User:Pjoef/Sandbox/Arts

=999= =The Biggest Prize in Sport=
 * http://www.scannerzine.com/999.htm
 * http://www.scannerzine.com/999.htm

Background, recording, and production

 * Separates (September 1978, United Artists, UAG 30209)
 * High Energy Plan (U.S./Canada Release only: 1979, PVC / Radar / Passport) Based upon Separates, with a different cover and slightly altered track listing; on High Energy Plan, "Tulse Hill Night" and "Out of Reach" are replaced by "Waiting" and "Action".
 * From UA to Polydor/Ariola
 * USA tour
 * Labritain broke his arm → Ed Case
 * European tour


 * UK's gigs
 * 362 999, Black Slate Roundhouse, London 19.03.1978 9.25
 * 394 999 Camden Music Machine, London 30.05.1978 9.25
 * 427 999 Nashville Pub, London 28.07.1978 9.25
 * 604 999, Donkeys Marquee Club, London 05.10.1979 9
 * 648 999 Nashville Pub, London 15.12.1979 9
 * 773 999, Spizz 80, Splodge Lyceum Theatre, London 17.09.1980 9.25

Early 1979 saw 99 tour the USA, an achievement in itself as they were still without a USA record deal at the time! The response was ecstatic and a deal with Polydor sealed.
 * from http://www.nineninenine.net/englishwipeoutnews.htm

After two albums 999 left United Artists, recorded a further 10 albums and to date have completed 13 USA tours, 87 London gigs, 26 UK tours and 19 European tours. An impressive tally from one of the most outstanding bands of their generation.

The second album "Separates" was released and immediately the single "Homicide" leapt straight into the UK top forty without any Radio airplay and was banned by the BBC and most radio stations.
 * from http://www.nineninenine.net/Biography.htm

Early 1979 saw the band embarking on their first U.S. tour, which was an achievement in itself, as they were still without a record deal in America at the time. Response to the band was ecstatic, all the venues being filled and import albums being sold out in a rush of enthusiasm. The band were immediately booked for a return trip.

In end of 1978 LaBritain injuried in a car accident and was replaced by Ed Case who was band's long time fan. In March 1979 they made first American tour - not so successful. After the tour LaBritain came back to drums, but Ed was sill some kind of fifth member of the band.
 * from http://www.hiljaiset.sci.fi/punknet/999_e.htm

After UA 999 recorded to several record label but had only minor success with Albion in the beginning of 80's.

Action / Waiting (12" EP; Labritain 12-FREE-10) -78
 * -- LP -- Separates (10.000 contains a voucher with which You get Action maxi free; United Artists UAG-30209) 9/78
 * -- LP -- High Energy Plan (=Separates in USA, two tracks changed; PVC/Radar PVC-7999 (USA)) -79
 * I'm Alive / Quite Disappointing (United Artist UP-36159) 6/79
 * Found Out Too Late / Lie, Lie, Lie (Radar ADA-46) 9/79
 * Trouble / Made a Fool of You (Polydor POSP-99) 1/80
 * -- LP -- The Biggest Prize in Sport (Polydor POLS-1013) 1/80- later also as CD (Anagram CDPUNK 67)
 * Boys in the Gang // Brent Cross / Ain't Gonna Tell You (Liberty-United) 03/80
 * -- LP -- The 999 Singles Album (Liberty-United SOS-999) 6/80
 * -- LP -- The Biggest Tour in Sport (mini-LP; Polydor PD-1-6307(USA)) -80
 * Obsessed // Change / Lie, Lie, Lie (live) (Albion ION-1011) 4/81
 * Obsessed (mono) / Obsessed (stereo) (promo; Polydor PD-2172-DJ (USA) -81
 * -- LP -- Concrete (Albion ITS-999) 4/8

End of 1979: Ed Case temporarily replaces an injured Pablo Labritain on drums. Spring 1980: Labritain returns after injury.
 * from 999's article

999 toured widely in the United States and the band was rewarded when their albums The Biggest Prize In Sport and Concrete charted on the Billboard 200. In the US, "Homicide" & "Hollywood" garnered frequent rotation on Rock of the 80s format radio stations like KROQ in Los Angeles. According to Dave Thompson, "For many Americans, they were the first to actually bother with the backwoods, playing places which other Brit bands hadn't heard of, and returning to them again and again. And while no one knows how many American bands were first inspired to take up arms by 999, those that did still wear their loyalties loudly."


 * 999 DISCOGRAPHY
 * 1978 UK "Emergency" 7" United Artists - UP 36399 (Demo copy in black/white PS (not a proof sleeve - it is a regular sleeve (Delga on back)))
 * 1978 UK "Emergency" 7" United Artists - UP 36399 (Demo copy in colour PS)
 * 1978 UK "Emergency" 7" United Artists - UP 36399
 * 1978 UK "Emergency" 7" United Artists - UP 36399 (Different label design: No "Side 1" and "Side 2" on labels)
 * 1978 Belgium "Emergency" 7" United Artists - 4C 006-60474
 * 1978 Holland "Emergency" 7" United Artists - 5C 006-60474
 * 1978 Japan "Emergency" 7" United Artists - CM-141 (Insert cover)
 * 1978 Portugal "Emergency" 7" United Artists - N-S-14-135
 * 1978 UK "999" LP United Artists - UAG 30199 (Printed innersleeve)
 * 1978 Australia "999" LP Wizard - ZL 229
 * 1989 France "999" LP Fan Club - FC 026 (Printed innersleeve)
 * 1978 Germany "999" LP United Artists - UAS 30 199 XOT (Printed innersleeve)
 * 1979 Germany "999" LP Ariola - 201 043
 * 1978 Greece "999" LP United Artists - UAG 30199
 * 1978 Japan "999" LP United Artists - GP-585 (WIth printed insert and obi)
 * 1978 Sweden "999" LP Liberty - UAG 30199 (Printed innersleeve)
 * 1978 USA "999" LP United Artists - UAG 30199 (Printed innersleeve. US release is imported UK edition with JEM sticker on front cover)
 * 1989 France "999" CD Fan Club - FC 026 CD
 * 1993 UK "999" CD Dojo - DOJO CD 149
 * 2000 UK "999" CD Captain Oi! - AHOY CD 147
 * 2007 UK "999" CD Captain Oi! - AHOY DPX 147 (Digi-pack)
 * 1979 Australia "Titanic (My Over) Reaction" 7" Wizard - ZS 309
 * 1980 Australia "Titanic (My Over) Reaction" 12" Wizard - ZS 12309 (In rubber-stamped die-cut sleeve)
 * 1978 UK "Me And My Desire" 7" United Artists - UP 36376
 * 1978 Germany "Me And My Desire" 7" United Artists - 36 376 AT
 * 1978 Spain "Me And My Desire" 7" United Artists - 15613-A
 * 1978 UK "Feelin' Alright With The Crew" 7" United Artists - UP 36435 (Demo)
 * 1978 UK "Feelin' Alright With The Crew" 7" United Artists - UP 36435
 * 1978 UK "Separates" LP United Artists - UAG 30209 (Printed innersleeve)
 * 1978 France "Separates" LP United Artists - 2S 062 61897
 * 1989 France "Separates" LP Fan Club - FC 027 (Printed innersleeve)
 * 1978 Germany "Separates" LP Ariola - 200 398
 * 1979 Japan "Separates" LP United Artists - GP-649 (With printed insert and obi)
 * 1978 Sweden "Separates" LP United Artists - UAG 30209 (Printed innersleeve)
 * 1989 France "Separates" CD Fan Club - FC 027 CD
 * 1993 UK "Separates" CD Dojo - DOJO CD 150 (Sticker on cover)
 * 2000 UK "Separates" CD Captain Oi! - AHOY CD 148
 * 1978 UK "Homicide" 7" United Artists - UP 36467 (Demo)
 * 1978 UK "Homicide" 7" United Artists - UP 36467 (Black vinyl. Push-out centre)
 * 1978 UK "Homicide" 7" United Artists - UP 36467 (Black vinyl. Solid centre)
 * 1978 UK "Homicide" 7" United Artists - UP 36467 (Green vinyl)
 * 1978 Germany "Homicide" 7" Ariola - 100 418
 * 1978 Holland "Homicide" 7" United Artists - 5C 006-61845
 * 1979 Spain "Homicide" 7" United Artists - 10C 006-082.620
 * 1978 UK "Waiting" 12" Labritain - 12 FREE 10
 * 1979 USA "High Energy Plan" LP PVC - PVC 7999 (Blue label design)
 * 1979 USA "High Energy Plan" LP PVC - PVC 7999 (Black/white label design)
 * 1979 Canada "High Energy Plan" LP Passport - 9167-9838
 * 1979 Canada "High Energy Plan" LP North American - NA-025
 * 1979 UK "Found Out Too Late" 7" Radarscope - ADA 46
 * 1979 UK "Found Out Too Late" 7" Radarscope - ADA 46 (Black/white picture sleeve)
 * 1979 UK "Found Out Too Late" 7" Radarscope - ADA 46 (Black/white picture sleeve. In stickered shrinkwrap with badge)
 * 1979 Germany "Found Out Too Late" 7" Ariola - 101 006
 * 1980 UK "The 999 Singles Album" LP United Artists - SOS 999
 * 1980 Portugal "The 999 Singles Album" LP United Artists - 11C 076-82855
 * 1980 Sweden "The 999 Singles Album" LP United Artists - 7C 062-82855
 * 1980 Germany "The 999 Singles Album" LP Ariola - 202 554
 * 1980 UK "The Biggest Prize In Sport" LP Polydor - POLS 1013
 * 1980 Canada "The Biggest Prize In Sport" LP Polydor - PD-1-6256 (Printed innersleeve)
 * 1980 France "The Biggest Prize In Sport" LP Polydor - 2383 563
 * 1980 Germany "The Biggest Prize In Sport" LP Ariola - 201 331 (Printed innersleeve)
 * 1980 Holland "The Biggest Prize In Sport" LP Ariola - 201 331 (Printed innersleeve)
 * 1980 Greece "The Biggest Prize In Sport" LP Polydor - 2383 563
 * 1980 Sweden "The Biggest Prize In Sport" LP Albion - 9198 728
 * 1980 USA "The Biggest Prize In Sport" LP Polydor - PD-1-6256 (Printed innersleeve)
 * 1980 USA "The Biggest Prize In Sport" LP Polydor - PD-1-6256 (Re-release with different label-layout and different back sleeve design)
 * 1980 USA "The Biggest Prize In Sport" LP Polydor - PD-1-6256 (Promo. Printed innersleeve)
 * 1995 UK "The Biggest Prize In Sport" CD Anagram - CD PUNK 67
 * 1980 Austria "Boys In The Gang" 7" Ariola - 101 734-100
 * 1980 Germany "Boys In The Gang" 7" Ariola - 101 734-100
 * 1980 USA "Hollywood" 7" Polydor - PD 2076 (Promo only - plays same track both sides)
 * 1980 Germany "The Biggest Tour In Sport" MLP Ariola - 203 235
 * 1981 Sweden "The Biggest Tour In Sport" MLP Albion - ALB 999
 * 1980 USA "The Biggest Tour In Sport" MLP Polydor - PD-1-6307 (Sticker on cover)
 * 1980 UK "Trouble" 7" Polydor - POSP 99
 * 1980 Australia "Trouble" 7" Polydor - 2059 199
 * 1980 Portugal "Trouble" 7" Polydor - 2059 199
 * 1980 Sweden "Trouble" 7" Albion - 6198 317
 * 1981 UK "Obsessed" 7" Albion - ION 1011 (Sealed in shrinkwrap with patch)
 * 1981 UK "Obsessed" 7" Albion - ION 1011 (Embossed sleeve)
 * 1981 UK "Obsessed" 7" Albion - ION 1011 (Regular non-embossed sleeve)
 * 1981 Australia "Obsessed" 7" Liberation - LS-543
 * 1981 Germany "Obsessed" 7" Ariola - 103 369-100
 * 1981 USA "Obsessed" 7" Polydor - PD 2172
 * 1981 USA "Obsessed" 7" Polydor - PD 2172 DJ (Promo - plays same track both sides)
 * 1981 USA "Obsessed" 12" Polydor - PRO 155 (Promo only. Sticker on cover)
 * 1981 UK "Concrete" LP Albion - ITS 999 (Poster included)
 * 1981 Australia "Concrete" LP Liberation - LIB-5001
 * 1981 Canada "Concrete" LP Polydor - PD-1-6323
 * 1981 France "Concrete" LP Albion - 201880
 * 1981 Germany "Concrete" LP Ariola - 203 681
 * 1985 Germany "Concrete" LP Line - ALLP 4.00017 (White vinyl. Sticker from shrinkwrap)
 * 1981 Japan "Concrete" LP Victor - VIP-6784 (With printed insert and obi)
 * 1981 USA "Concrete" LP Polydor - PD-1-6323
 * 2003 UK "Concrete" CD Captain Oi! - AHOY CD 232
 * 1985 Germany "Concrete" CD Line - ALCD 9.00017
 * 1981 UK "Lil Red Riding Hood" 7" Albion - ION 1017 (Stencil insert cover)
 * 1981 South Africa "Lil Red Riding Hood" 7" Albion - ION 800
 * 1981 UK "Indian Reservation" 7" Albion - ION 1023 (Clear vinyl)
 * 1981 UK "Indian Reservation" 7" Albion - ION 1023 (Clear vinyl. Sticker included)
 * 1981 UK "Indian Reservation" 7" Albion - ION 1023 (Black vinyl. Grey label design)
 * 1981 UK "Indian Reservation" 7" Albion - ION 1023 (Black vinyl. Green label design)
 * 1981 Italy "Indian Reservation" 7" Albion - P 604
 * 1981 Sweden "Indian Reservation" 7" Albion - ION 1023
 * 1982 UK "Wild Sun" 7" Albion - ION 1033 (Black vinyl - promo only)
 * 1982 UK "Wild Sun" 7" Albion - ION 1033 (Red vinyl)
 * 1982 UK "Wild Sun" 7" Albion - ION 1033 (Yellow vinyl)
 * 1982 Germany "Wild Sun" 7" Albion - 2040 361
 * 1982 UK "Wild Sun" 12" Albion - 12 ION 1033 (Red vinyl)
 * 1982 UK "Wild Sun" 12" Albion - 12 ION 1033 (Yellow vinyl)
 * 1983 UK "13th Floor Madness" 7" Albion - ION 155
 * 1983 UK "13th Floor Madness" 12" Albion - 12 ION 155
 * 1983 UK "13th Floor Madness" LP Albion - AS 8502
 * 1984 Germany "13th Floor Madness" LP Line - LRLP 5352
 * 1985 Germany "13th Floor Madness" LP Line - ALLP 4.00073 (White vinyl)
 * 1988 Germany "13th Floor Madness" CD Line - ALCD 9.00073
 * 1984 Germany "Arabesque" 7" Line - 6.14168
 * 1984 UK "Identity Parade" LP Albion - ALB 118
 * 1985 UK "Face To Face" LP Labritain - LAB LP 1000 (Printed insert)
 * 1993 UK "Face To Face" CD Obsession - OBSESS CD 003
 * 1986 UK "In Case Of Emergency" LP Dojo - DOJO LP 31
 * 1987 UK "Lust Power And Money" LP ABC - ABC LP 11 (Printed innersleeve)
 * 1987 France "Lust Power And Money" LP Accord - 130093 (Printed innersleeve)
 * 1987 UK "Lust Power And Money" CD ABC - ABCD 11
 * 1993 UK "Lust Power And Money" CD Dojo - DOJO CD 129
 * 1987 UK "Feelin' Alright With The Crew - Klub Foot 18.04.87" VHS Jettisoundz - JE 162
 * 2004 UK "Feelin' Alright With The Crew" DVD Cherry Red - CRDVD 44
 * 1989 UK "Live And Loud" LP Link - LINK LP 107
 * 1990 UK "Live And Loud" CD Link - LINK CD 107
 * 1990 UK "The Cellblock Tapes" LP Link - LINK LP 125
 * 1991 UK "Greatest Hits Live" CD Street Link - STR CD 026
 * 1991 USA "Live In LA 1991" CD Triple X - 51076-2 (In longbox)
 * 1992 UK "The Early Stuff - The UA Years" CD EMI - CDP 7986022
 * 1992 UK "The Early Stuff - The UA Years" MC EMI - TCGO 2031
 * 1992 Germany "Concrete/13th Floor Madness" 2xCD Line - LICD 9.21197
 * 1993 UK "You Us It!" CD Anagram - CD GRAM 71
 * 1997 UK "You Us It!" CD Anagram - CD PUNK 92 (Sticker on cover)
 * 1994 UK "The Cellblock Tapes" CD Step-1 - STEP CD 045 (Split release: Slaughter And The Dogs)
 * 1995 UK "Live And Loud" CD Step-1 - STEP CD 053 (Split release: Sham 69)
 * 2001 UK "Live And Loud" CD Step-1 - STEP CD 053 (Split release: Sham 69. Re-release with different artwork)
 * 1996 Germany "Scandal In The City" CD Line - 9.01326
 * 1996 UK "The Albion Punk Years" CD Anagram - CD PUNK 78
 * 1997 UK "Takeover" CD Get Back - GBR 010 CD
 * 2005 Poland "Takeover" CD Noise Annoys - NOISE 055
 * 1997 UK "Emergency" CD Receiver - RRCD 245
 * 1998 USA "Homicide - The Best Of" CD Cleopatra - CLP 0178-2
 * 1998 UK "Slam!" CD Overground - OVER 84 CD
 * 1999 UK "Dancing In The Wrong Shoes" CD Receiver - RRCD 266
 * 2001 UK "English Wipeout" CD Overground - OVER 90 VP CD
 * 2001 UK "The Punk Singles 1977-1980" CD Captain Oi! - AHOY CD 176
 * 2002 UK "The Biggest Tour In Sport/The Biggest Prize In Sport" CD Captain Oi! - AHOY CD 207
 * 2003 UK "Outburst!" CD Overground - OVER 95 VP CD
 * 2003 UK "999/Separates" CD EMI - 584 1232
 * 2005 Italy "Live At The Nashville 1979" LP Get Back - GET 143 (Sticker from shrinkwrap)
 * 1997 UK "Live At The Nashville 1979" CD Anagram - CD PUNK 93
 * 2007 UK "Nasty Tales" CD Secret - CRIDE 69 (Sticker on cover)
 * 2007 Czech Republic "Death In Soho" LP Papagajuv Hlasatel - PH 083 (Printed insert. Yellow vinyl. 999 cloth bag included)
 * 2007 Czech Republic "Death In Soho" LP Papagajuv Hlasatel - PH 083 (Printed insert. Black vinyl)
 * 2007 UK "Death In Soho" CD Overground - OVER 119 VP CD
 * 2007 USA "Gimme The World" 7" Dr. Strange - 7333301/2 (Black vinyl. Patch included)
 * 2007 USA "Gimme The World" 7" Dr. Strange - 7333301/2 (Splatter vinyl. Patch included)
 * 2007 USA "Gimme The World" 7" Dr. Strange - 7333301/2 (So-called Test Pressing (Test Pressing made to be sold))
 * 2009 USA "Gimme The World" 7" Dr. Strange - 7333301/2 (Black vinyl. Folded sleeve. Limited numbered tour edition of 300 copies)
 * 2009 USA "Live Homicide" CD Airline - AIR-CD-0220

