Sillabario della memoria (Italian Edition)

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The only way to halve or reverse the damage already done is by joining forces and working together. Building on existing principles and rules of international law, such as the UN Convention on the Law of the Sea, the international community must double its efforts to protect the oceans and seas. We must develop appropriate forms of cooperation to increase sustainability in the use of their resources. At the same time, we must remember that technology is also a powerful tool.

Combined with a new global awareness of the fragility of the oceans and seas, technology can change the world for the better. Therefore, we need decisive global responses in the form of global commitments. And one of these commitments must be the preservation of the capacity of the oceans and seas to guarantee the well being of the planet and its inhabitants. A deeper understanding can only inspire in us a greater desire to safeguard future generations from even a partial loss of the capacity of the oceans and seas to provide for the peoples of the planet and preserve our way of life.

I commend the Governments of Italy and Palau for organizing this important event focusing on the critical issue of how to achieve healthy oceans and seas. That deep bond has only grown over the years. They are crucial sources of food and nutrition, the primary regulator of the climate and an important sink for greenhouse gases. A very high percentage of global trade is seaborne. Some of the negative factors are overexploitation, illegal, unreported and destructive fishing practices, criminal activity, marine pollution from litter and land based sources, as well as increased sea temperatures, sea level rise and ocean acidification just to name a few.

They pledged to protect and restore the health, productivity and resilience of oceans and marine ecosystems, and to maintain their biodiversity. And they set forth forwardlooking, interconnected and integrated actions in some 20 areas. These commitments represent a remarkable consensus on the way forward. We at the United Nations look forward to working with all stakeholders to achieve healthy oceans and sustainable development for all, recognizing that oceans and seas are critical to the development of many countries, not least small island developing States. Reaching our goals will require conservation, but also innovation, not least including through the power of technology.

I look forward to the ideas that will be presented here today. I wish you a productive meeting. Thank you. Native Roman Photographers lead amateurs and professionals alike to the most beautiful vantage points of all the famous — and hidden —— sites, at the preferred time of day. In between shoots, experience local flavor unlisted in the average tour guide. Today his exquisite portrait of an unknown woman called the Schiava Turca Turkish Slave is an icon of Parma.

The painting has rarely been seen outside its home institution, the Galleria Nazionale di Parma. Parmigianino painted the Schiava Turca in the early to mid-. In the U. Without them, the productive system antiquates and begins to suffer the effects. This is exactly what has happened to our country. There are many reasons but the bottom line is that there is an industrial mechanism unable to renew itself.

If that begins to fail, all else is destined to also fail, taking with them the wealth and competitiveness of a country. How can this inexorably negative trend be stopped? The only possible way is to undergo a complete reboot of innovation through the use of startups that, as mentioned, are the engines necessary to renew a productive environment. Therefore, we embrace the high success that is presently occurring with startups in Italy and welcome this extremely positive news.

The fact that many people, young and old, are venturing onto this scene is signaling a new fascination with startups, resulting in the emergence of a new generation of entrepreneurs in Italy — the same phenomenon that we saw in fact decline during the Sixties and Seventies when fewer companies were established. This is perhaps the biggest and most positive change that we are witnessing in recent years in Italy. Doing business seems to be back in fashion, to be perceived as a positive challenge. Media has begun to gradually give it attention and even the po-.

Young people in Italy are beginning to perceive the startup as a mode of entry into the working world. For young people, building their own company is emerging as an alternative to seeking a job. The question that arises in this regard is whether these startup companies are able to grow and create value or are intended to be temporary stopgaps for people who cannot find employment opportunities.

The risk is that this enthusiasm will transform itself into a bubble. Behind these companies are teams characterized by diverse backgrounds with the right mix of technical knowledge, managerial skills and an international mindset. It is no coincidence that they were able to raise capital. It is with these startups and skills where we must work to write Italian success stories. There is talent in Italy. Endnotes 1. Small vs. Large vs. The goal of the Foundation is to foster a sustainable entrepreneurial ecosystem, spur more innovative ideas, and reinvigorate the new venture economy, providing entrepreneurship education, degrees.

