TV-shows, or women judged more for their appearance than for what their brains and souls have to offer.

But there is another Italy. It is made up of women and men who are sick and tired of this narrow-minded vision, who do not perceive old men taking advantage of their riches and power to get young girls as a model to follow.

We know many men who do not ask their partners to make sure their pasta is cooked “al dente” when they get back home from work; many professors who do value their students’ intelligence.

These men cook and iron, they are proud of their partners’ professional success, they enjoy female beauty but they find it more appealing when it does not insult women’s intelligence. These men are also able to respect a woman’s professional capacity, to admire her for her intellectual qualities and to suggest she should be ambitious — as ambitious as a man, and even more if she so wishes. These men are our dads, our friends, our colleagues. Another Italy is possible and it is partly already here. It is time for a change.

February 18, 2011

Toes Turning Dark When In A Cast

Anna Oxa, Patty Pravo, Roberto Vecchioni: Le Loro Canzoni Sanremesi / Il Quartetto Cetra - Le Canzoni Di Sanremo 1957 Viste Dal Quartetto Cetra (1957)

Waiting for the guide Sanremo Caesar, I will try to entertain you with some of my thoughts on the Sanremo not have seen.
" But how do you talk about if you have not seen Sanremo ?" Rightly tell someone. In fact I will not speak of Sanremo, in which I am proud not to have thrown an eye on a frame or even a picture of the scene (this week I have not even bought the newspaper not to hit directly against) but three songs. Today I have sent two
raccolte di Sanremo (cosa inutile visto che sui torrent sono già disponibili da lunedì!) ed ho voluto ascoltare le canzoni di Roberto Vecchioni, Patty Pravo, Anna Oxa.
A dir la verità, la canzone della Oxa l'ho sentita casualmente in un negozio di dischi che sta chiudendo (l'ennesimo) e che svende tutto il magazzino al 30-40-50%.
Mi sono accorto che era lei soltanto per la difficoltà nel capire quello che stava dicendo. Poi verso la fine del brano, un gran baccano che mi sembrava altresì esagerato. La prima sensazione è stata pessima e con stizza ho pensato "ma vai a cucinare le cime di rapa, che forse ti riescono meglio".
Questa sera mi sono voluto risentire la canzone e nonostante sia veramente bruttina and a final crescendo that was not even the Ride of the Valkyrie, chloroform in the flatness of the music scene today is not the worst. I would say you are. Yes, a pass-fetched though it deserves it.

Let Patty Pravo: Well, I refused to believe that you can sing well.
I had a boiled potato in his mouth, but they explained that because of the cut and sew surgery is even more able to move his lips without tearing like "sheet of paper." And the result is what you hear on the CD, which is a toxic drunk trying to stammer a mediocre song.
atmosphere vaguely reminiscent INNOCENT EVASION, the chorus is addictive for half, then everything is terribly banal turning on the singer herself struggling to follow the words of the song, for sure already lost in a whirlwind of all his thoughts, thoughts that surely do not understand the song it sings. Rated
five but only with respect to the character that was otherwise a four was a must. But the alienation of PS
Battiato is dedicated to her?