Release, promotion, and marketing

 * 1979 release
 * Singles
 * Spring 1980: Labritain returns after injury.
 * Following tours


 * Singles
 * "Found Out Too Late" / "Lie Lie Lie" (September 1979, Radar Records) # 69
 * "Trouble" / "Make A Fool Of You" (January 1980, Polydor)
 * "Hollywood" / "Boiler" (April 1980, Polydor)

Artist: 999 Title: Found Out Too Late Type: Single Entered chart on 27/10/1979 at #69 Most recent chart entry on 03/11/1979 at #75 Chart Appearances: 2 Highest Position: 69
 * ChartArchive - 999 - Found Out Too Late (Link redirected to OCC website)

Found Out Too Late Ariola 09.1979 Boys In The Gang Albion 1980 Trouble Polydor 1980

Found Out Too Late / Lie, Lie, Lie [p] September 1979 Vinyl 7" Radar / ADA 46 United Kingdom Found Out Too Late / Lie, Lie, Lie Promo 1979 Vinyl 7" Radar / ADA 46 United Kingdom Found Out Too Late / Lie, Lie, Lie 1979 Vinyl 7" Ariola / 101 006-100 Germany Found Out Too Late / Lie, Lie, Lie Limited Edition, Promo 1979 Vinyl 7" Radar / ADA 46 United Kingdom
 * RYM

Hollywood / Hollywood [p] Promo 1980 Vinyl 7" Polydor / PD 2076 United States

Trouble / Made a Fool of You [p] 45 rpm January 18, 1980 Vinyl 7" Polydor / POSP 99 United Kingdom Trouble / Made a Fool of You 1980 Vinyl 7" Polydor / 2059 199 Australia Trouble / Made a Fool of You 1980 Vinyl 7" Polydor / 2059 199 Portugal

Boys in the Gang / Brent Cross [p] March 1980 Vinyl 7" Albion / 101 734 Germany Boys in the Gang / Brent Cross 1980 Vinyl 7" Ariola / 101 734-100 Austria

Found Out Too Late ‎(7", Single) Radar Records (5) ADA 46 UK 28 Sep 1979 Found Out Too Late ‎(7", Single) Ariola, Ariola, Albion Records 101 006, 101 006-100 Germany 1979 Found Out Too Late ‎(7", Single, Ltd) Radar Records (5) ADA 46 UK 28 Sep 1979
 * Discogs

Boys In The Gang / Brent Cross ‎(7") Albion Records 101 734 Austria 1980 Boys In The Gang / Brent Cross ‎(7", Single) Albion Records, Albion Records 101 734, 101 734 - 100 Germany 1980

Trouble / Made A Fool Of You ‎(7", Single) Polydor POSP 99 UK 1980 Trouble / Made A Fool Of You ‎(7", Single) Albion Records 6198 317 UK 1980 Trouble / Made A Fool Of You ‎(7", Single) Polydor 2059 199 Portugal 1980

Hollywood‎ (7", Promo) Polydor PD 2076 US 1980

Musical style, writing, and composition
Comments from: http://www.nineninenine.net/albums/biggestprizeinsport.htm#comments

The following notes were taken from the liner notes inside the Anagram CD (reproduced here with absolutely no permission whatsoever)

Boys In the Gang

Good old Ed Case thumpin' the tubs for the first time 'cos poor Pablo broke his arm. Ed was only 17 and driving vans for a living. He did his first gig with us in Germany without a rehearsal 'coz he was in the Southall Crew (our boys and girls) anf knew all the songs by heart. His first gig was at the S.O.36 club in Berlin in front of 2,000 people. He played great and when I told the audience he was only 17 and joined yesterday with no rehearsal they clapped and cheared him for about 10 minutes solid. He never went back to driving vans again.

Inside Out

Life on the street in 1980 feeling a bit paranoid and screwed up etc. Did the community care? Who wasn't inside out?

Trouble

Saturday night, you're out, the band's playing, anything could happen and it usually did. 'Always looking over yer shoulder' to this shankin', skatellite, sound.

So Long

Guy waiting for his train.

Fun Thing

Guy having fun - Jon and I hopping in unison across the stage together!

Biggest Prize In Sport

Well you can't help it if you wake up in the morning with a hard on can you? Trust them to take the title literally and use it as the theme music for the International Windsurf Championships.

Hollywood

Our first trip to Hollywood, USA - a New Wave Judith Chalmers holiday whistle stop tour which blew a few illusions.

Stranger

An existential 999 - eh what! 999

Stop! Stop!

Stop!

English Wipeout

Most Top Rank establishments throughout the country were completely trashed after the gigs and the managers found out that 999 and it's audience were absolutely nothing like the Rubettes and their audience.

Shake

Shakin' all over.

Boiler

Ode to transsexual shemales in Detroit

Made A Fool Of You

Penned by Jon 'The Nail' Watson, a good bloke to have in a tight spot. He once save dour bacon at the Lafayette Club, Wolverhamption, by fearlessly putting himself and his bass between between us and an audience intent on beating the shit out of us.

Found Out Too Late

Recorded overnight between bouts of mammoth world touring.

Lie Lie Lie

What can I say. Some people do and some people don't. Guy and I wrote this after a good session in a pub in Streatham.

Artwork and packaging
Design [Front Cover] – Malcolm McGarrett

Touring

 * USA 1980
 * Mar 8 1980 999 at Santa Monica Civic Auditorium, Santa Monica, CA, USA Artist: 999, Venue: Santa Monica Civic Auditorium, Santa Monica, CA, USA
 * Mar 10 1980 999 at Keystone, Berkeley, CA, USA Artist: 999, Venue: Keystone, Berkeley, CA, USA
 * Apr 24 1980 999 at The Pier, Raleigh, NC, USA Artist: 999, Tour: Biggest Tour in Sport, Venue: The Pier, Raleigh, NC, USA
 * Apr 28 1980 999 at The Agora, Tampa, FL, USA Artist: 999, Tour: Biggest Tour in Sport, Venue: The Agora, Tampa, FL, USA
 * Apr 29 1980 999 at Agora Ballroom, Hallandale Beach, FL, USA Artist: 999, Tour: Biggest Tour in Sport, Venue: Agora Ballroom, Hallandale Beach, FL, USA

Critical reception
Review by Steve "Spaz" Schnee
 * AllMusic

After two terrific albums with United Artists, the boys in 999 signed a deal with Polydor and released what is now considered as their finest full length LP, "The Biggest Prize In Sport". While still a 'punk' band, 999 were born during the pub scene and had more meat on their musical bones than most punks, and instead of turning away from their punk sound, they simply refined it. Upon first listening to this album, many folks were amazed to find out that 999 were a great rock n roll band, punk or no punk. The edges are still there, but they are more well-rounded this time out thanks to producer Vic Maile. The anthemic "Boys In The Gang" starts off the set in style (but 999 always knew how to kickstart an album). "Inside Out", with Guy Days' twisted guitar riff, picks up the pace. Although "Trouble" slows things down with it's reggae groove, it's such a great change of pace (Nick Cash's wail sounds similar to the Specials' Terry Hall on this track). "Fun Thing" has a great little hook and a powerful guitar solo that will grab you by the balls. "Hollywood", about their first trip to California, received solid airplay in the U.S., and has remained a 999 classic ever since. "Stop! Stop!" is a bouncy little bubblegum punk nugget. Practically every track a classic, Anagram's 1995 reissue adds three bonus trax, making this a must have for anyone interested in the punk and new wave scene of the late '70s and early '80s.

The Biggest Prize in Sport teamed 999 (temporarily a five-piece, having added a second drummer to aid the injured Pablo Labritain) with producer Vic Maile, resulting in a disc that is trebly and lifeless, except for the poppy title track, which sounds like an East End Ramones. Hoping to stir up some domestic interest, 999's American record company issued a six-song mini-album, The Biggest Tour in Sport, recorded live in 1980 in the States. The sound's good and hot; selections include "Homicide," "Emergency" and "Feelin' Alright with the Crew."
 * Ira

Accolades
999 ‎– The Biggest Tour In Sport Genre: Rock Style: New Wave, Punk Year: 1980 Label: Polydor ‎– PD-1-6307 Format: Vinyl, LP, Mini-Album Country: US Label: Albion Records ‎– 203 235-241, Albion Records ‎– 203 235 Format: Vinyl, LP, Mini-Album Country: Germany Label: Albion Records ‎– ALB 999 Format: Vinyl, LP, Mini-Album Country: Norway Released: 1980

Tracklist

A Homicide  4:08

B1 Feelin' Alright With The Crew 3:39 B2 Inside Out 2:09 B3 Titanic Reaction 3:16 B4 Emergency 2:44 B5 Boys In The Gang 2:50

Companies etc Distributed By – Ariola Record Company – Ariola Eurodisc GmbH Phonographic Copyright (p) – Albion Records Ltd. Printed By – Mohndruck Graphische Betriebe GmbH

Credits Design – Caramel Crunch Mixed By, Producer – Vic Maile Photography By – Pablo Labritian Written-By – Guy Days, Nick Cash

Notes Recorded live.