Mind the Bridge provides startups, investors and managers with direct exposure to the most experienced, entrepreneurial ecosystem in the world, the Silicon Valley. The ultimate goal of Mind the Bridge is to help create in Europe a new generation of entrepreneurs and success stories. A Bocconi University graduate in Economics and Social Sciences, he specialized in the integration of cognitive psychology and game theory. In he obtained his PhD from Princeton University in Psychology and Neuroscience, working on the neural basis of reasoning.

When not busy studying the brain or talking about science, you are apt to find him sitting at the piano or the controls of a Cessna in the skies of Baja California. Your course of study up to graduation was carried out in Italy. From your biography not only does your Jewish identity emerge to a great sense, but also your internationality in both a personal and professional way, in large part due to your ancestry.

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What does it mean to you to be Italian, and how did your Italian education become part of your identity? Currently, my research takes place in two very diverse fields, namely. This versatility of interests is connected to the Italian educational system that, at least in the years in which I attended, guaranteed an open approach to knowledge and was essential in making every student capable of processing a choice based on a wealth of knowledge. The system, and certainly the influence of the surrounding environment, put me in a position to identify the problematic aspects in acquired knowledge and to ask questions in a very general way.

MM: Undoubtedly, in a system like the Italian one the transition from one research field to another, as I did from economics to neuroscience, is more difficult and complicated. However, I cannot define myself as a fugitive but rather a person who has had an opportunity abroad after having had other, albeit different, ones in my country of origin. Besides, my fascination for neuroscience was born in Italy while attending a course at Bocconi University, and in our country there are actually quite notable institutions such as Santa Lucia in Rome, Carlo Besta and San Raffaele in Milan.

The data on youth employment are dramatic and the world of work seems an illusion, especially for high-level professions where we import low-skilled workers and export intelligence that do not return. Have you noticed this problematic aspect in your experience? MM: I absolutely consider myself a very fortunate person because despite the strong competition that exists as in all work situations in the academic world, I have not yet had a problem in finding a place where I could conduct my research; which makes me feel that I could one day return to my home country.

However, without any doubt whatsoever, Italy must make it easier for young researchers to become integrated into the system. This may perhaps be considered the biggest difference with the American system in which I work. Here the norm is that the young researcher is treated from the outset as one who in the next decade will. For several years you have dealt with research in the field of residual consciousness in persistent vegetative state patients.

In particular, as an expert in this field, you were also called upon to examine and test Ariel Sharon. There have been many scientific advances in recent years in this area -- what innovative developments do you think there will be in the near future?

MM: Over the past years we have learned a lot even though we still know very little! Perhaps what we have truly learned so far is how little we knew of what it means to lose consciousness and, more importantly, how do you figure out whether an individual is or is not conscious. For example, we learned that the tools which we believed ca-.

What is lacking in this field, and on what we are concentrating our efforts in my lab, is an understanding of what the neural fingerprint of consciousness is. How is the feeling of being conscious created by the interaction of billions of neurons? These are the questions which we are trying to answer at the moment.

Another area where you conduct research is the relationship between mind and language. What form do your studies take and what might the practical application of new knowledge in this area be? I could then say that this aspect of my research is, at least for the moment, focused on understanding how the human mind works, and the more practical implications right now are those related to understanding what happens in the mental faculties of an individual who has lost the ability to express themselves verbally.

How must the laws of a country, in particular Italy, keep up with the advances in science and new discoveries? MM: Science and the rules of society are not easily-reconcilable worlds. My job as a scientist is to increase knowledge and make it more accessible to those who cannot do my job. What I hope is to raise the level of openness to what knowledge is being generated by scientific research.

Moreover, that the community then decides, through modern democratic means, how this knowledge should be translated into social choice. So you can see how unlikely it is that fine literature is going to be well translated, since a good translation would inevitable be made up of properties that jar with each other and seem incompatible and contradictory. Likewise the mind, spirit, and capacities of the translator.