Roberta Flack: I guess I'm one of the few who still follow Roberto Vecchioni, become a seventy-year old trombone, pompous and rhetorical, and above all a moralist. The morality disgusts me waving the flag as if to show that people can invent everything except become suffreggette morals. A singer / songwriter bent on the same melody for too many years and involution of literature that condemns him to write with the same formula and the same words. Flack is equal to itself since 1991.
Nevertheless, he managed to make songs that, thanks to a classical arrangement (violins, violas and flat out) hit the mark.
titles? REVERSED THE SKY, MY FRIENDS, THE WIZARD OF RAIN, LOVE SONG COMING HOME, Stupid, I dreamed I LIVE, I WANT TO BE YOUR MOTHER and the beautiful PURPLE WINTER. All songs that are between half past seven and nine. Back to Sanremo after nearly forty years (probably because the media needs a new start) and we go back good fifteen years.
Apart from some passages in the text that make me feel an instant sense of belonging and non-disgust, in the general lexicon of Vecchioni smells of old, stale, already heard. The songs mentioned are not the first absolute perfection, but each has it that vibration makes you prick up their ears. This makes you fall
balls. The difference lies here. If it were not
Flack would have been more lenient, but I expect someone like him is always something important. This time has not arrived. Too bad. Rating: five.
The others, I tried to listen but I did. Half of a certain song and I already saw Emma in the act of chasing her with a meat hook to apply under the chin. Neksø: I thought it was the new name instead of Nek is a group of losers with the Southern accent that makes rap. But none of these little shits
feel that their gender is now thirty years old? It's still
"gggiovane" sing as he did Jovanotti or Article 31 in 1988?
In 2011 we did not go more than a rap? Most of the modern?
And I have to see the Festival of Sanremo and maybe ugly and useless as well as listen to songs, hitting the servo system of Benigni?
But please ...!


Quartetto Cetra it has always amused to interpret current events and parody or not. As the singers and especially of vocalists, the songs could not be an exception. Those who follow the blog will have had the opportunity to learn about their personal interpretations of Sanremo 1960. Well, apparently was certainly not the first. Here we have twenty-five centimeters of 1957 dedicated to the edition of the Sanremo Festival. Beautiful, right from the cover, when you put it on the dish is really entertain the listener who perhaps unwisely, think you have to do with a simple song of Sanremo in version four of the Cetra, whereas it becomes immediately clear that this same song is shaped almost at will become a piece of cabaret. A mus t Thank Kurtigghiu for the deluxe package.

SONGS OF SANREMO 1957 SEEN FROM THE HARP QUARTET (1957)
01 strings of my guitar (Ruccione-Knight-Fiorelli)
02 The Blue Trout (Calcagno-Gelmini) Radius 03
In Fog (Salina-Pagano) 04
In Garden Of My Heart (Kramer-Testoni)
05 The danger Numero Uno (Cozzoli-Bonagura)
06 Casetta in Canada (Mascheroni-Panzeri)
07 was the time of Heart (Segurini)
08 Sorry (Malgonia-Perrone-Colombi )

Slogan Of Wedding Card

Il Festival di Sanremo Commentato Da Cesare/ Linda Lee - Va Pensiero (Sanremo 1980)

The Sanremo Festival nicely commented by Caesar Borrometi is a great way, I think, to continue this week in San Remo, where everything is dedicated to the Festival. Sounds strange when you consider that the operator of the blog decided not to see even a frame. And do not know if will look the evening dedicated to the anniversary of the Unification of Italy. One question springs to mind (as someone said), but those two moron named Luke and Paul (the apostles?), Are so important and fun to take them to the Festival?
Thanks to Caesar for the "scholarly" and entertaining review

All'Illustrissimo Commander

Gianni Morandi - Teatro Ariston di Sanremo
(Imperia - Riviera Ligure di Ponente) -