Versions The Biggest Tour in Sport [p] 1980 LP, MiniAlbum, Vinyl 12" Polydor PD-1-6307 United States The Biggest Tour in Sport Live 1980 LP, MiniAlbum, Vinyl 12" Ariola 203 235 (RYM)/Albion Records, Albion Records 203 235-241, 203 235 (DGS) Germany The Biggest Tour in Sport Live 1980 LP, MiniAlbum, Vinyl 12" Albion ALB 999 Sweden (RYM)/Norway (DGS)

The Biggest Tour in Sport / The Biggest Prize in Sport [p] 2002 CD Captain Oi! / AHOY CD 207


 * http://www.discogs.com/999-The-Biggest-Tour-In-SportThe-Biggest-Prize-In-Sport/release/3269461

999 - The Biggest Tour In Sport/The Biggest Prize In Sport Label: Captain Oi! ‎– AHOY CD 207 Format: CD, Compilation Country: UK Released: 2002 Genre: Rock Style: New Wave, Punk

Tracklist

The Biggest Tour In Sport 1 Homicide 4:08 2 Feelin' Alright With The Crew 3:39 3 Inside Out 2:09 4 Titanic Reaction 3:16 5 Emergency 2:44 6 Boys In The Gang 2:50

Bonus Singles 7 Made A Fool Of You (Written-By – Watson) 3:15 8 Found Out Too Late 3:38 9 Lie Lie Lie 2:57

The Biggest Prize In Sport 10 Boys In The Gang 2:44 11 Inside Out 2:01 12 Trouble 2:31 13 So Long 2:43 14 Fun Thing 3:34 15 The Biggest Prize In Sport (Written-By – Watson) 2:59 16 Hollywood 3:00 17 Stranger 2:12 18 Stop!Stop! 2:03 19 English Wipeout 3:26 20 Shake 2:24 21 Boiler (Written-By – Watson, Labritain) 3:45

Companies etc Glass Mastered At – Clear Sound And Vision Phonographic Copyright (p) – Captain Oi!

Credits Design – Tim Smith Liner Notes – Nick Cash Mastered By – Tim Turan Written-By – Days (tracks: 1 to 6, 8 to 21), Cash (tracks: 1 to 6, 8 to 21)

Notes All tracks licensed from 999.

Certifications


=Theodoros Angelopoulos=



Greek film director Theo Angelopoulos is one of the most influential and widely respected filmmakers in the world. Angelopoulos's unique cinematic vision... the quintessentially Greek nature of the director's work... 3,000 years of Greek culture and history. Angelopoulos has used cinema to explore the history and individual identities of his culture. With such far-reaching influences as Greek myth, ancient tragedy and epic, Byzantine iconography and ceremony, Greek and Balkan history, modern Greek pop culture including bouzouki music, shadow puppet theater, and the Greek music hall tradition, Angelopoulos emerges as an original "thinker" with the camera, and a distinctive director who is bound to make a lasting contribution to the art form.

In a series of films including The Travelling Players, Voyage to Cythera, Landscape in the Mist, The Suspended Step of the Stork, and most recently in Ulysses' Gaze starring Harvey Keitel (winner of the 1995 Cannes Film Festival Grand Prix), Angelopoulos has developed a remarkable cinematic style, characterized by carefully composed scenes and an enormous number of extended long shots. In an age of ever decreasing attention spans, Angelopoulos offers a cinema of contemplation.

Since 1975, the Greek art ﬁlm industry has been dominated by the director Theodoros Angelopoulos. He made such masterpieces as The Traveling Players, which shows how a repertory touring group might have responded to the rural province in pre war years and also how the historical theater company took care to negotiate its way into potentially hostile towns. Angelopoulos explored in Alexander the Great (1980) the relation between leadership and dreams of social improvement.



=AreA & Demetrio Stratos=
 * gnosis2000 reviews areainfo
 * larrylooney.blogspot revisiting-old-favorite-area



=Luis Bacalov=

Discography

 * http://rateyourmusic.com/artist/luis_enriquez_bacalov

Studio albums

 * 1966 Una rosa per tutti (LP CBS 62908; 1967 LP CBS 37494)
 * 1967 Quién sabe? (LP Dischi Parade FPR 312, Intermezzo IMGM 011; 1986 CD Intermezzo, Generalmusic; 1999 CD reissue Alhambra A 8932; 2002 CD reissue GDM Music 7014; 2006 CD reissue King Records KICP 2595)
 * 1967 We Still Kill the Old Way (Original Motion Picture Soundtrack) (LP United Artists; 1980 LP MCA 25039)
 * 1969 Musica per commenti sonori tratta dal film "Il prezzo del potere" (LP CAM PRE 8; 1992 CD reissue (as Il prezzo del potere) CAM CSE 027)
 * 1969 L'amica (LP Fonit Cetra LPP-143)
 * 1971 Lo chiamavano King (LP; 2000 CD Screen Trax CDST 332)
 * 1971 Pitturamusica/Corpopaesaggio (LP; Generalmusic)
 * 1972 Lo chiamavano Mezzogiorno (LP Generalmusic ZSLGE 55493; 1995 CD reissue as A Man Called Noon ("{lang|de|Der mann aus El Paso}}") Alhambra A 8935)
 * 1973 La seduzione (LP {{Fonit Cetra]] LPX 27)
 * 1973 The Summertime Killer (LP Seven Seas Music FML 6; 1998 reissue Good Music GI-3009; 2010 reissue QRSGC01; 2010 CD, RE, RM, Ltd. Quartet)
 * 1975 Desbandes (Soloist: Gato Barbieri) (LP Vista TPL1 1149)
 * 1980 La città delle donne (LP CAM SAG 9104 and Général Music France; 1991 CD reissues CAM 493205-2 – CSE 016; 1993 CD reissue Wave WWCP 7220)

2003 Sugar Colt KICP 2592) 2003 Sugar Colt GDM CD CLUB 7017)
 * 1983 Coup de foudre (LP 803044; 2010 CD reissue QRSCE019)
 * 2010 Coup de foudre (CD, Ltd.; Quartet Records))
 * 1983 L'art d'aimer (LP 803047)
 * 1983 Le jeune marié (LP 803045)
 * 1984 Le juge (LP Général Music France 803062)
 * 1984 Un amour interdit (LP 803071)
 * 1985 Django (1966) (LP Intermezzo IMGM 002; 1994 CD reissue A 8930; 1995 CD reissue KICP 2591; 1996 CD reissue CDST 322; 2007 CD reissue VQCD-10039)
 * 1985 Django (Original Motion Picture Soundtrack) (Intermezzo, Generalmusic)
 * 1985 Le transfuge General Music 803000)
 * 1988 La maschera 244916)
 * 1993 Luis Bacalov Plays Nino Rota (CD; CAM)
 * 1993 Texas 74321108622)
 * 1994 Anni Ribelli 493446-2)
 * 1994 Anni Ribelli (Original Soundtrack) (CD; CAM)
 * 1994 Il postino ("The Postman") (CD 493108-2; 1995 HR-62029; 1996 NANS 055S; 2002 509536-2)
 * 1994 The Postman (Il Postino) (CD; Miramax Records)
 * 1996 Il Vangelo secondo Matteo (Original Soundtrack) (CD, RE, RCA)
 * 1996 L'avvocato delle donne CDL 419)
 * 1996 La tregua 493109-2)
 * 1997 La tregua ("The Truce") (Original Motion Picture Soundtrack) (CD; CAM)
 * 1996 Ilona arriva con la pioggia 493192-2)
 * 1998 Cuori solitari (1969) SP/CR 200019)
 * 1998 Frontera Sur 7243 4 98322)
 * 1998 Polish Wedding 35834)
 * 1999 Milonga OST 142)
 * 1999 Milonga (Original Soundtrack) (CD; RCA)
 * 1999 The Love Letter 09026-63521-2)
 * 1999 Les enfants du siècle 466817)
 * 2000 Il cielo cade 498374-2)
 * 2002 Il consiglio d'Egitto 507739)
 * 2002 Lo scatenato (1967) SP/CR-20025)
 * 2002 L'ultima chance (1975) 7011 1
 * 2003 Sugar Colt 2 issues 1
 * 2003 Sugar Colt (Original Motion Picture Soundtrack) (CD; GDM Music)
 * 2003 Assassination Tango 09026-64023-2)
 * 2003 Il grande duello (1972) RBCP 2306)
 * 2004 Roma bene (1971) SP/CR-20029)
 * 2004 Marcinelle FRT 404)
 * 2005 La meravigliosa avventura di Carlos Gardel (CD 146)
 * 2007 L'oro dei bravados (1970) Verita Note VQCD-10045)
 * 2007 Sea of Dreams (2005) 302 066 849)
 * 2007 Caravaggio CRT 310)
 * 2007 I quattro del Pater Noster (1969) Verita Note VQCD-10057)
 * 2007 I quattro del Pater Noster (Original Soundtrack) (CD, R; Verita Note
 * 2008 A qualsiasi prezzo: Vatican Story (1968) VQCD-10070)
 * 2008 A qualsiasi prezzo (CD; Verita Note)


 * Collaborations and appearances
 * 1979 Sincretic 1 by Luis Bacalov and Giovanni Tommaso
 * 1980 Ten to Survive by Luis Enríquez Bacalov, Franco Evangelisti, Egisto Macchi, Ennio Morricone, and Nino Rota (LP T 58442)
 * 1997 John Williams Plays the Movies by John Williams SK 63000)
 * 1997 Cinema Serenade by Itzhak Perlman and John Williams SK 63005)
 * 2007 Per amore by Ennio Morricone and Luis Bacalov (Original Motion Picture Soundtrack) (CD, RE, RM; GDM Music)

Live albums

 * 1997 Concerto Premio Rota 1996' (CD, RM; CAM)

Compilations

 * 1995 A ciascuno il suo (1967) / Una questione d'onore (1965) (Original Soundtracks) (Point Records PRCD 109)
 * 1995 Il grande duello (1973) / Si può fare ... amigo (1972) (Original Soundtracks) (Point Records PRCD 120)
 * 1995 Ricatto alla mala ("The Summertime Killer") (1972) / La polizia è al servizio del cittadino? (19??) (Original Soundtracks) (Point Records PRCD 115)


 * 1995 La più grande rapina del west (1967) / L'oro dei bravados (1970) (Original Soundtracks) (CD, RE, Ltd.; GDM Music)
 * 2001 La più grande rapina del West (1967) / L'oro dei bravados (1970) (Original Soundtracks) (2008)


 * 1996 The Italian Western of Luis Bacalov (Vivi Musica CDS 7014)
 * 1998 Luis Bacalov: Mes films français (493838)
 * 2000 Lo chiamavano King... (1971) / Monta in sella!! Figlio di... / Partirono preti, tornarono... curati (Original Soundtracks) (CD, RM, Ltd. Screen Trax CDST 332)
 * 2004 Fantastico Bacalov! (SP/CR-00013)
 * 2005 L'amica (1969) / Supertestimone (1971) (Original Soundtracks) (3996710)
 * 2010 Lo scatenato (1967) / La bambolona (1968) / La pecora nera (1968) (Original Soundtracks) (Verita Note VQCD 10168)


 * Collaborations and appearances
 * 1995 Spaghetti Westerns, Volume Two [Various Artists] (32909)
 * 1997 Easy Tempo 3: Further Cinematic Easy Listening Experiences [Various Artists] 1 26
 * 1997 The Mood Mosaic - Volume 1: The Hascisch Party! [Various Artists] (3 issues 23 - 1997 The Mood Mosaic - Volume 1: The Hascisch Party! STONE 9551 21, 1997 The Mood Mosaic - Volume 1: The Hascisch Party! STONE 9551)
 * 1998 Easy Tempo 5: A Slammin' Cinematic Experience [Various Artists] (ET 911 CD)
 * 1998 Appears on: Easy Tempo 8: Cinematica!! Different Musical Horizons [Various Artists] (ET 922 CD)
 * 1998 Sexy Voices [Various Artists] CT/LS 0302 3 6
 * 1998 Beretta 70: Roaring Themes From Thrilling Italian Policefilms 1971-80 [Various Artists] (3 issues 2 48 - 1998 Beretta 70: Roaring Themes From Thrilling Italian Policefilms 1971-80 CDHW 053 2 45, 1998 Beretta 70: Roaring Themes from Thrilling Italian Policefilms 1971-80 CDHW 053)
 * 1999 Appears on: Easy Tempo 4: Kaleidoscopic Collection of Exciting & Diverse Cinematic Themes [Various Artists] (ET 907 CD)
 * 1999 Appears on: Easy Tempo 7: Bikini Beat [Various Artists] 2 26
 * 1999 Appears on: Up !!!!!! The Second [Various Artists] (SCEB 905 CD 3)
 * 2002 Appears on: The Best of the Italian Film Music [Various Artists] (CDDM001)
 * 2003 Appears on: Bossa In Italy [Various Artists] (2029)
 * 2003 Appears on: Kill Bill: Vol. 1 [Various Artists] (7 issues 17 841 - 2003 Kill Bill: Vol. 1 48570-2 16 736, 2003 Kill Bill: Volume 1 9362-48570-2 12, 2003 Kill Bill: Vol. 1 1-48570, 2003 Kill Bill Vol. 1 CDW 48570 1 6, 2003 Kill Bill Vol. 1 9362-48588-2 77, 2003 Kill Bill: Volume 1 CDW 48570 9, 2003 Kill Bill: Volume 1 9362-48570-2)
 * 2004 Appears on: Kill Bill Vol. 2 [Various Artists] (3 issues 7 474 - Kill Bill Vol. 2 9362-48676-2 6 444, Kill Bill: Volume 2 9362-48676-2 23, Kill Bill: Volume 2 48676-2)
 * 2004 Appears on: Keep It Solid Steel [Mr. Scruff] 2004 Keep It Solid Steel ZENCD84)2004 Keep It Solid Steel ZEN84)
 * 2008 Appears on: Varèse Sarabande: A 30th Anniversary Celebration [Various Artists] (302 066 900)