This is especially true when one of the main qualities of the original consists in its not being affected, but natural and spontaneous, something the translator of his very nature cannot be. Some sentences are monstrously long and bizarrely assembled, shifting from formal rhetorical structures to the most flexible use of apposition, juxtaposition, inference, and implication, the whole being liberally peppered with abbreviations, foreign terms, and etc. In general, reading this prose, it is almost impossible, even for the native speaker, let alone the English translator, to separate out what is the standard language of the time, what deliberately archaic, what idiosyncratic, and so on.

In general an illusion, for Leopardi, is something worth cultivating and sustaining, a spring for positive action, even if this means deliberately fooling oneself and being less lucid than one might be. Yet if, as translator, one should decide to be guided above all by the criterion of accuracy, by a search for the absolute, academic, scientific equivalent of all the terms used, as if the only thing that mattered were the semantics of the debate, Leopardi himself warns of the dangers.

He can never be that in the language of translation, if he stays Greek, French, etc. This last injunction simply cannot be respected. All Italian schoolchildren study a little Leopardi and for all of them that voice is absolutely individual and memorable, in part for the particular way it orders the words in the sentence and then again for its creation of a curiously intimate atmosphere of archaism, something achieved, curiously enough, without actually referring back, whether lexically or syntactically, to any previous use of the Italian language that ever was.

A translator can hint at these idiosyncrasies and curiosities, but he or she simply cannot reproduce the full effect of this highly individual author on. At the practical level, paragraph by paragraph one is looking at questions like, Do I keep the page-long sentences as they are, or do I break them up? All of these questions relating to approach and style, many of them typical of. So now there was the further question of whether I should look at their version before starting mine, after finishing, or not at all.

On the other hand there would equally be no point in my producing a translation that was merely an echo of theirs. Immediately I realized that these translators had faced a greater dilemma than I did. Strategies must have been agreed and a single editor must ultimately have gone through all 2,plus pages to even things out. This no doubt meant establishing a standard voice that all the translators could write towards and making certain decisions across the board, particularly with.

In any event, after reading a few random paragraphs of the translation itself I felt reassured that my work would not merely be a duplication of theirs, if only because I heard the text quite differently than they did. As I had expected, the Birmingham translation, if I can call it that, proved immensely useful to me, at the checking stage, after I had completed a first draft of my own version, in that it did indeed save me making a number of mistakes.

In this respect I had a considerable advantage over them since vice versa a consideration of my translation would have saved them some mistakes. A translation of this kind is immensely complex and no one is so accurate and perfect that he cannot gain from comparing notes with another person who has covered the territory.

I am immensely grateful to have had the chance to see their work. My version is definitely the better for it. I hear Leopardi in an English that has a completely different tone and feel to the one my colleagues have collectively aimed at. What is at stake of course is readability, and although one would never want to sacrifice subtlety of thought for ease of reading, it is also true that if a long text seems stylistically clumsy and incompetent, it begins to lose authority and credibility.

Italians will always read Leopardi, however arduous, because he is a mainstay of their culture, a figure whose influence on the writers and poets of the twentieth century was simply enormous. English speakers will read him if he seems worth reading, and not otherwise. In any event, the more I worked over this translation, which turned out to be by far the most challenging I have ever tackled, the more I came to the conclusion that, beyond the duty of semantic accuracy which always remains , all I had to do all!

The falseness of affectation, I decided, which Leopardi felt was inevitable in any translation, could at least to some extent be overcome by a more than willing affinity, an even perverse identification, with his project, my passion for his pessimistic Passions. I was glad, on signing the contract, to think that I would be sitting beside Leopardi for a few months. And I firmly believe that this state of affairs changes the way we work. The Zibaldone is not poetry, but Leopardi is certainly a writer who rouses that excitement in me to take hold of the text and put it before the reader with the intensity I feel when reading it.

But his very ability to express the idea proved him wrong. La Strega! These three artistic productions are rooted in a narrative space where the stories of the individuals and history are inseparable, where the Italian tradition of narratives of the self recounts history with a clear intent, and in so doing reappropriates the phenomenon of migration to the United States.

But this does not matter because if the continent did not exist our words would not lose their significance. This America has no need of Columbus, it is discovered within ourselves; it is the land to which we turn with the same hope and faith of the first immigrants, of whoever has decided to defend at the price of pains and error the dignity of the human condition.