your Lordship is willing to accept early beginning our apologies PEL disorder with which we turn to her in public with the intent to examine the first act of that single combat between musicians and singers, CERTAME coronary vulgar attention to Italy and renamed it the "Festival of Italian Song."
We are pleased that she wanted to personally make every effort to trace and bring people able to sing on stage and playing, closing the door to jesters and fools in disguise and leaving them to vent any of the other execution: his good will be rewarded and yet despite your discretion. Indeed, we have noticed how she, esteemed Commander, has given much space to the novel in verse poems to music, rightly putting aside unnecessary and vote tongues. Few and essential words, who knows what without getting lost in labyrinthine chaos to proclaim throat more or less proven (Financo those stories coming soon), esibitesi courts in major Italian soil and indeed those of Europe and the Hispanic New World of expression.
Last night they were to descend into the arena in fourteen sanremasca: indomitable men and women, bravely awaited the fatal opinion of the stalls there and agreed that connected through the increasingly powerful media audio-visual technology from all over the hemisphere, exhibited for the first words and notes kept in storage for months, maybe for whole years, while continually reviewed and revised to be like universal audience. No doubt about the willingness of each one fighter, but inexorable, mixed results. Before
to give himself to wild beasts, Miss Josephine Ferreri, a brunette girl Panormita but always enjoys the allegiance of the Viper Visconti leads afield, as the great poet Dante: she has an ugly tone of voice that should be educated on the basis of 'air that touches them sing. This time, did they regret it, being confused in a cacophonous mix of nasty popularized rhythmically aggressive stamps issued by musicians of hexachord amplified harp.
Messer Luca Barbarossa, sincere son of eternal Rome without veils (com'ei same explicit, now three decades ago are, at the pristine appearance on the Riviera), was escorted by an unknown maiden of Spain, they said that the girl be a knight who rides for years to win tournaments all over the world, that Sir Ferdinand Alonso. Here, too, was touched the qualitative infamy of the poem: a simple succession of up and down to embarrass the Teutonic twins Tersicorea the weather that was.
Professor Roberta Flack finally arrived: it is lying in wait, as it was thirty-eight by rejecting all calls for the annual race CERTAME Riviera. Cleverly, the distinguished professor took into account the potential complexity of the audience, composed in largely semi - illiterate, to invite men, women and youths to win the battles caused by normal wear and superficiality of modern life, especially believing in love themselves and others. Overwhelming theme music, even as the text, despite some sincere stentorian accent.
Ciociaria came up from the Riviera to return to compete in such a trial singing Donna Anna Tatangelo, the female a dark figures of Neapolitan music, that Don Luigi. She decided to get away for a time from the machinations of its musical man, relying on other poets and musicians that the packages bear a theme called Bastard, song of rage and love, highlighted by winning note. For the occasion Donna Anna also wanted to change his appearance, singing his argument dell'istoria narrated by her: in truth, this mixture proved an incomprehensible mess, but at least we liked the melody a bit 'more of those amenities that the daughter of Sora bakers had to offer stubborn in the past (this does not mean however that it is worthy of praise, but ...).
It was then time for a group of singers and musicians dall'azzeccata name, La Crus. These lords we were impressed by the outside walls of the coronary CERTAME hosted annually in Bloom Riviera di Ponente: this time, however, worthy of the name chosen precisely for their Social activities - music, led the listener to take a personal Golgotha, vaguely evoking titles masterful feature movies in the language of perfidious Albion thrilling call ("I Confess" was a beautiful and gripping story directed by Alfred Hitchcock Mister nearly six decades ago are) and inserting forced to turn nell'avello vocals by soprano Mara Women's Malibran. Evil!
Insignificant as slavishly equal to other nonsense exhibited in the past two decades, the issue presented by Messer Pezzali Massimiliano, Visconti another subject but it seems that nowadays has rebuilt a life in Rome. And speaking of subjects Visconti, was the bold idea the singer and lyre Davide Van de Sfroos, from the remote Dutch ancestry, singing a strange story to offer pirate-flavored speech in Como, with all due respect to those who listened to this plea from Sicily or related dall'Apulia: without infamy and without praise (when sang the notes, Van de Messer Sfroos seemed to imitate the cadences of the emulator Danilo Sacco, who settled in the foothills nomadic Emilia).
We fail to understand the reasons for which Donna Anna Hoxha, Albanian Gypsy naturalized Apulian, groped for a few years wanted to make the original, relying on incomprehensible rhythmic and metric. And to say that, months ago, the help of a distinguished knight that you, esteemed Commendator Morandi, knows very well (he wrote a whole repertoire of new tunes specifically for your lordship in AD 1975 AD), which Messer Ivano Alberto Fossati from Genoa, had led to the creation of a catchy song that cheered your last summer days . New
disappointment: "Messer Francesco Tricarico preferred to rely on words, music and even the harp of Don Fausto Mesolella, cherishing the past century and a half from the achievement of long-awaited (but much reviled nowadays) units Italic, but producing a history of flags that showed only a bunch of places to be common patriotic rhetoric. The maiden
Emma Brown, daughter of that gold from Salento architectures, came accompanied by another group of musicians on stage, those - then who knows what reason - Fashion. Never was so pimp theme, time and an airy shuffle so catchy as to be all too commonplace. And the duo of musicians
Sicilians, the lyre and the investigator Messer Luca Madonia Francesco Battiato was not passed at the height of fame, telling portrait of a victim who would like to incommunicability Messer Michelangelo Antonioni lamented at the time of the stories from he filmed and based on themes such as these. The Maestro Battiato, also, during his speech developed a melodic pattern that did not fail to remind us that, eleven years ago, presented to the coastal CERTAME an original type fitted with a mustache, Massimiliano Gazzè this, too (albeit only of paternal origin) Ciciliano.
Women Nicola Nicoletta, worthy representative of the Lion of San Marco, he showed class singing a song to have refined and well built in terms of rhythm, worthy of being appreciated far beyond the misogynist audience that always supports the icy venexiana. It was the last surge that gave us the last night: that he left us indifferent Miss Natalia Giannitrapani, which told of life suspended while hostilities closed the everlasting Al Bano Carrisi, pathetically reaching for the office.
Finally, distinguished Commendatore, mi consenta di spendere qualche parola sul contorno e sull’inutilità insita in esso. Che bisogno c’era di introdurre due emerite cortigiane, incapaci di dire cose provviste di nesso logico (eppure ci dicono che una di esse ottenne il lauro per il baccellierato sostenuto nell’apprendimento delle varie favelle d’Europa: che ciò le serva per commentare i propri approcci all’eros vissuti assieme a un coreuta del Nuovo Mondo ? Mistero) ? E due giullari che attentavano alla memoria di Aristofane, ridicolizzando i governanti d’Italia senza un minimo di originalità (tanto valea che i panni sudici fossero resi netti direttamente in famiglia, in ottemperanza al noto adagio) ? E la maestra di cerimonie last year, with his daughter in his arms, unable to show how smart she knows rather be (doctor in utroque what)?
We just have to wait for the new members and hear CERTAME inscribed this verse and scores.
Please accept, Your esteemed Commander, my best regards and my encouragement for the rest of CERTAME, with the hope that she might be big and impartial arbitrator if the show degenerate into absurd gladiatorial ludi (as happened last year). His