Filmography

 * 1963 La noia [The Empty Canvas] Composer: Original Music 1 6
 * 1964 La Congiuntura Composer: Original Music 1
 * 1964 Il vangelo secondo Matteo [The Gospel According to St. Matthew] Composer: Original Music 5 247
 * 1965 Una questione d'onore [A Question of Honour] Composer: Original Music
 * 1965 Questa volta parliamo di uomini [Let's Talk About Men] Composer: Original Music 1
 * 1966 Sugar Colt Composer: Original Music 4
 * 1966 Django [Jango] Composer: Original Music 10 195
 * 1966 El Chuncho, quién sabe? [A Bullet for the General] Composer: Original Music 59
 * 1967 La più grande rapina del west [Halleluja for Django] Composer: Original Music
 * 1967 Lo scatenato Composer: Original Music
 * 1967 A ciascuno il suo [We Still Kill the Old Way] Composer: Original Music 1 28
 * 1968 Tutto per tutto [Copperface] Composer: Original Music
 * 1969 Rebus Composer: Original Music
 * 1969 La morte sull'alta collina [Death on High Mountain] Composer: Original Music
 * 1969 I quattro del pater noster [In the Name of the Father] Composer: Original Music
 * 1969 Il prezzo del potere [The Price of Power] Composer: Original Music 5
 * 1970 Cuori solitari [Lonely Hearts] Composer: Original Music 2
 * 1970 L'oro dei bravados [Chapaqua's Gold] Composer: Original Music
 * 1971 La vittima designata [The Designated Victim] Composer: Original Music 1 11
 * 1971 Lo chiamavano King [His Name Was King] Composer: Original Music 1
 * 1971 Roma bene Composer: Original Music 2
 * 1972 Un verano para matar [Summertime Killer] Composer: Original Music 2
 * 1972 Monta in sella, figlio di...! [Great Treasure Hunt] Composer: Original Music
 * 1972 Milano calibro 9 [Caliber 9] Composer: Original Music 2 75
 * 1972 Si può fare... amigo [It Can Be Done Amigo] Composer: Additional Music 3
 * 1972 Il grande duello [The Grand Duel] Composer: Original Music 10
 * 1973 La polizia è al servizio del cittadino? Composer: Original Music 3
 * 1973 Il Boss [The Boss] Composer: Original Music 36
 * 1973 Partirono preti, tornarono... curati [Halleluja to Vera Cruz] Composer: Original Music 1
 * 1973 The Man Called Noon Composer: Original Music 1
 * 1973 L'ultima chance [Stateline Motel] Composer: Original Music, Conductor 1
 * 1973 La seduzione Composer: Original Music 2
 * 1977 Il poliziotto è marcio [Shoot First, Die Later] Composer: Original Music 3
 * 1975 Colpo in canna [Loaded Guns] Composer: Original Music 3
 * 1975 La città sconvolta: caccia spietata ai rapitori [Kidnap Syndicate] Composer: Original Music 1 10
 * 1976 Gli amici di Nick Hezard Composer: Original Music 5
 * 1976 Gli esecutori [Street People] Screenwriter
 * 1976 l Padroni della città [Mister Scarface] Composer: Original Music 1 16
 * 1976 Il conto è chiuso Composer: Original Music
 * 1977 Diamanti sporchi di sangue [Blood and Diamonds] Composer: Original Music 5
 * 1980 La giacca verde Composer: Original Music 2
 * 1980 La città delle donne [City of Women] Composer: Original Music 111
 * 1983 Ars amandi [The Art of Love] Composer: Original Music
 * 1994 Il postino [The Postman] Composer: Original Music 5 186
 * 1997 La tregua [The Truce] Composer: Original Music 1 14
 * 1998 Polish Wedding Composer: Original Music 6
 * 1999 Panni sporchi Composer: Original Music 4
 * 1999 Les enfants du siècle [Children of the Century] Composer: Original Music 7
 * 2000 Il cielo cade [The Sky Is Falling] Composer: Original Music 4



=Bauhaus (band)=



=Goran Bregović=
 * 
 * 
 * 



=Buffalo Gals Back to Skool= Note: The lead section requires expansion.

Personnel


=Buzzcocks=



=Buzzcocks discography= <!--

BUZZCOCKS #1.0                       Jul 20, 1976 - Feb 1977
 * Buzzcocks
 * Pete Shelley – guitar
 * Howard Devoto – vocals
 * Steve Diggle – bass
 * John Maher – drums

Spiral Scratch [EP]                                           1976 Time's Up                                                     1976

BUZZCOCKS #2.0                    Mar 11, 1977 - Oct 7, 1977 BUZZCOCKS #2.0 Mar 11, 1977 - Oct 7, 1977
 * Buzzcocks
 * Pete Shelley – guitar, vocals
 * Steve Diggle – guitar
 * Garth Davies (Smith) – bass
 * John Maher – drums

Live At The Roxy London WC2 (various artists)                 1977 United Artists first demo tape                                1977 orgasm addict [SINGLE]                                        1977 Whatever Happened to? [PROMO SINGLE]                         1977 Short Circuit (various artists)                               1977 Retrospectives: Peel Sessions [EP]                        (released 1987)     1977 Live At The Roxy Club                     (released 1989)     1977 The Early Years Live [EP]                 (released 1990)     1977

BUZZCOCKS #3.0                        Nov 1977 - Mar 6, 1981
 * Buzzcocks
 * Pete Shelley – guitar, vocals
 * Steve Diggle – guitar
 * Steve Garvey – bass
 * John Maher – drums

what do i get? [SINGLE]                                        1978 Another Music In A Different Kitchen                       1977-1978 i don't mind [SINGLE]                                           1978 moving away from the pulsebeat [SINGLE]                         1978 I Am The Amazing Buzzcocks 12" [EP]                             1978 love you more  [SINGLE]                                          1978 ever fallen in love (with someone you shouldn't've)  [SINGLE]    1978 Love Bites                                                       1978 Small Songs With Big Hearts / Beating Hearts                1978-1979 Noise Annoys (same as: Small Songs With Big Hearts)              1978 Live Tension (same as: Beating Hearts)                           1979 promises  [SINGLE]                                               1978 everybody's happy nowadays  [SINGLE]                             1979 harmony in my head  [SINGLE]                                     1979 you say you don't love me  [SINGLE]                              1979 A Different Kind Of Tension                                      1979 Singles Going Steady                                        1977-1979 i believe [SINGLE]                                              1979 Part 1 [SINGLE]                                                 1980 Part 2 [SINGLE]                                                 1980 Part 3 [SINGLE]                                                 1980 Parts 1,2,3 [EP]                                                1980 C81 (various artists)                                           1981 demos for 4th album                                             1981 Retrospectives: no reply [POSTCARD RECORD]                (released 1980's)     1978 Total Pop                                 (released 1987)  1977-1980 Lest We Forget                            (released 1988)  1979-1980 Auf Wiedersehen [VIDEO]                   (released 1989)       1981 Peel Sessions Album                       (released 1989)  1977-1979 Fab Four [EP]                             (released 1989)  1978-1979 Product [BOX SET]                         (released 1989)  1977-1980 Many Parts                                (released 1989)  1978-1980 Fast Cars                                 (released 2002)       1978 Operators Manual - Buzzcocks Best         (released 1991)  1977-1980 Playback [VIDEO]                          (released 1991)  1978-1989 Punk [VIDEO]                              (released 1992)       1978 Entertaining Friends                      (released 1992)       1979 ever fallen in love [EP]                  (released 1992)       1978 ever fallen in love [SINGLE]              (released 1995)       1978 Just Lust (Thailand)                      (released 1996???) various Buzzcocks Best (Thailand)                 (released 1996???) various Falling In Love (Thailand)                (released 1996???) various Chronology (demos)                        (released 1997)  1977-1981 what do i get? (demos) [SINGLE]          (released 1997)       1977 I Don't Mind The Buzzcocks                (released 1997)  1977-1979 Buzzcocks Finest: Even Fallen In Love     (released 2002) Inventory [singles BOX SET]                                1976-1981

BUZZCOCKS #3.0 (REFORMED)                               1989
 * Buzzcocks
 * Pete Shelley – guitar, vocals
 * Steve Diggle – guitar, vocals
 * Steve Garvey – bass
 * John Maher – drums

Live Legends [VIDEO]                                            1989

BUZZCOCKS #4.0                                     1990-1991
 * Pete Shelley – guitar, vocals
 * Steve Diggle – guitar, vocals
 * Steve Garvey – bass
 * Mike Joyce – drums

Reading '89 [VIDEO]                       (released 1998)       1989 Melbourne '90                                   [BOOTLEG]       1990 Drone Studio session                       (not released)       1990 1991 demos                                                      1991 alive tonight [EP]                                              1991 The Unreleased Album                       (not released)       1991

BUZZCOCKS #3.0 (REFORMED AGAIN)                         1992 Pete Shelley - guitar, vocals Steve Diggle - guitar, vocals Steve Garvey - bass John Maher - drums

BUZZCOCKS #3.5                                          1992 Pete Shelley - guitar, vocals Steve Diggle - guitar, vocals Steve Garvey - bass Steve Gibson (ex ICICLE WORKS) - drums

BUZZCOCKS #5.0                                    1992 - ??? Pete Shelley - guitar, vocals Steve Diggle - guitar, vocals Tony Barber - bass Phil Barker - drums

NME Presents viva!eight                                         1992 Trade Test Transmissions                                        1993 innocent [EP]                                                   1993 do it [EP]                                                      1993 libertine angel [EP]                                            1994 Collide-A-Scope (various artists)  [VIDEO]                      1994 French                                                          1995 Encore Du Pain                                                  1995 Live In Paris (reissue of Encore Du Pain)                       1995 Orgasm Addicts (reissue of Encore Du Pain)                      1995 Songs In A Different Time (reissue of Encore Du Pain)           1995 isolation [SINGLE]                                              1995 Long Ago's, World's Apart (various artists)                     1995 autumn stone [SINGLE]                                           1995 totally from the heart [SINGLE]                                 1996 All Set                                                         1996 Different For Girls (a.k.a. Crossing The Border) (va)  [SNDTRK] 1996 Finsbury Park '96 [VIDEO]                 (released 1998)       1996 Holidays In The Sun Volume 2 (v.a.)       (released 1997)       1996 Holidays In The Sun - Sunday (v.a.)  [VIDEO]  (rel. 1997)       1996 EMI America demos                                               1996 BBC Sessions                              (released 1998)  1978-1998 Promotional Product [PROMO SINGLE]                              1999 Modern                                                          1999 thunder of hearts [VIDEO]                                       1999 webcast #1 [INTERNET]                                           1999 webcast #2 [INTERNET]                                           1999 The Internet Album                                         1993-2001 Buzzcocks                                                       2003 Jerk [SINGLE]                                                   2003 Jerk [VIDEO]                                                    2003 live on the BBC & web [INTERNET]                                2003 Sick City Sometimes [SINGLE]                                    2003 5.1 DVD                                                         2002

BUZZCOCKS The Complete History by Tony McGartland utilizes a different lineup numbering system in the family tree diagram: HERE THERE 0.1  no number  Shelley, Devoto 0.5  1          Shelley, Devoto, Smith, Singleton 1.0  2          Shelley, Devoto, Diggle, Maher 2.0  3          Shelley, Diggle, Maher, Smith 2.5  3          Shelley, Diggle, Maher, Adamson 3.0  4          Shelley, Diggle, Maher, Garvey 3.0r 5          Shelley, Diggle, Maher, Garvey  (lineup reformed) 4.0  6          Shelley, Diggle, Garvey, Joyce 3.0r 7          Shelley, Diggle, Maher, Garvey  (reformed again) 3.5  7          Shelley, Diggle, Garvey, Gibson 5.0  8          Shelley, Diggle, Barker, Barber

--> <!-- Regarded as an important influence on the Manchester music scene, the independent record label movement, punk rock, power pop, pop punk and indie rock.

They achieved commercial success with singles that fused pop craftsmanship with rapid-fire punk energy. These singles were collected on Singles Going Steady, described by critic Ned Raggett as a "punk masterpiece". The widely covered "Ever Fallen in Love (With Someone You Shouldn't've)" remains one of their best-known songs.

The name "Buzzcocks" was chosen by Howard Devoto and Pete Shelley after reading the headline "it's the buzz, cocks!" in a review of the TV series Rock Follies in Time Out magazine. The "buzz" is the excitement of playing on stage; "cock" is Manchester slang meaning "youngster". They thought it captured the excitement of the Sex Pistols and nascent punk scene.

Howard Trafford, a student at Bolton Institute of Technology (now the University of Bolton), placed a notice in the college looking for musicians sharing a liking for The Velvet Underground's song "Sister Ray". Peter McNeish, a fellow student at the Institute, responded to the notice. Trafford played electronic music and McNeish had played rock.

McNeish assumed the stage name Pete Shelley, and Trafford named himself Howard Devoto, after a bus driver in Cambridge. In late 1975, Shelley and Devoto recruited a drummer and formed an embryonic version of Buzzcocks that did not perform in front of an audience and which dissolved after a number of rehearsals.

The band formed as the Buzzcocks in February 1976.

Their first recording, Spiral Scratch, produced by Martin Hannett, was recorded in 1976 and released in January 1977 on their own New Hormones label, making them one of the first punk groups to establish an independent record label. The band, having no record label support, had to borrow £500 from their friends and families to pay for the record's production and manufacture. When the EP was reissued in 1979 peaked at number 31 in the UK Singles Chart.> <! the music was roughly recorded, insistently repetitive, and energetic. "Boredom" announced punk's rebellion against the status quo while templating a strident musical minimalism (the guitar solo consisting of two repeated notes). The demos recorded while Devoto was in the band were later issued officially as Time's Up. Long available as a bootleg, this album includes the alternative takes of all the tracks from the Spiral Scratch EP as well as early version of tracks that later appeared on the official debut Another Music in a Different Kitchen.