Pintor, In terms of narrative modes, the shift has happened at the level of the perspective, leaving untouched that solid Italian tradition of narratives of the self in search of identity, which means that there has been no abrupt movement from using images of America in order to talk about oneself to looking at history tout court. The American dream remains central to all these narratives that involve matters of identity and America.

What shifts is the attention to who is dreaming the dream — and in these latest literary and filmic productions, the dreamers are the Italian emigrants. Toronto Buffalo London. Printed in Canada. Reprinted with permission of the publisher. The text has been slightly modified for this venue. For some, those Italians who migrated were not even conational. It appears that the mere discussion of migration during that time would have greatly damaged the ideology and construction of a unified nation.

Toronto: University of Toronto Press. Modern Language Notes. Ann Goldstein. Madison: Fairleigh Dickinson University Press. Mazzucco, Melania , Vita. Milan: Rizzoli. Moretti, Nanni , dir. The Last Customer, documentary. Sacher Film.

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Pintor, Giaime In periods such as the s, the work of film-makers was influenced as much by the political ferment caused by decolonisation in areas of South America and Africa as by the battles for emancipation and collective rights within Italy itself. Decades later, despite the Arab Spring uprisings across North Africa and the Middle East, revolts against worsening living conditions and against unaccountable, corrupt political elites, the populations of countries like Italy have struggled to feel any great affinity with this revolutionary moment.

The underlying dynamic of the way Italian film-makers now derive meaning from events in remote areas of the world has also changed drastically. The work of directors such as Daniele Vicari strikes an engaging balance between acute political dissections of events that. A growing number of actors are also shaping their careers around discernibly political projects, while — in turn — shaping such projects themselves.

Sacher Film has continued to perform a similar role for the anti-establishment critiques of Nanni Moretti, the company constituting a model of what can be achieved when politicized filmwriting, acting, direction, and production coalesce. The main criterion fuelling the creation of many of the films mentioned in this article has been a perceived necessity — sometimes urgent — to generate a greater visibility for given questions that have often been obscured by a discernible political design.

Many of these films are calculatedly counter-hegemonic, rooted in opposition to the prevailing societal emphasis on materialism, individualism and the depoliticization of past and present, and they reject escapism in favour of open confrontation. This article is taken from the forthcoming volume Un nuovo cinema politico italiano?

Volume 2, edited by William Hope and published by Troubador Publishing.

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It is not easy to give an overview of contemporary music in Italy. Throughout academies and generations, the developmental timeline is extremely diverse. But there is one trait that is common to all composers, even the most daring and innovative: a constant connection to tradition. Every experiment, each new thing, takes its cue from the classical teachings of the wide-ranging European school — including avant-garde — from which no one wants to completely free themselves. Obviously, there are more highly-valued Italian composers than those listed below, but this gallery offers an almost complete spectrum of styles, schools and age.

Francesco Antonioni Perfectly comfortable in the present age, Francesco Antonioni is a composer who uses all means, language and technology which he has at his disposal. A lover of short forms, which are also very modern, he always tries to say everything in the most concise form possible, whether in compositions or orchestral performances. The use of multimedia and the inclusion of a symbolic performer in the compositions was an original idea.

Giorgio Battistelli Battistelli is one of the Italian composers by which new generations set their standards. Gifted with a wonderful imagination that works overtime to find original rhythmic solutions, he has a strong propensity for the theater. His best known work is certainly Experimentum Mundi , a symphony for construction tools chisels, planes, mallets, etc.

He is also a music organizer and artistic director. Among these events is his own festival Play-It, now in its third year, which takes place in Florence and involves four days of concerts by contemporary Italian authors, some of whom are often premiering. Carlo Boccadoro This composer from Marche is among those who, more than others, demonstrates the current direction of contemporary music. His artistic history can be divided into two phases: the first is the neo-tonal, contrary to avant-garde, and the second is his current one, in a sense renewing his search for less conventional means.

He studied in Milan, where he majored in piano and percussion instruments and became a prolific composer. Also known internationally, he has been commissioned more and more by theaters of great importance. This success comes despite not being part of the established classic music scene. Campogrande is among those who have made the choice of total compositional freedom, liberating himself from an obligation to be stylistically reminiscent of the great masters.