Cesario de 'Borromei
Clerk Ciciliano naturalized piedmont
Addi, sixteen of the eleventh year 2000 Febraro

" And of course ...
Narrow leaf, wide street,
Have your say, I told my ... "


Linda Lee (nee Ross Barbieri) presents the Festival of the thirtieth anniversary with a song called" important "and uncomfortable: Va pensiero.
With such high-sounding title, one who knows what is thought, as a masterpiece .... but you better not think about anything because it is one of the nastiest songs presented at the Festival of that year (and beyond). For former Linda Lee Daniel Sentacruz Ensemble is a hole in the water. However, discrediting a myth: the DSE with a few song and apt oreccchiabile, mica have never been that great. And the two maidens che si dimenavano all'interno di tale gruppone (per quantità di persone), non erano mica novelle Barbra Streisand! Anzi...!
Non tutto quello che è "passato" è oro. Certo, visivamente e celebralmente stanno messe meglio di una Anna Tatangelo o una squinzia qualsiasi di Amici, ma i paragoni debbono essere sempre presi dal basso?
Ah, visto le premesse, qualcuno mi chiederà il perchè della scelta del disco:
perchè dopo due post "anni '50" qualcosa "anni '80" ci voleva.
Ed ho scelto un singolo particolare e poco sfruttato, nello spirito del blog.

LINDA LEE
01 Linda Lee - Va Pensiero (Caruso-Barbieri-Longo-Caruso)(Sanremo 1980)
02 Linda Lee - Dico No (Barbieri-Minuti) (2-1980)