After a few months, Devoto left the group; he returned to college for a year, then formed Magazine. Pete Shelley continued as vocalist; his high-pitched, melodic singing stood in stark contrast to the gruff pub rock vocal stylings of many punk contemporaries. Diggle switched from bass to guitar, and Garth Davies rejoined on bass as Garth Smith or Garth. Garth appeared on the band’s first Radio 1 Peel Session, in September 1977, but due to his alcoholism he was quickly replaced with Steve Garvey, joining Dirty Looks in New York. This new line-up signed with United Artists Records.

In 1977 they signed for United Artists Records and released the single "Orgasm Addict". In 1978 the band released two LPs, Another Music in a Different Kitchen, Love Bites, which respectively ranked number 15 and 12 in the UK Albums Chart, and four singles, "What Do I Get?" that peaked at number 37 in the UK Singles Chart, "I Don't Mind" 55, "Moving Away from the Pulsebeat", "Love You More" 34, "Ever Fallen in Love (With Someone You Shouldn't've)" 12, and "Promises".

In 1977 they signed for United Artists Records and released two LPs, Another Music in a Different Kitchen, Love Bites, and three singles, "Orgasm Addict", "What Do I Get?", which reached the UK top 40 charts, and "Promises".

Their original career consisted of three LPs: Another Music in a Different Kitchen, Love Bites, and A Different Kind of Tension, each supported by extensive touring in Europe and the U.S. Their trademark sound was a marriage of catchy pop melodies with punk guitar energy, backed by an unusually tight and skilled rhythm section. They advanced drastically in musical and lyrical sophistication: by the end they were quoting American writer William S. Burroughs ("A Different Kind of Tension"), declaiming their catechism in the anthem "I Believe", and tuning in to a fantasy radio station on which their songs could be heard ("Radio Nine").

In 1980, Liberty Records signed the band, and three singles were released. However, only one of these, the double 'A' side "Why She's A Girl From The Chainstore/Are Everything" made the Top 75.

> <!---

In parallel with Buzzcocks, Pete Shelley, formed a more experimental and post-punk band, The Tiller Boys, along Eric Random and Francis Cookson, while Steve Garvey joined The Teardrops in 1978, along The Fall's Tony Friel and Karl Burns; both bands were releasing material in late 1970's and broke up at the same time Buzzcocks split up.

Breakup and reunions
After recording demos for a fourth album the group disbanded in 1981. Diggle and Maher formed Flag of Convenience, who released several singles between 1982 and 1989. Garvey formed Motivation and joined Blue Orchids, moving to New York, shortly afterwards, to continue with the first band. Maher joined Wah! by the time Buzzcocks broke up. Shelley and Devoto teamed up in 2002 for the first time since 1976, producing the album Buzzkunst, a play on the German word for 'Art'. The album was a mix of electronic music and punk.

John Maher now owns and runs John Maher Racing, a vintage Volkswagen performance tuning workshop located on the Isle of Harris, Scotland. He has built and raced several Volkswagen Beetles. In 2005, Shelley re-recorded "Ever Fallen in Love" with an all-star group, including Roger Daltrey, David Gilmour, Peter Hook, Elton John, Robert Plant and several contemporary bands, as a tribute to John Peel. Proceeds went to Amnesty International. Shelley also performed the song live, with Plant, Daltrey, Gilmour, Hook and Jeff Beck at the 2005 UK Music Hall of Fame.

Buzzcocks have reformed several times since 1989. In March 2006, the band released their eighth studio album, Flat-Pack Philosophy, on Cooking Vinyl Records. An anniversary set simply called 30 was released in 2008 on Cooking Vinyl.

In January 2009 the band embarked on a UK and European tour, the "Another Bites Tour", in which they played their first two albums in full, as well as an encore of their other hits.

-->

Music videos
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thunder of hearts [VIDEO] NOTES: John P Lennon notes [Aug 11, 1999]: 'The "Thunder of Hearts" video has been completed and apparently it's quite, ah, provocative... It's  pushing the boundaries a bit (for what MTV would air anyway) in terms of both sexual and violent imagery, so there may be a toned-down version being readied. The video was shot by a young French director who recently used "Breakdown" extensively in a short film he did [see Short Film, in video list below]. He's a fan, basically, and Raf went to him to see if he'd be interested in shooting a video for Buzzcocks, which he was. So they went to Paris to shoot it over a  weekend. I'm not totally sure about this, but I think that the entire concept was the director's idea. Raf just let him know which track they wanted ("Thunder of Hearts") a few weeks prior and as far as I know it was all put together by him.' Eric Valette notes: 'The bondage elements (with the musicians) during the guitar solo were just there as an anti-rock n' roll solo thing. I thought it was just fun to have the musicians chained during a solo...' Eric Valette continues: 'I would say that I came up with the idea of   the video because I was thinking that it would fit any Shelley's song (much of his songwriting is twisted and ambivalent about love  relationships). Then after, while actually listening to the song, I  simply add the violence elements to my concept. The concept had to be  very simple because of the no-budget principle and Raf wanted something weird (when we shot the first day without the band, he  called me and asked me: "is it weird?", I replied, a little bit   embarrassed: "well, maybe weirder than you expect"). The reception in  Europe of that type of video is very different than in the USA. We're  supposed to be less puritans. Maybe it's true for the audience but not for the money makers. It's actually difficult to get some videos with elements of sex and violence to get broadcasted on TV. I'll do  my best with MCM (the french MTV) as soon as "Modern" will be   officially released in France.' Directed by Eric Valette

jerk [VIDEO] John P. Lennon notes [Feb 24, 2003]:  'The band just shot a video for "Jerk" in Paris! Literally just, so I imagine it'll be at least a  couple of weeks before it's edited and ready to go.' John P. Lennon notes [Apr 22, 2003]:  'It's finished and at least over here [in the US] I know that Merge is currently submitting it for possible play on the various video outlets (including MuchMusic &  MTV2). I'll try to find out what's happening on the UK side. In the meantime,I'm getting both the current edit and the original edit from Eric Valette (director/editor)... the plan is to have a QuickTime version of the original edit online at buzzcocks.com shortly after I  receive it, so hopefully within about 2 weeks... Down the road, the hope is to do another video along with a second push for the album in  the US, around the September/October time frame...'

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=Chitarra Romana=

"Chitarra Romana" is a stornello in Romanesco (stornello romanesco) written by Eldo di Lazzaro (1902–1968) in 1934....


 * Chitarra Romana (CLAUDIO VILLA)
 * Gabriella Ferri- Chitarra Romana
 * 13/06/08 JOSE CARRERAS - CHITARRA ROMANA (Di Lazzaro)
 * CHITARRA ROMANA - VLAD MIRITA (Asculta Simte DescOPERA) - 4
 * CHITARRA ROMANA performed by Vlad Mirita and Jinga' Symphony Orchestra, conducted by Daniel Jinga, during Asculta Simte DescOPERA Concert, on 9th ...
 * Connie Francis - Chitarra romana.wmv
 * Luciano Pavarotti. 1987. Chitarra romana. Madison Square Garden. New York
 * Chitarra Romana - Rosana Fratello fisarmonica acordeon accordion musica italiana
 * José Carreras - Chitarra Romana 2008
 * José Carreras Chitarra Romana
 * Chitarra Romana (CLAUDIO VILLA) Matt Morgan sings "Chitarra romana"
 * Lando Fiorini - Chitarra Romana
 * Connie Francis - Chitarra romana (1961)

Lyrics
Sotto un manto di stelle Roma bella mi appare solitario il mio cuor disilluso d'amor va nell'ombra a cantar una muta fontana, un balcone lassù o chitarra romana accompagnami tu. Suona suona mia chitarra lascia piangere il mio cuore senza casa e senza amore mi rimani solo tu. Se la voce e' un po' velata accompagnami in sordina la mia bella fornarina al balcone non c'e' piu'... Lungotevere dorme mentre il fiume cammina io lo seguo perché mi trascina con sè e travolge il mio cuor. Vedo un ombra lontana una stella lassù o chitarra romana accompagnami tu. Suona suona mia chitarra lascia piangere il mio cuore senza casa e senza amore mi rimani solo tu. Se la voce e' un po' velata accompagnami in sordina la mia bella fornarina al balcone non c'e' piu'... O chitarra romana accompagnami tu...
 * Original text in Romanesco

... ...
 * English transaltion



=The Clash=
 * Book:The Clash



=The Clash personnel= This page is a list of the various personnel and line-ups that have been a part of The Clash.

Members

 * Joe Strummer – vocals, rhythm guitar, piano, bass guitar, primary songwriter (1976–1986)
 * Mick Jones – lead guitar, vocals, bass guitar, piano, drums, harmonica, secondary songwriter (1976–1983)
 * Paul Simonon – bass guitar, vocals (1976–1986)
 * Topper Headon – drums, percussion, bass guitar, piano (1977–1982)
 * Terry Chimes – drums, percussion (1976, 1977, 1982–1983)
 * Rob Harper – drums (1976–1977)
 * Keith Levene – electric guitar (1976)
 * Pete Howard – drums, percussion (1983–1986)
 * Nick Sheppard – electric guitar (1983–1986)
 * Vince White – electric guitar (1983–1986)

Long-standing supporting musicians

 * Gary Barnacle – Saxophone, brass instrument, flute, keyboards (1978, 1980–1982)
 * Mick Gallagher – keyboards, piano (1979–1980, 1985)
 * Tymon Dogg – Violin, guitar, piano, [harmonium] (1980–1982)
 * Mikey Dread – vocals (1980)
 * Ellen Foley – vocals (1980)
 * Norman Watt-Roy – bass on Sandinista's "The Magnificent Seven", "Lightning Strikes (Not Once But Twice)", and Cut the Crap (1980, 1984)
 * Futura 2000 – vocals (1982)

Other personnel

 * Caroline Coon –
 * Don Letts –
 * Ray Lowry –
 * Sandy Pearlman –
 * Bill Price –
 * Bernard Rhodes –
 * Pennie Smith –
 * Guy Stevens –
 * Steve Bell –
 * Mickey Foote
 * Lee "Scratch" Perry
 * G'EM
 * Joe Strummer- vocals, rhythm guitar
 * Mick Jones - guitar, vocals
 * Paul Simonon - bass guitar
 * Topper Headon – drums
 * Sandy Pearlman - producer
 * Corky Stasiak - chief engineer
 * Paul Subblevine - mastering engineer
 * Dennis Ferranti - sound engineer
 * Gregg Caruso - sound engineer
 * Kevin Dalimore - sound engineer
 * Chris Mingo - sound engineer
 * Gene Greif - cover designer
 * Hugh Brown - concept designer
 * LC
 * Joe Strummer – vocals, rhythm guitar, piano
 * Mick Jones – guitar, vocals, piano
 * Paul Simonon – bass guitar, vocals
 * Topper Headon – drums, percussion
 * Mickey Gallagher – organ
 * The Irish Horns – brass
 * Guy Stevens – producer
 * Bill Price – chief engineer
 * Jerry Green – second engineer
 * Pennie Smith – photographer
 * Ray Lowry – design
 * "Clampdown"
 * Joe Strummer – vocals, rhythm guitar
 * Mick Jones – guitar, lead vocals on bridge and backing vocals
 * Paul Simonon – bass guitar
 * Topper Headon – drums, percussion
 * Guy Stevens – producer
 * Bill Price – chief engineer
 * Jerry Green – second engineer
 * S!
 * Joe Strummer – vocals, guitars
 * Mick Jones – guitars, vocals
 * Paul Simonon – bass, vocals
 * Topper Headon – drums, vocals
 * Mickey Gallagher – keyboards
 * Tymon Dogg – violin, vocals on "Lose This Skin"
 * Norman Watt-Roy – bass on "The Magnificent Seven" and "Lightning Strikes (Not Once But Twice)"
 * J. P. Nicholson – bass on "Washington Bullets"
 * Ellen Foley – vocals on "Hitsville U.K."
 * David Payne – sax
 * Ray Gasconne
 * Band Sgt. Dave Yates
 * Den Hegarty – vocals
 * Luke Gallagher – vocals on "Career Opportunities"
 * Ben Gallagher – vocals on "Career Opportunities"
 * Maria Gallagher – vocals on "Broadway"
 * Gary Barnacle – sax
 * Bill Barnacle – trumpet
 * Jody Winscott
 * Ivan Julian – guitar
 * Noel Tempo Bailey
 * Anthony Nelson Steelie
 * Lew Lewis – vocals，harmonica
 * Gerald Baxter-Warman
 * Terry McQuade
 * Rudolf Adolphus Jordan
 * Battersea
 * Mikey Dread – vocals on "Living in Fame"
 * The Clash – producers
 * Bill Price – chief engineer
 * Jerry Green – engineer
 * J. P. Nicholson – engineer
 * Lancelot "Maxie" McKenzie – engineer
 * Mikey Dread – version mix
 * Pennie Smith – photographer
 * Steve Bell – cartoonist
 * CR
 * Mick Jones – guitars, vocals, bass.
 * Joe Strummer – guitars, vocals
 * Paul Simonon – bass, vocals
 * Topper Headon – drums, piano and bass on "Rock the Casbah"
 * Allen Ginsberg – guest vocals on "Ghetto Defendant"
 * Futura 2000 – guest vocals on "Overpowered by Funk"
 * Ellen Foley – backing vocals on "Car Jamming"
 * Joe Ely – backing vocals on "Should I Stay or Should I Go?"
 * Tymon Dogg – piano on "Death Is a Star"
 * Poly Mandell – keyboards on "Overpowered by Funk"
 * Gary Barnacle – saxophone on track "Sean Flynn"
 * The Clash – producers
 * Glyn Johns – chief engineer
 * Joe Blaney – engineer
 * Jerry Green – engineer
 * Eddie Garcia – engineer
 * Pennie Smith – photographer
 * CTC
 * Joe Strummer – vocals
 * Nick Sheppard – guitar, vocals on "North and South" and "Play to Win"
 * Mickey Gallagher – keyboards and synthesizers
 * Norman Watt-Roy – bass
 * Bernie Rhodes – drum machine programming
 * Vince White – additional guitar on "Do It Now"
 * Paul Simonon – additional bass on "Do It Now"
 * Pete Howard – additional drums on "Do It Now"