He has remained true to the common concept: a composer must write the music he likes. He is also a radio host and director of the magazine Sistema Musica, a journal of musical events in the city of Torino. Born and trained in Rome, Silvia Colasanti is the most-performed Italian composer. She has won numerous awards and last year was invested with the title of Chevalier by the President of the Italian Republic.

Her writing, clear and technically impeccable, is expressed mainly through string instruments which often bring to mind the sounds of Ligeti and Penderecki a classic example is her Sentieri di sangue for string orchestra. Top interpreters are racing to play her pieces: Capriccio a due is a violin duet written on commission of Salvatore Accardo.

His music has nothing experimental about it, does not search for acoustics and harmonies, but rather flows from an intent to communicate. In fact it is not only widely-liked and appealing to all audiences, but performed by many musicians. Its distinctive quality is that it is sacred music, but without the words, so that the spiritual dimension is therefore expressed only through the structure of its sounds. Carrara uses this approach whether it is for an orchestra some representative pieces are on the album Liber mundi or piano; whether for the theater or pop songs.

His name is also linked to the song by Antonella Ruggiero, Canzone tra le guerre, a contestant at the Festival of Sanremo. Trained at the School of Azio Corghi and Franco Donatoni, Ivan Fedele has created a very personal repertoire; however deliberately recognizable as having roots in a concept of the great masters of avant-garde: the awareness in music.

Each of his compositions always has an underlying artistic concept that is more than just entertainment: it is as if he would merge every acoustic measure into one dimension of comprehension of the wider world of sound.

BABBALOCCO - Definition and synonyms of babbalocco in the Italian dictionary

His musical portfolio is very diverse in its nature and instrumentation. The echoes and spatial arrangement of the music play a large part in his productions, inspired by a philosophical concept of phenomena that plays into orchestral scores like those for solo instrument. He is currently director of the Venice Music Biennale. A young composer from Palermo and winner of several awards as a writer and performer, Virginia Guastella has mastered the most varied compositional styles. She engages easily and smoothly in symphonic, vocal or electronic music which she also teaches at the conservatory , and at the same time writes jingles for television.

Among the deans of our music, he is the most famous Italian composer abroad. Self-taught, over the years he has formed a very personal style that has been largely influential. In particular, his innovations are in the usage of the voice, in the 20th century known as one of the most difficult stages in which to try.

His portfolio of compositions is wide-ranging over almost all genres: symphonic music, chamber, the theater. Some of his most fundamental works are Aspern, Luci mie traditrici, Da gelo a gelo, Lohengrin. Many of the lyrics that Sciarrino puts to music are drawn from Japanese poetry, and much of the instrumental music is a personal and unusual reworking of the great writers of the past, especially Mozart, Gesualdo and de Machaut. Graduating with Goffredo Petrassi, the Roman composer has written for various instruments and for orchestra, according to a very academic style in which, however, you can always see his penchant for melody.

His choral music compositions are particularly appreciated and include unique experiments such as Echi for choir and violincello ad libitum. Morricone, who has a long and rich career, is also among the members of Nuova Consonanza, an association for contemporary music begun in Marco Stroppa He is one of the most important influential composers for electronic music.

For Stroppa, electronics is not a trivial means for making music, but a way of thinking and conceiving, as the use of electronics comes together to create the music at the structural level. The concept at the basis of his pursuits is the projection of sound in space and, in this sense his most representative works are Traiettoria for piano and electronics and Spirali for string quartet and electronics. Initially a folk-blues guitarist, he is as responsible as anyone else — and more so than many — for ushering in the blues boom in the U.

With his roots lying in acoustic country blues he has, arguably, stretched the possibilities of the guitar even more than his better known contemporaries Davy Graham, Bert Jansch, John Renbourne, etc. He also composes and performs live music for silent films, as well as for his own films and videos, which are often screened in his live performances. His list of recorded works run into the hundreds. How does this find expression in your music and art?

