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review "Lorna" The introduction of


Review "Lorna"

Saltinaria : http://www.saltinaria.it/recensioni/cdpromodemo/9446-santo-barbaro-lorna-cd.html

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From the website of Sergio Segio (www.micciacorta.it "):

http://www.micciacorta.it/component/content/article/25-libri/1969-esce-lorna-il-nuovo-cd-di-santo-barbaro.html

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The future? Later. The golden age is over


and between the state, governments, laws, politics and everyday life of citizens There was always a great distance is known. Today
this distance is made more massive by a consideration of character, as it were, symbolic that makes it almost grotesque.
The theme is the future. Political group that is causing the crisis of government was given the name and future freedom. Large areas policies do a great reliance on the descent into the field di Montezemolo, whose foundation is called Futura Italy. In short, the future is the tea that warms the hearts and sharpen their weapons.
But what is the future? Think about it: at this time when the political talk about the future, while being denied the future of this country. The cuts to the school for example. Those who have children know what it means in practice schools have no toilet paper (to say something emblematic), who attended the university knows that the cuts of the budget will make it impossible to research and study. A proposed research: the research is throwing money, a waste, then cut all funding to research institutions (including universities). We deny the money to the cinema and entertainment, is not useless stuff that feeds.
What is the future, then? The future is ignorant young men who will become ignorant of the future is that researchers will be forced to emigrate (as to what is already the case), the future is dependent in all respects from the other countries, those that even in times of crisis have not dreamed of cutting funds for research. The future are the Italian movies that disappear from the screens around the world because it will produce no more and no young person can study the film will have no way of knowing that then make the object of his studies.
I mean, talk about the future and simultaneously kill him. Twenty years from now, thirty years Italy will be worse than now, because who will take care to make it better not have had the tools to grow, advance, create and invent. The future is already past.

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Interview on "Lorna"


Interview on "Lorna"

The workshop Hamlin : http://www.labottegadihamlin.it/interviste/62/592-pieralberto-valli-la-rivolta-silenziosa-di-un-qsanto-barbaroq

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review "Lorna"


Review "Lorna" (out Dec. 17)

The workshop Hamlin : http://www.labottegadihamlin.it/archivio-recensioni-musicali/43-2010/595- Saint-barbarian-lorna-ribess recods-2010-

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E 'was a real pleasure to assist the other night at the concert Ennio Morricone at the Forum of Assago.
Morricone staked an orchestra of more than 100 items: a mighty and powerful sound that mixed the epic of many of his compositions, he delighted the audience. And weighing in
Morricone can not but bring to mind the genius of the Italian cinema of the past, that which would point to the rest of the world cinema, the Italian art of composing melodies.
Morricone has done it. And 'interesting to note, however, that the first director with whom he worked was the maestro Sergio Leone (and the rest made up for him among the most beautiful soundtracks, including the famous The Golden Age). Well, I discovered that Morricone and Leone were classmates at elementary. Perhaps even then if someone did not know you could not achieve any dream job?
Of course today the idea that to be born another Morricone makes you smile. If there were, who would work? Where to find opportunities to get noticed, how could refine the experience to emerge and dominate the world? If there was a new Morricone, a political boss who should refer to be heard, to make a test recording to settle for a director (in turn driven by who knows who).
Italian culture dies because of the talent and opportunities is interposed a funnel ever more closely.
I hope very much that there is a new Morricone around. Me forced her heart to see him squirm in quell'imbuto to damage and then die of suffocation.

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review "Lorna"

Review "Lorna" (out Dec. 17) Freak out

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The need to listen to stories


The need to listen to stories is inherent to man. From the cave, the history of man is the desire and the need to listen and discover the lives of others, the emotions of other people, the need to know how it finire.Questo master of the lives of others, the deep desires of others is simply that shape our culture. It is formed and enriched by the stories of people, the novels we read, movies we watch.
There have been stories written and oral histories. There are intellectuals (especially stories written) and ordinary people (users of oral histories. Over the years, television has been 'need for ordinary people to "know how it ends." The golden age of drama, in the 60 and 70 was a way to acculturate the masses but also, more simply, the answer to this need for story.
In the past quarter-century culture has partly broken Berlusconi these needs by creating new ones. It 'exploded in the 80's cravings fun, escape, to withdraw. The television commercial was married in the middle of this new demand (or it has the same clay, no one can say which of the two hypotheses is more sensible). The state television has quickly adapted to this new trend in television and the story has lost enamel and especially space. E 'remained the only fiction that fact over the last decade is the part of television's most successful. The rest is pure disengagement, syncopated rhythms, pills show, sketch quick. And so the TV has ceased to think. But that desire
primordial tale remained. We all want to know "how it will end," and we are beginning to understand that just want to take away this desire. The most sensitive part of the television has received, perhaps, these nebulae cravings in the air and ran for cover. In recent months, we see small signs of change in the trend: the desire of stories, the need to tell you once again. Here is a small list of signs by which this occurs return to the desire of storytelling: The monologues of Saviano, what else are they but stories with a beginning and a middle in the end we want to know? Big brother (one of the few "old" programs to resist) is more alive than ever as he recounts stories of emotions, most complex characters (the nomadic life troubled by Ferdinand, who won the last edition, for example). The account of policy making in his Mentana tg else is if you do not want to understand how it ends? It tells the parable of the politician Berlusconi who, as a story of a man, a real interest in the country. And then the great fiction, when they tell stories that speak of lives of men, have always notable successes. And the case Scazzi? Aside from the macabre to the true story, is it not the desire to know and understand what happens in families, even in those strange families in the fund could also be ours? And the perennial success of those who saw it, I think it's only interest in the story of real life stories. Other examples could be done.
I do not know if the age of the pupae and nerds, sketch of hit and run, speed mistaken for rhythm, inculturation, is actually falling. But I do know that the desire to listen, watch, read and understand the emotions of the human race is not dead, far from it: in this period a revival. E ' culture that does not want to die in this country has felt threatened and is raising its head.