 * Bernie Rhodes – Drum machine programming on Cut the Crap
 * Mikey Dread – Vocals on "Living in Fame"
 * Mickey Gallagher (1979; 1980; 1985) Keyboards on London Calling, Sandinista!, and Cut the Crap
 * Norman Watt-Roy (1980) Bass on "The Magnificent Seven", "Lightning Strikes (Not Once But Twice)", and Cut the Crap
 * Tymon Dogg (1980; 1982) Violin, vocals on "Lose This Skin", and piano on "Death Is a Star"
 * Ellen Foley (1980; 1982) Vocals on "Hitsville UK", and "Car Jamming"
 * Luke Gallagher (1980) Vocals on "Career Opportunities"
 * Ben Gallagher (1980) Vocals on "Career Opportunities"
 * Maria Gallagher (1980) Vocals on "Broadway"
 * Dennis Ferrante (1980) ??? on ???
 * Bob Jones (1980) ??? on Sandinista!
 * The Irish Horns (1979) Brass on London Calling
 * J. P. Nicholson – keyborads on Sandinista!
 * David Payne – sax on Sandinista!
 * Ray Gasconne on Sandinista!
 * Band Sgt. Dave Yates on Sandinista!
 * Den Hegarty – vocals on Sandinista!
 * Gary Barnacle – sax on Sandinista!
 * Bill Barnacle – trumpet on Sandinista!
 * Jody Winscott on Sandinista!
 * Ivan Julian – guitar on Sandinista!
 * Noel Tempo Bailey on Sandinista!
 * Anthony Nelson Steelie on Sandinista!
 * Lew Lewis – vocals, harmonica on Sandinista!
 * Gerald Baxter-Warman on Sandinista!
 * Terry McQuade on Sandinista!
 * Rudolf Adolphus Jordan on Sandinista!
 * Battersea on Sandinista!
 * Allen Ginsberg – Guest vocals on "Ghetto Defendant"
 * Futura 2000 – Guest vocals on "Overpowered by Funk"
 * Joe Ely – Backing vocals on "Should I Stay or Should I Go?"
 * Poly Mandell – Keyboards on "Overpowered by Funk"
 * Gary Barnacle – Saxophone on "Sean Flynn"
 * Pablo Labritain (1976) Drums

Producers

 * Mikey Dread
 * Mickey Foote
 * Bill Price
 * Lee "Scratch" Perry
 * Sandy Pearlman
 * Guy Stevens
 * Glyn Johns
 * Bernie Rhodes
 * Jerry Green???
 * Johnny Green
 * Caroline Coon
 * Damon Albarn
 * Blackhill Enterprises
 * Peter Jenner
 * Andrew King

People associated with The Clash

 * Pennie Smith (??? - ???) photographer
 * Bob Gruen (??? - ???) photographer
 * Kate Simon (1977) photographer The Clash (album) front cover
 * Rocco Macauley (1977) photographer The Clash (album) back cover
 * Shane MacGowan
 * Bernard Sumner
 * Ian Brown
 * John Squire
 * Tony Parsons (British journalist)
 * Anthony Roman
 * Jim Goodwin
 * Julien Temple film director
 * Danny Boyle
 * Carl Barat
 * Richard Archer
 * Irvine Welsh
 * Nick Hornby
 * Stuart Peace
 * Sharleen Spiteri
 * Tim Burgess
 * Mike D
 * Bobby Gillespie
 * Steve Jones
 * Pete Townshend
 * Elizabeth Young

See also - Notable or frequent contributors to The Clash

Associated Acts

 * The Vultures
 * The 101ers
 * London SS
 * Big Audio Dynamite
 * Havana 3am
 * The Latino Rockabilly War
 * The Pogues
 * The Mescaleros
 * The Libertines
 * Carbon/Silicon
 * The Good, the Bad and the Queen

Fully detailed timeline




=Gary Barnacle=



=Overpowered by Funk=

{| class=wikitable sortable" !Year !Record !Type !Label !Track !Issue !Length ... 1982 Rock the Casbah                       US promo EP    A2 Overpowered by Funk 1982 Rock the Casbah                        AR single      B1 Overpowered by Funk 1982 Combat Rock                            Studio          7 Overpowered by Funk                        4:55 1989 Hell W10                               Film            ? Overpowered by Funk (Instrumental) 1991 Clash On Broadway Disc 4: The Outtakes Bootleg        20 Overpowered by Funk 2006 Singles Box                            Compilation 17-05 Overpowered by Funk (Argentinean 7" Promo) 4:53 2013 Sound System Disc 8 Combat Rock       Compilation  8-07 Overpowered by Funk                        4:55 If Music Could Talk Vol. 2                           11 Overpowered by Funk (New York Remix) The Rat Patrol From Ft. Bragg                      1-14 Overpowered by Funk (Demo)                 1:59 The Rat Patrol From Ft. Bragg                      2-05 Overpowered by Funk (Instrumental) The Rat Patrol From Ft. Bragg                      2-13 Overpowered by Funk (No Flushes)
 * Releases

2001 Golden Bullets                       Bootleg 2002 Clash on Broadway 4: The Outakes     Compilation Snotty Snail 2002 Rocker Station                       Bootleg 4 Overpowered by Funk (New York Remix) (Speed Mix) 2002 Rocker Station                       Bootleg 8 Overpowered by Funk (Instrumental) 2003 The Essential Clash                  Video       SMV Enterprises 2003 Rat Patrol from Fort Bragg Nicaragua Bootleg 2003 Another Combat Rock                  Studio      Darkside Records DSS CD 009 2004 The Collection                       Compilation Epic E3K 92644 2013 Ties on the Line (Demos and Outtakes) Studio     Arkain Filloux              A3 Overpowered by Funk 2013 5 Album Studio Set                   Compilation Columbia                                           4:55 2013 Sound System                         Compilation Columbia 88725460002 Box Set                                          Music on Vinyl                                     4:55 Combat Rock: Outtakes                ‎Bootleg     Love Situation LA21 The Clash on Broadway Outakes        Bootleg

Clash City Showdown by Chris Knowles (2003)

Combat Rock started out as a Clash album with the Ear mobile studio sessions (where ‘Should I Stay’, ‘Know Your Rights’, ‘Long Time Jerk’, and ‘First Night Back in London’ and others were recorded), but once the band returned to Electric Lady the pattern set on Sandinista re-emerged. The bass was handled by Mick, Topper or one of the studio engineers. Tymon Dogg and the Barnacle Brothers contributed heavily and again the fatal mistake was made - Joe not playing guitar.
 * p. 32

Compare the demo of ‘Overpowered by Funk’ to its slower, vastly inferior ‘official’ cousin. Of course, the results were skewed by the fact that Mick and Topper were seriously addicted and no real producer was present to provide adult supervision. It’s amazing to me that the Clash were able to record anything at all under these conditions, never mind the gobs of Stoner classics that both Sandinista and CR are lousy with. (I also have serious doubts as to whether the material generally referred as Rat Patrol is actually Mick’s proposed final mix. He might have been out of his mind on drugs then, but I still think that stuff is half-finished rough mixes- most of those vocal takes don’t sound final to me at all).

Overpowered by Funk (Hell W10) - Topper and Mick must have done the album version after a quaalude party. Stick with this Ear demo. Great rhythm playing by Joe on it, too.
 * p. 83

09/24/81 Theatre Mogador - Paris, France
 * p. 94

The Clash were exhausted physically and creatively by the time they entered the studio for Combat Rock in late ‘81. The Bond’s fiasco had occurred in the spring, Sandinista had seriously damaged their relationship with CBS, Topper Headon was at this point a hopeless junkie, and Bernie Rhodes was playing his warped mind games on the band. Mick and Joe usually settled their creative differences with fights and were exchanging songwriting ideas through intermediaries. In addition, putting out a three record set that explored almost every possible musical direction had left them unsure how to proceed. In spite of this, they had written a new batch of superior material that was premiered in Europe and the UK on their fall tour. The new songs heard in the fall of 81 were; ‘Know Your Rights’, Should I Stay...?’, ‘Radio Clash’, ‘Overpowered by Funk’, ‘Inoculated City’, and ‘Ghetto Defendant’. These are generally the songs considered the strongest of this period with the exception of ‘Rock the Casbah’ and ‘Straight to Hell’, which were written in the studio. Little is known about ‘Beautiful People’, but my guess is that is was not written in the studio, simply because it’s too complex. So with the exception of ‘Casbah’, which again was more or less pre-written by Headon and ‘Straight to Hell’, the strongest songs were premiered on tour in ‘81.
 * p. 107

…the mix for CR was taken away from Mick and eventually handled by Joe and Glyn Johns. If we use Rat Patrol as a guide, Joe went in and recorded a lot of extra guitar. This is most obvious on ‘Know Your Rights’, ‘Car Jamming’ and ‘Should I Stay’, but I’d imagine that Joe put a lot of guitar on ‘Overpowered by Funk’ as well. It’s been said that Joe didn’t do a lot of playing on the last two albums, and I think that this is a major factor in the lessening of the energy level on those records. Joe wasn’t a guitarist per se, but a weird kind of percussionist and it’s obvious how his playing set the tempo on the songs live.
 * p. 110

COLLAPSING ONTO THE FINISH LINE
 * p. 230

Pablo Guzman expressed bewilderment over the Clash’s split in his old music column in the New York Daily News. He felt that “the Clash were just beginning to hit their stride” when they split. Many people felt the same shock. Wasn’t Combat Rock the unqualified hit album that put the Clash into the big leagues once and for all?

No, Combat Rock was a disaster from the very start.

The story begins in the early Autumn of 1981. Fed up with the band’s drift and stung by the underwhelming performance of Sandinista, Joe wanted to get back to the sound of the Clash, not the sound of an army of studio players. He also wanted to record the album with an 8-track studio. A compromise was reached and the Clash began recording at the Peoples’ Hall in London, using a mobile studio on loan from the Rolling Stones. Most of the more conventional tunes from what was then known as the Rat Patrol sessions were recorded here: ‘Should I Stay’, ‘Inoculated City’, ‘Know Your Rights’, ‘Ghetto Defendant’, and the original ‘Overpowered by Funk’. The initial idea was compromise. Joe told the NME that the Clash were “not trying to ignore anything we’ve heard before but we want to make it our own and all at once in every track.” However, the band had to abandon the sessions for a string of concert dates and when they returned, Mick Jones had a very different idea of how he wanted to make the new record. “He said if we didn’t produce Combat Rock in New York, he wouldn’t be at the sessions, “ Kosmo Vinyl recounted in 1984, “So we cart everything to New York and make the record there. One day there’s an argument and that gets brought up and Mick goes ‘Oh, I didn’t mean it.’ ”

No, he certainly did ‘mean it’. Mick chose New York in general and Electric Lady in particular for what he thought was a very good reason. To explain why, we need to put all of this into perspective.

The problem with many of the songs from the Combat Rock era is definition. What the hell are they supposed to be? ‘Car Jamming’, ‘Inoculated City’, ‘Atom Tan’, ‘Midnight to Stevens’ (which hadn’t even made the first cut), ‘Cool Confusion’, ‘Long Time Jerk’, ‘First Night Back in London’ are not fast, not loud, not Reggae, not Rock, not Funk, not hard, not soft. They fall in between every possible gap without strong melodies or performances or even choruses to save them. Mick had told a horrified Joe that “verse and chorus as form are over,” but the preponderance of the CR tracks had proven the inherent weakness of this concept. Mick was trying to appropriate the sounds of Hip Hop and Downtown Funk, but he had no idea how that music was even made. The only convincing Funk song on the album was ‘Casbah’, which was Topper’s baby. All the disco production tricks on the re-recorded ‘Overpowered by Funk’ did nothing but bury a formerly standard Rock number with a funky bassline under a layer of cheesy crud. They had a good Funk song in ‘Radio Clash,’ but they left it off. And that song was lifted straight from ‘Another One Bites the Dust’ to begin with. Sadly, Mick didn't realize that his great strength was based in melody and chord progression. He never had an ear for riffs or syncopations. Watt Roy had come up with the basslines that formed the foundation of the rap tracks on Sandinista. And he also didn’t grow up with Funk, like all those New Yorkers did. It was all new to him, but he was too proud to admit it.
 * pp. 233–234



=This is Radio Clash= "This Is Radio Clash" is a song by the English punk rock band The Clash, released on November 20, 1981 as a non-album single. Influenced by old school hip hop acts from New York City, it is regarded as the first British rap/hip hop song. While it wasn't released on any of their studio albums, it was included in the track listing of their compilations: The Singles, The Story of the Clash, Volume 1, The Essential Clash Singles Box, The Singles (2007), and "Clash on Broadway".

Origins and recording

 * “When we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five, the Sugar Hill Gang...these groups were radically changing music and they changed everything for us.”

Music and composition
"This Is Radio Clash", like their previous single "The Magnificent Seven", is a dub reggae, rap, punk-funk song that was influenced by old school hip hop acts from New York City, like the Sugarhill Gang and Grandmaster Flash & The Furious Five.

In fact, "The Magnificent Seven" is rightly noted as "the first British rap song" by esteemed British rock critic Chris Salewicz; likewise, American critic Eric Schafer cites "This is Radio Clash"/"Radio Clash" as the first ever British hip hop.

Release and reception
Esteemed American critic Eric Schafer notes, “It is a magnificent, daring, challenging record that was years ahead of its time; one of the great rock records of the 1980s, it has never been given its just credit. Twenty-eight years after its debut, were it released today it would still burn up the radio.”

Music video
The music video for "This Is Radio Calsh" was directed by Don Letts, who photographed the band during their stay at ....