Admittedly they have just had a civil war which was religious but at the moment they are getting along with each other. There are Buddhist graves just outside Alexandria. We are constantly being asked to consider and respect borders; national, cultural and artistic. All fabrications of our modern society. In the past people moved freely, both geographically and culturally and those that moved spoke many languages.

What brought you to leave your home country, England, at a certain point of your life and career, and move to Rome? I came to Rome because the person that I have spent the past 26 years of my life with was already living here, and when we met I was ready to leave England again I had lived in Australia, France, Germany and Spain before because it had become unbearable under Margaret Thatcher, so that meeting made me very happy in more than one way. Italy, for all its unification, is still fragmented into different cities and cultural scenes. We in Rome, most of the time have no idea what is going on for instance in Torino or Bologna.

This also extends down the ladder into different scenes and social groups within Rome itself. I am a member of a big band that dedicates itself to playing improvised music. At the last meeting it was around musicians. Not only that but also the audience, which was quite a few, were mostly strangers to us. We had never seen any of them at one of the many concerts our big band has played in Rome. Again, I knew hardly any of those taking part and again I knew hardly anyone in the audience.

We are at zero funding level now and so the scene is relying on mostly local musicians or artists or Italian musicians who organise their own tours and happen to be passing by here. Rome is a small city, barely 4 million, compared with London, New York and Paris for instance and the percentage of a cities population as potential audience is probably less than one percent.


Hardly a living wage and in fact hardly any of my close circle of musician friends here are professional musicians. They all have other means of earning a living such as teaching. Even though the Internet gives people access to the musical world at large the live experience of music is still the one that affects people the most, I have no doubt about that, both from a listening perspective and a playing and creative inspiration point of view. There is another scene here in Rome, of which I am not a part or member and it is connected with academics, contemporary composition and electro-acoustic music.

The golden age of post war Italian film makers has passed and I am not that interested in contemporary Italian film. Maybe I will go and see this film as so many people have spoken about it. I gave up going to see Italian film makers making folkloric representations of Italy and Italian society always full of all the usual cliches.

Synonyms and antonyms of babbalocco in the Italian dictionary of synonyms

I have heard various interpretations of this film. There were a lot of comments underneath saying things like well Rome. Is it also true in the musical field? We see that stuff everyday and we need to see some new stuff. Sound art in Rome has been presented in the past but usually funded by the cultural foundations from other countries based here in Rome and in their venues. What are the challenges and opportunities of producing music in this country?

We are dreaming that there is plenty of oxygen. Who are the most interesting Italian artists you have played with or would recommend to a foreign music enthusiast eager to know what happens in the local musical panorama? It is usually credited to the late Butch Morris as being its inventor.

It is open to anyone who wants to join and it seems to be a self regulating system and no one has been asked to leave yet ha ha!! Elio Martusciello is a member. He is an Electro-Acoustic composer and a teacher of Electronic music who also makes video. He usually plays prepared table top guitar in the orchestra. He is also a member of a trio called Ossatura, a free improvising trio in which he plays computer. It also features Fabrizio Spera on drums and percussion and Luca Venitucci who plays keyboards and accordion. Luca is another musical wanderer in terms of genre.

An extreme talent on any keyboard instrument he also likes to vocalize and sing. As a group they tend toward exploring the quiet minimal zone of improvised music. Fabrizio also plays with me and a double bass player Roberto Bellatalla in our group Truth In The Abstract Blues, which as the name suggests has something to do with blues music. We tend more towards the abstract version of it though.

Roberto lived in England for 20 years or more and played with many of the expat South African jazz community that were living there. Further afield there is Paolo Angeli a Sardinian musician. Paolo plays a version of Sardinian guitar which he has modified and he plays with a bow, like a cello. He travels and plays internationally and in fact lives part of his time in Barcelona.

In Sicily there is Domenico Sciajno a computer and video composer. These people are all pretty exciting. Its rock scene has always been like an underground beehive teeming with activity, an underground phenomenon, but has emerged into the light of day. This last stage of a decades-long musical journey has gone through highs and lows, excellence and shooting-stars.