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consider the article by Curzio Maltese (below) a sensible and logical continuation of my previous post. And I confirmed that indeed something new is happening ...

Away from theater to television
Curzio Maltese

"Come away with me" was the most beautiful Italian songs and is now the title of a program full of defects, as noted by the critical degree. But who cares. It is a historic event, it signals the death of Berlusconi television.
The prodrome, the archetype, ideology, the foundation the last two decades in politics. A program that beats the Big Brother not only with a resounding Benigni, that would be understandable, but with Don Gallo and stories of the Roma or 'Ndrangheta Milan hinterland, not a cultural phenomenon, but the indicator of a change of Italian society.

The theater of television is the background for the theater of politics, a favorite target of Berlusconi. For better or for worse, in the political theater of the important things are happening and new, as the final crisis of Berlusconi. In the theater, but television is completely immobile for twenty years, at least in appearance. The Berlusconi-rule, since the quiz Tg1, the last program for home in the morning or afternoon. All the talk shows, even the alternative and "against", are monopolized by a company formed around a maximum of twenty people who camp in the joint studies Rai-Mediaset and transmigrate from one channel to another, from a Vespa Santoro Ballarò forming a single jam. From the point of view of style, not content to charity, this just makes Annozero bolsa Porta a Porta. The worker on strike in a national uprising, the unemployed are only the scenery outside Naples, the extras boundary interminable, incomprehensible and ultimately useless chicken coop studio.

The first merit of "Come away with me" is to break this representation. There is no theater. You can see and really listen to the characters and themes expelled from television for years. Ligabue and Roma, Benigni and the secular state, Don Gallo and street prostitution, Paolo Rossi and immigration. Not surprisingly, the less effective the other night was the dreaded Fini and Bersani. The usual war time censorship of Berlusconi is particularly grotesque and ineffective because it is clear to everyone, including the center-right voters who "Come away with me," unlike other programs "prohibited" does not lead to political battles, but social. And it is another reason why an oasis from political theater and television.

I could not even say if television is new or very old, maybe pre or post Berlusconi Berlusconi, with flavors of Rai once, Barbato and Biagi, TvSette and "It's never too late." It is flawed, they said. Slow, at times pedantic, obsessed by lists, too politically correct. Roberto Saviano said the 'Ndrangheta in Lombardy as the teacher explained the grammar Manzi, in an almost naive, that may amuse the journalists covering these issues for decades. But as Saviano brings this knowledge from specialists to nine million Italians, as Gomorrah with tens of millions of readers, make us laugh. The only thing you can do with Saviano is to thank him, love him and protect him from the ferocity with the popularity of his enemies. Those with the Kalashnikov and the other in double-breasted.

Roberto Maroni is a good minister of the interior, heavily involved in the fight against the mafia. But when love for the flag denies the historical fact of the development of the 'Ndrangheta also in Lombardy and Northern League just refuses even to discuss, do not say investigate, acts as a two-bit politician.
The success of "Come away with me" is still beyond these controversies and attempts at censorship. It is the epiphany of a change in mood of the country. With a TV public service from the seventies, the various arts program of Fazio and Saviano has intercepted a paradoxical need for new codes and languages, and has brought back to the audience Rai a young and educated who had long since abandoned in disgust public networks to escape anywhere from Mentone to Sky. It was a small, unpredictable television revolution. After so many years, of course. But it's never too late.

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Chicco, come with me and Mike Raymond



Two recent television phenomena are of some quick thinking.
The phenomena are: the TG of Mentone and the program come away with me. On this program you could say many things (freedom of the press, civic engagement, the opposition etc.). But they are things that already focuses much of the press and critics.
One thing I would say instead that unites the two programs. Both the TG of Mentana Come away with me that are there to remove a commonplace that in recent years has become a gospel on television today is the speed (also exchanged with the rhythm).
fact there is no program (from the news variety) that has this logic, this dogmatic belief that everything DVE be rapid, should last a few seconds, a maximum of one minute and then you have to move on. Whether it be a service on the day politics, is a song (a song cut through the X factor to make them last a minute or so), it is a ballet, it is an interview (with very few exceptions). The dogma is the result of the belief that everything that will last a little more dangerous because it is the public soon tires and change the channel.
Well, the two phenomena I was talking about are there to disprove this thesis. The problem is not trying to do things not to bore short, the problem has come up with something good. Point. If there is something worth following for more minutes, you can be sure that the public will follow. Services in the tg Mentana not last twenty seconds and in other news. The services of the TG of the 7 last one, even two minutes because they have the ambition (what a revolutionary tg!) To explain what happened, why it happened and what comments there are to do. In the same way in the program of Fazio and Saviano, the moments will last a lot: a monologue by Saviano takes twenty minutes, the intervention of Benigni lasted half an hour to Abbado idem. This tv (beyond the controversy over I like / I do not like) shows that we can take care of something if that something is well represented. We are not balls, if something interests us and we look at the brain works for more than twenty seconds. Whether it's a new line? Hopefully.