Live performances
The first public performance of "This Is Radio Clash" was in Florence at the Stadio Comunale on 23 May 1981 during the band's Impossible Mission Tour. “We have a new song” said Joe Strummer to the audience, and the band started playing "This Is Radio Clash". Left Italy, the band arrived at the JFK airport in New York on the night of the 25th May 1981. During their three weeks, seventeen concerts at Bond's International Casino, from May 28 to June 13, the song was played several times. The first television appearence was on The Tomorrow Show, an American late-night television talk show hosted by Tom Snyder, on June 1981. The song was also played in the following September, when the band, supported by Wah! and The Beat, went on tour in France for seven concerts at the Théâtre Mogador in Paris. In October, the band started the Radio Clash UK Tour supported by Theatre of Hate. "This Is Radio Clash" was played very often, until the the Striking Miners’ benefit gig at the Academy, Brixton, London on December 6 and 7 1985.


 * Florence - Stadio Comunale - 23 May 1981 - Impossible Mission Tour
 * New York May 28 - June 13, 1981
 * The Tomorrow Show, an American late-night television talk show hosted by Tom Snyder, on June 1981
 * September, when the band, supported by Wah! and The Beat, went on tour in France for seven concerts at the Théâtre Mogador in Paris
 * In October, the band started the Radio Clash UK Tour
 * On January 1982 the band went on tour in Asia and Australia. The song was played several times.  The most notable live appearences were in Japan at the Shibuya Kohkaido theatre in Tokyo on January 24,
 * Jan 25 	Festival Hall, Osaka, Japan
 * Jan 30* 	Kosein-Kaiken Hall, Tokyo, Japan (Matinee Show 6.30pm for younger fans & Evening Show)
 * Feb 5 	Logan Campbell Centre, Auckland, New Zealand
 * Feb 23 	Festival Hall, Melbourne


 * Casbah Club US tour (w/Chimes)
 * May 30 	Convention Hall, Asbury Park NJ
 * May 31 	Convention Hall, Asbury Park NJ
 * Jun 2 	Fox Theatre, Atlanta GA
 * Jun 4 	The Warehouse, New Orleans LA
 * Jun 6 	The Bronco Bowl, Dallas TX
 * Jun 9 	City Coliseum, Austin TX
 * Jun 18 	Hollywood Palladium, Los Angeles CA
 * Jun 23 	Civic Auditorium, San Francisco CA


 * Casbah Club UK tour (Support on some dates Southern Death Cult & Under Two Flags)
 * Jul 11 	Fair Deal, Brixton, London
 * Jul 13 	Victoria Hall, Hanley
 * Jul 22 	Leisure Centre, Irvine
 * Jul 30 	Fair Deal, Brixton, London
 * Aug 2 	Locarno, Bristol


 * Combat Rock US tour (w/Chimes)
 * Aug 13 	Aragon Ballroom, Chicago IL, USA
 * Aug 14 	Civic Center, Grand Rapids MI, USA
 * Aug 16-17 	Grand Theatre, Detroit MI, USA
 * Aug 18 	Stanley Theatre, Pittsburgh PA, USA
 * Aug 26-27 	Penn Rink, Philadelphia PA, USA
 * Aug 31 and Sep 2 	Pier 84, New York NY, USA
 * Sep 4 	Verdun Auditorium, Montreal, Canada
 * Sep 5 	CNE Grandstand at the old Exhibition (Grounds) Stadium, Toronto, Canada
 * Sep 7-8 	Orpheum Theater, Boston MA, USA
 * Sep 25 	JFK Stadium, Philadelphia PA, USA (...supporting The Who)
 * Oct 2 	State University of New York (SUNY), Binghampton NY, USA
 * Oct 3 	R.P.I. Fieldhouse, Troy NY, USA
 * Oct 16 	Carnegie-Mellon University, Pittsburgh PA, USA
 * Oct 17 	Memorial Gym, Kent State University OH, USA
 * Oct 29 	Colisseum, Los Angeles CA, USA


 * US Festival gigs 1983 (w/Howard)
 * May 19 	Memorial Auditorium, Wichita Falls Texas
 * May 26 	Tuscon Activity Center, Tucson Arizona
 * May 28 	Glen Helen Regional Park, San Bernadino CA (...US Festival, and Mick Jones last show with The Clash)


 * Out of Control US tour 1984 (w/Mick Jones departed, a new five-man Clash hits the road to stir up interest and hone their chops: Joe Strummer (vocals/guitar), Vince White (guitar/vocals), Nick Sheppard (guitar/vocals), Paul Simonon (bass/vocals), and Pete Howard (drums))


 * Jan 24 	 Long Beach Arena, Long Beach CA, USA (Vince White describes this gig extensively in his Clash biog, The Last Days of the Clash, page 78)
 * Feb 1 	 San Diego, Fox Theatre, California


 * Out of Control UK tour
 * Feb 13 	 	Colston Hall, Bristol
 * Feb 16 	 	Drammenshallen, Drammen Norway
 * Feb 17 	 	Johanneshov Isstadium, Stockholm, Sweden (Vince White describes this gig extensively in his Clash biog, The Last Days of the Clash, page 89. This is where Vince first knocks up Bernie's girlfriend!)
 * Feb 19 	 	Philipshalle, Dusseldorf, West Germany
 * Feb 21 	 	Deinze Belgium
 * Feb 25 	 	Festhalle, Bern, Switzerland (Vince White describes this gig in his Clash biog, The Last Days of the Clash, page 95)
 * Feb 27-28 		Palasport, Milan, Italy
 * Mar 3 	 	Playhouse, Edinburgh, Scotland
 * Mar 4 	 	King Georges, Blackburn
 * Mar 5 	 	Royal Court, Liverpool
 * Mar 8-9 	 	Academy, Brixton, London (Vince White describes these gigs in his Clash biog, The Last Days of the Clash, page 95)
 * Mar 14 	 	 SFX, Dublin, Ireland
 * Mar 16-17 	 	Academy, Brixton, London (Vince White describes these gigs in his Clash biog, The Last Days of the Clash, page 101)
 * Mar 31 	 	Sunrise, Fort Lauderdale FL
 * Apr 3 	 	Fox Theatre, Atlanta GA
 * Apr 5 	 	The Township, Columbia SC
 * Apr 6 	 	Carmichael Auditorium, University of North Carolina, Chapel Hill NC
 * Apr 12 	 	Expo, Portland ME
 * Apr 13 	 	The Centrum, Worcester MA
 * Apr 22 	 	The Spectrum, Philadelphia PA, USA
 * Apr 25 	 	The Agora, Hartford CT, USA
 * May 14 	 	Mecca Auditorium, Milwaukee WI
 * May 29 	 	University of Oregon, Eugene OR (The Last Days of the Clash, page 161)
 * May 30 	 	Paramount Theater, Seattle WA
 * Sep 6 	 	Cava de’ Tirreni (close to Naples)
 * Sep 7 	 	Arena Palasport, Rome, Italy (...Festa Dell Unita)
 * Sep 8 	 	Reggio Emilia, Italy (Vince White remembers this gig in The Last days of the Clash, page 174)
 * Sep 11 	 	Palasport, Genoa, Italy


 * Dec 6-7 		Academy, Brixton, London (Striking Miners’ benefit gig; Vince White remembers these gigs in The Last days of the Clash, page 187)

Radio Clash
The B-side of the "This Is Radio Clash" single is unique in the history of rock music in that the music is the same as the A-side (with only slight remix changes) and the theme of the lyrics is the same, yet the actual lyrics are in fact different. Never before or since has this been done; it demonstrates the lyrical versatility of Joe Strummer. The Clash stated at the time that they intended the songs to be a single entity, but when "This is Radio Clash" ran to more than eight minutes in length, they decided to split the master in half and make two songs rather than edit the song.

The similarities of the titles and the recordings has led to quite a bit of confusion not only by fans but by record companies as well. The two songs are intended to be heard back to back, but this has never been accomplished on CD. In compilations, the A-side was included on "Clash on Broadway" but not the B-side. On the remastered version of the Super Black Market Clash CD, which assembles Clash B-sides, remixes and rarities, the B-side "Radio Clash" is included, but not the A-Side. When the 2003 collection The Essential Clash was released the B-side was listed but in fact it is the A-side song that is on the CD. Simply, the proper way to listen to the songs is to have them back to back on your digital source.

Radio Five
"Radio Five is the version...

Formats and track listing
The single was released and reissued several times, in several formats with different covers.

Singles
 * 1981 	 This Is Radio Clash   	 	12" Vinyl  	Epic  	XSM 168889
 * 1981 	This Is Radio Clash / Radio Clash 	United Kingdom 	7" Vinyl 	CBS 	1797
 * 1981 	This Is Radio Clash / Radio Clash 	United Kingdom 	7" Vinyl 	CBS 	CBS A1797

Title, Format	Label	Cat#	Country	Year
 * This Is Radio Clash (12", Maxi) 	CBS 	A13 1797 	UK 	1981
 * This Is Radio Clash (7", Single) 	CBS, CBS 	A 1797, CBSA 1797 	UK 	1981
 * This Is Radio Clash (7", Single) 	CBS Records Australia 	ES 700 	Australia 	1981
 * This Is Radio Clash (7", Single) 	CBS 	CBS A1797 	Netherlands 	1981

Clash, The / Beppe Starnazza E I Vortici - This Is Radio Clash / Il Dritto Di Chicago


 * Label:	CBS
 * Catalog#:	JC 15060
 * Format:	Vinyl, 7", Promo
 * Country:	Italy
 * Released:	1981
 * Genre:	Pop, Rock
 * Style:
 * Notes:	Not For Sale - Juke Box Only

Tracklisting:
 * A 	Clash, The 	This Is Radio Clash (4:08)
 * B 	Beppe Starnazza E I Vortici 	Il Dritto Di Chicago (3:14)

Track listing (12" single)
Released in Canada with a cover sticker (12EXP 02622).

Side one
 * 1) "This Is Radio Clash — 4:10 /Radio Clash" — 4:10

Side two
 * 1) "Outside Broadcast/Radio Five — 11:07

Radio Clash (EP)
EPs
 * 1981 	 Radio Clash  [33 rpm]   	Netherlands  	12" Vinyl  	CBS  	CBS A-12.1797
 * 1981 	Radio Clash [33 rpm] 		12" Vinyl 	CBS 	12EXP 02662
 * 1981 	This is Radio Clash/Radio Clash / Outside Broadcast/Radio Five [33 rpm] 	United States 	12" Vinyl 	Epic 	49-02662
 * 1981 	Radio Clash 		12" Vinyl 	Columbia


 * This Is Radio Clash (12") 	CBS 	12EXP 02662 	Canada 	1981
 * This Is Radio Clash (12") 	Epic 	49 02662 	US 	1981
 * This Is Radio Clash (12") 	CBS 	CBSA 12.1797 	Netherlands 	1981

Track listing

 * Side one
 * 1) "This Is Radio Clash" – 4:07
 * 2) "Radio Clash" – 4:08
 * Side two
 * 1) "Outside Broadcast" – 7:20
 * 2) "Radio Five" – 3:36

Various - Disco Not Disco 2 Leftfield disco classics from the New York underground Mastered at Soundmastering. Vinyl cut at Alchemy. This compilation (P) (C) 2002 Strut.
 * Label:	Strut
 * Catalog#:	STRUTLP 020
 * Format:	2 x Vinyl, LP, Compilation
 * Country:	UK
 * Released:	2002
 * Genre:	Electronic, Funk / Soul, Rock
 * Style:	Leftfield, Italo-Disco, Electro, Disco
 * Credits:	Artwork By [Sleeve Design] - Matt Thame
 * Compiled By - Joey Negro, Sean P.
 * Mastered By - Duncan Cowell
 * Mastered By [Vinyl Cut] - Martin Giles
 * Other [Concept] - Dave Lee, Sean P.
 * Other [Sleevenotes] - Quinton Scott, Sean P.
 * Notes:	Subtitle on front sleeve:
 * Manufactured in the EU.
 * Distributed by 4AM via Pinnacle.
 * Barcode: 6 75865 00201 0


 * D3 	Clash, The 	This Is Radio Clash
 * Written-By, Producer - Clash, The

Various - Mixed Masters - The Compilation - Volume 4


 * Label:	CBS
 * Catalog#:	463454 2
 * Format:	CD, Compilation
 * Country:	Netherlands
 * Released:	1989
 * Genre:	Electronic, Funk / Soul, Pop
 * Style:	Synth-pop, Funk, Disco
 * Notes:	Track 7 (P) 1980, 1981 CBS Records


 * 7 	Clash, The 	This Is Radio Clash (8:19)

Various - Disco Not Disco 2
 * Label:	Strut
 * Catalog#:	STRUTCD 020
 * Format:	CD
 * Country:	UK
 * Released:	2001
 * Genre:	Electronic
 * Style:	Leftfield, Disco
 * Notes:	Subtitle: "Leftfield Disco Classics From The New York Underground."
 * Concept and compilation: Sean P. and Dave Lee (aka Joey Negro).
 * Sleevenotes: Sean P. and Quinton Scott.
 * Design by Matt Thame.


 * 11 	Clash, The 	This is Radio Clash (4:11)
 * Arranged By - Jeff Schack

Various - Riow Arai's Graffiti Edit Style
 * Label:	Spotlight Records (3)
 * Catalog#:	SPOTLIGHT Mixtape vol. 7
 * Format:	Cassette, Mixed
 * Country:	Japan
 * Released:	2003
 * Genre:	Electronic
 * Style:	Electro, Synth-pop
 * Credits:	DJ Mix - Riow Arai
 * Notes:	All tracks mixed and edited by Riow Arai


 * B13 	Clash, The 	This Is Radio Clash

Various - I Love Tecno Pop Volumen 2


 * Label:	Blanco Y Negro (2)
 * Catalog#:	MXCD 1203
 * Format:	3 x CD, Compilation
 * Country:	Spain
 * Released:
 * Genre:	Electronic
 * Style:	Italo-Disco, Electro, Synth-pop


 * 2-11 	Clash, The 	This Is Radio Clash (4:10)



=The Vanilla Tapes=

The Vanilla Tapes were demo tracks recorded in 1979 by the English punk band The Clash -- in essence, an early version of their album London Calling (although the track Remote Control was a song from the band's first album). Roadie Johnny Green was to deliver the tapes to the band's new producer, Guy Stevens; Green fell asleep on the train ride to the studio. Waking up at the station where he was to disembark, he panicked, and in his rush left the tapes behind. After that, the tapes were considered lost until March 2004, when Clash guitarist Mick Jones was moving boxes and came upon a copy of the tape.