If today we can speak of rock revival, it has not arisen from a state of deep coma. Below are ten suggestions for your listening pleasure, between the usual suspects and wonderful newcomers, selected from a gluttonous mass of Made in Italy products worthy of export: I invite you to sail your ship into the rocky waves and navigate your way to pleasure island.

Proud captains of the national rock team, born in and centered around the charisma and talent of Manuel Agnelli, Afterhours have had a distinctive international scope since their first album in English, later proven by their fraternal collaboration with Greg Dulli of the Twilight Singers, whose musical style is very similar to theirs. With meaning and purpose throughout their phases, Afterhours have raced three generations of fans through almost abrasive dark lyrics, gentle ballads and hymns.

Reinvented in a less corrosive and significant form in the s, Marlene survive as the most daring performers of the end-of-the-century fever pitch, probably the last truly significant musical era throughout the world. It is here that Calibro 35 began, debuting in since then, they have ascended on multiple levels, landing on a now-solid identity, honing technique, inspirations and influences, while always keeping in mind the lessons of the sub-genre pioneers Morricone and friends. Today, among music being exported is Calibro, with publications and exhibitions in Japan and the U.

For more than twenty years they have ridden the crest of the wave and become known to the general public thanks to their many appearances on TV. The reason for the overwhelming success of the band is the perfect synthesis created by its leader Max Casacci: a mix of urban subculture and imaginative dance, melody and experimentation, underground political social centers and mainstream large arenas. More than a classic band, Subsonica are indeed a multi-tentacled creature, charged with pulsing electrical shockwaves, always open to collaborations and fed by five very different talents, its tentacles entering and exiting from the parent to go hunting for other projects.

A single intermittent but always positive current. Baustelle Along the journey between refined songwriters and epic orchestral power slashes, the evolution of Baustelle has had the good luck of brushing along diverse borders but has never been in short supply of the dandy style that marks the singers of outright decadence: a narration dominated by the irritability and bad-tempers of young love, flows among alcoholic nostalgia, murder ballads and fetishes as capable of sweeping one away to stylish Parisian bistros as to a polluted beach in the province.

Each disc rises and falls, as bipolar as the two voices of the group, Rachel Bastreghi and Francesco Bianconi, a combination of male and female voices that resembles and brings to mind Serge Gainsbourg. Teatro degli Orrori The din of guitars and fiery passionate words as an antidote to awaken consciences. The resounding success of this band, having gone out with a delayed bang about ten years ago, personifies the verve of its front-man Pierpaolo Capovilla: the vocal stylings of Carmelo Bene, rebellious spirit of Pier Paolo Pasolini and the restlessness of the s.

Gloomy, by definition, Teatro degli Orrori represent the cultured face of our rock, navigating between typically Italian criticalities and literary references of all genres, draw-. At the center of their lyrics is our contemporary culture offered in all its unpalatable rawness and handed down to posterity. An urgent mission best accomplished through the auspices of rock. Bud Spencer Blues Explosion In the footsteps of the White Stripes and taking their name from the genius of Jon Spencer not to mention good old Bud , drummer Cesare Petulicchio and guitarist Adriano Viterbini are a duo riding astride through traditional blues and dynamic punk, unique in renouncing the sacredness of the lyric to beautifully tranfer the sounds of the Italian language to totally alien landscapes.

Two horses intended for a much larger stage. A Toys Orchestra Colorful talents from the rock of southern Italy precisely, from Campania , the band led by Enzo Moretto has just a couple of songs in Italian, while the rest of their repertoire is a continuous pursuit, in the British language, of multiple references, with a taste of pop-rock that makes them highly amenable, but never prisoners of the rules.

Sillabario della memoria (Italian Edition) Sillabario della memoria (Italian Edition)
Sillabario della memoria (Italian Edition) Sillabario della memoria (Italian Edition)
Sillabario della memoria (Italian Edition) Sillabario della memoria (Italian Edition)
Sillabario della memoria (Italian Edition) Sillabario della memoria (Italian Edition)
Sillabario della memoria (Italian Edition) Sillabario della memoria (Italian Edition)
Sillabario della memoria (Italian Edition) Sillabario della memoria (Italian Edition)
Sillabario della memoria (Italian Edition) Sillabario della memoria (Italian Edition)

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