The newly discovered Vanilla Tapes were released as a bonus disc when London Calling was remastered and re-issued as the Legacy Edition in September 2004. According to the booklet, there were 37 tracks on the tapes; only 21 were included on the CD.

Track listing

 * 1) "Hateful"
 * 2) "Rudie Can't Fail"
 * 3) "Paul's Tune" (Paul Simonon)
 * 4) "I'm Not Down"
 * 5) "Four Horsemen"
 * 6) "Koka Kola, Advertising & Cocaine"
 * 7) "Death or Glory"
 * 8) "Lover's Rock"
 * 9) "Lonesome Me" (The Clash)
 * 10) "The Police Walked In 4 Jazz"
 * 11) "Lost in the Supermarket"
 * 12) "Up-Toon" (Instrumental)
 * 13) "Walking the Slidewalk" (The Clash)
 * 14) "Where You Gonna Go (Soweto)" (The Clash)
 * 15) "The Man in Me" (Bob Dylan)
 * 16) "Remote Control"
 * 17) "Working and Waiting"
 * 18) "Heart and Mind" (The Clash)
 * 19) "Brand New Cadillac" (Vince Taylor)
 * 20) "London Calling"
 * 21) "Revolution Rock" (J. Edwards, D. Ray)

<hr style="margin: 7em 25%">

=Wrong 'Em Boyo=

"Wrong 'Em Boyo" is a song written by Clive Alphonso for his Jamaican rocksteady group The Rulers.

The Clash did a ska version that features on their 1979 album London Calling, in which Stagger Lee is explicitly the hero and Billy DeLion the villain.

Buck-O-Nine, an American ska punk band formed in San Diego, California, in 1991, did a cover of The Clash version of this song on their 1995 album Barfly.

<hr style="margin: 7em 25%">

=The Clash discography=
 * Category:FL-Class Discography articles
 * Audioslave discography
 * Faith No More discography
 * allmusic: The Clash: DVDs & Videos
 * 1980 Rude Boy [DVD] Sony Music Distribution
 * 1991 This Is Video Clash Image Entertainment
 * 2002 Westway to the World Smv
 * 2003 The Essential Clash [DVD] Sony Music Distribution
 * 2006 Punk Icons Classic Rock Legends Ltd.
 * 2007 The Up Close and Personal Hurricane Records
 * 2007 Music in Review Classic Rock Legends Ltd.
 * 2007 Videography Classic Rock Legends Ltd.
 * 2008 Revolution Rocks Sony Music Distribution
 * 2008 Tory Crimes and Other Tales Classic Rock Legends Ltd.
 * 2008 Live: Revolution Rock EPC
 * 2009 Live in Paris Pickwick
 * 2009 10-Minute Teacher: Should I Stay or Should I Go Bosworth
 * rateyourmusic: The Clash: Video
 * 1980 Rude Boy 6 issues
 * 1986 This Is Video Clash 2 issues
 * 2002 Westway to the World 3 issues
 * 2003 The Essential Clash 2 issues
 * 2005 Bored in the USA Apollo 830528
 * 2006 Up Close And Personal (+Book) UCAP 2289
 * 2007 Music in Review CRP 2369
 * 2008 The Clash in Tokyo MP42103
 * 2008 Revolution Rock 2 issues
 * 2009 Live in Paris 1980 DAVID1474

Tribute albums
<hr style="margin: 7em 25%">

= List of awards and nominations received by The Clash =
 * List of awards and nominations received by The Killers
 * List of awards and nominations received by Nine Inch Nails
 * List of awards and nominations received by Queen

<hr style="margin: 7em 25%">

=List of The Clash concerts=
 * List of The Clash concerts


 * List of The Beatles concerts
 * List of Nine Inch Nails tours
 * Nine Inch Nails live performances
 * Queen live performances

<hr style="margin: 7em 25%">

=List of The Clash songs=
 * List of U2 songs
 * WikiProject The Clash/Songs

<hr style="margin: 7em 25%">

=The Clash RIAA= RIAA SEARCH RESULTS FOR THE CLASH

Moved to: WPClash/List of related articles: The Clash RIAA

<hr style="margin: 7em 25%">

= Abraham Coles =

http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=47042856


 * Birth: Dec. 26, 1813
 * Scotch Plains
 * Union County
 * New Jersey, USA
 * Death: May 3, 1891
 * California, USA

Abraham Coles was born 1813 in Scotch Plains, Union County, NJ, the 4th of 5 known surviving children (2 boys/3 girls) born to the prominent Dennis Coles and his wife, Katrina (Catherine) Van Duersen of Newburgh, NY, a descendant of Everardus Bogardus, the distinguished Dutch domine, and the famous Anneke Jans, his wife.

The family of Coles is of English origin, originally written as "Cole". In America the history of the family begins with that of the settlement of Massachusetts Bay Colony, while on the maternal side its history is traced from the early settlement of New Amsterdam. James Cole, the Puritan, and founder of the family in America, arrived at Plymouth, Massachusetts, between 1620 and 1630. He became a proprietor of land at Plymouth, a part of which was called "Cole's Hill," a bluff of land about twenty feet high, at the foot of which is the famous Plymouth Rock. The name James is found with great frequency in the Cole generations, and the original settler so named his eldest son. Various members of the family left Massachusetts and made a settlement at Oyster Bay, Long Island, about 1665. In 1688 the family became established at Scotch Plains, New Jersey (then called East Jersey), and remained there for many generations.

Abraham Coles was son of Dennis, and grandson of James Coles and Elizabeth Frazee; gr-grandson of Sen. William Coles & Betsey Dennis; and gr-gr grandson of James Coles, Jr., son of the patriarch, James Coles Sr.

Abraham's father, Dennis Coles, was a man of great culture, skilled in mathematics, a lover of polite literature, a polished speaker, member of the state legislature, a charming reader and accomplished writer. He married in 1802 in Newburgh, NY where he established a newspaper "Recorder of the Times" for 3 years. A financial success, it ran under other names until 1876. At the solicitation of his parents, he sold the business in 1806 and came back to Scotch Plains.

Until the age of 12, Abraham Coles was educated by his parents, and in 1828, at age 15, he became a clerk in a New York dry goods store. By 1830, a learned student, he was teaching Latin and Greek at Plainfleld, NJ for a few months, and in 1831 began to study law, which profession he subsequently relinquished as his vocation in life for the study of medicine.

He attended the University of the City of New York, and the College of Physicians and Surgeons, New York. In 1835, he received his M.D. degree from Jefferson Medical College, Philadelphia, and the following year began his practice in Newark, NJ.

In 1842, the 29-year old physician married 25-year old Caroline Elizabeth Ackerman, eldest daughter of Jonathan Combs and Maria (Smith) Ackerman of New Brunswick, NJ. The marriage resulted in the birth of two children: Jonathan Ackerman Coles (1843-1926) and Emilie Smith Coles (1845-1919). Sadly, the marriage was short lived as his lovely bride died just a few months after the birth of their daughter, passing in 1845 at age 28. The 32-year old widower never remarried.

He several times visited Europe for study and travel, giving special attention to languages, both ancient and modern. He was one of the founders of the Newark library and of the New Jersey Historical Society, and a member of the Newark Board of Education and other organizations. He owned a valuable collection of books, paintings and statuary gathered during his lifetime.

A colossal bronze bust of Abraham Coles by J. Q. A. Ward, with its pedestal of stones quarried for the purpose in Galilee, Bethlehem, Jerusalem, and on the Mount of Olives, Palestine, was unveiled in Washington Park, Newark, N.J., July 5, 1897. (Shown here.) The pedestal is founded on a rock weighing about seven tons, which was transported with much difficulty from a grove near the landing place of the pilgrim fathers at Plymouth, Mass.

He received from Rutgers college the degree of A.M.; from Lewisburg University that of Ph.D. in 1860; and from the College of New Jersey, Princeton, that of LL.D. in 1871. In 1847 appeared in the Newark Daily Advertiser his first translation of the "Dies Irae." This was extensively copied and made him famous throughout the literary world. In 1859 he published a volume comprising thirteen original translations of Dies Irae (6th edition, 1892), to which he subsequently added five other translations. He also published a translation of Stabat Mater Dolorosa (1865, 3d edition, 1892); a translation of Stabat Mater Speciosa (1867, 2d edition, 1892); Old Gems in Yew Settings (1866, 3d edition, 1892); Man, the Microcosm (1866, 5th edition, 1892); Thc Evangel (1874, 2d edition, 1884); The Light of the World (1884); and A -Veio Rendering of the Hebrew Psalms Into English Verse (1887). He was also a published poet and the author of many patriotic and devotional hymns.

Though now almost forgotten, except for his name appearing on several monuments in Newark, NJ, Dr. Abraham Coles was in his time, regarded as one of the most accomplished practitioners of Newark, enjoying the highest respect of his brethern in the profession, and of his fellow citizens generally. As some evidence of this, he was for twelve years a member of the Board of Education of the City of Newark, and in 1866 was President of the Medical Society of New Jersey.

Dr. Coles traveled the world, often with his children. His son, J. Ackerman Coles, later joined the medical profession in practice with him, and became the editor of new editions of his father's works.

Dr. Coles died while traveling to the West Coast with his children, taking his last breath at the Hotel Del Monte, near Monterey, California, on May 3, 1891. His body was returned to New Jersey and laid to rest next to his beloved Caroline.

Both his children lived long lives, though neither married, and so the line of Abraham Coles died with the passing of his son on December 26, 1926. Family links:

Spouse: Children:
 * Caroline Elizabeth Ackerman Coles (1817 - 1845)
 * Jonathan Ackerman Coles (1843 - 1926)
 * Emilie Smith Coles (1845 - 1919)

Burial: Willow Grove Cemetery, New Brunswick, Middlesex County, New Jersey, USA Created by: pbfries Record added: Jan 24, 2010 Find A Grave Memorial# 47042856

Abraham Coles


 * Birth - Death : 1813 - 1891
 * Country : USA
 * Medical School : Jefferson Medical College
 * Poetry : The Microcosm, 1866
 * Stabat Ma­ter Do­lo­ro­sa, 1865
 * Stabat Ma­ter Spe­ci­o­sa, 1866
 * Old Gems in New Set­tings, 1866
 * The Mi­cro­cosm, 1866, 1881
 * The Evan­gel in Verse, 1874
 * The Light of the World, 1884

http://www.medindia.net/art-literature/abraham-coles-65.htm


 * Dies Iræ: In Thirteen Original Versions - Manuel Fernández Alvarez, Abraham Coles, Thomas
 * Publisher: D. Appleton and co.
 * Year: 1861
 * The Microcosm And Other Poems
 * Publisher: D. Appleton and Co.
 * Year: 1881
 * The Life and Teachings of Our Lord in Verse: Being a Complete Harmonized Exposition of the Four ... - Abraham Coles, Emilie S. Coles
 * Publisher: D. Appleton
 * Year: 1884
 * A New Rendering of the Hebrew Psalms Into English Verse: With Notes, Critical, Historical and ...
 * Publisher: D. Appleton
 * Year: 1887
 * Biographical Sketch, Memorial Tributes, Selections from His ... - Abraham Coles, Ezra Mundy Hunt
 * Publisher: D. Appleton & company
 * Year: 1892

<hr style="margin: 7em 25%">

=Hugh Cornwell's Discography=

Discography
Hugh Cornwell's full discography, including his work with The Stranglers, can be found here


 * For recordings made with the Stranglers, please see the Stranglers discography.

Solo studio albums
 * Wolf (1988)
 * Wired (1993)
 * Guilty (1997)
 * Hi Fi (2000)
 * Footprints in the Desert (2002)
 * Beyond Elysian Fields (2004)
 * Hoover Dam (2008)

Other albums
 * Nosferatu (1979) (with Robert Williams)
 * CCW (1992) (with Roger Cook and Andy West)
 * Black Hair Black Eyes Black Suit (US release of Guilty) (1999)
 * First Bus To Babylon (1999) (US release of Wired)
 * Sons of Shiva (2002) (with Sex W Johnston)
 * Mayday (2002) (live album)
 * In the Dock (2003) (acoustic album)
 * Dirty Dozen (2006) (live album)
 * People; Places; Pieces (2006) (live album)
 * Acoustic Fields (2008) (acoustic album)

Solo recordings
<hr style="margin: 7em 25%">

=The Damage Manual=

<hr style="margin: 7em 25%">

=The Damage Manual (album)= infobox 2000

Track listing

 * 1) "King Mob"  – :
 * 2) "Age of Urges"  – :
 * 3) "Top Ten Severed"  – :
 * 4) "Peep Show Ghosts"  – :
 * 5) "Sunset Gun (303 Edit)"  – :
 * 6) "Stateless (Delusional Mix)"  – :
 * 7) "Expand"  – :
 * 8) "Denial"  – :
 * 9) "Broadcasting"  – :
 * 10) "Sunset Gun (Fully Monty Sunny Orb Up Mix)"  – :
 * 11) "Blame & Demand (Wobble-Laswell Hybrid Mix)"  – :
 * 12) "Damage Addict (Laswell Mix)"  – :
 * 13) "Stateless (Laswell Mix)"  – :

<hr style="margin: 7em 25%">

=Limited Edition= infobox 2005

Track listing
All songs written by Martin Atkins and Chris Connelly except were noted.
 * 1) "Revenge Fiction" – :
 * 2) "No Act of Grace" – :
 * 3) "I Am War Again" – :
 * 4) "Mad Dialect" – :
 * 5) "Laugh Track" – :
 * 6) "South Pole Fighters" – :
 * 7) "Quiet Life" – :
 * 8) "Driver Menace" – :
 * 9) "Limited Edition" – :
 * 10) "Expand (Can Remix)" (W Wardle, Geordie Walker, Connelly, Atkins, Lee Fraser) – :

<hr style="margin: 7em 25%">

=One= infobox ep 2000

Track listing

 * 1) "Sunset Gun" (Martin Atkins, Chris Connelly, Geordie Walker, Jah Wobble) – 4:03
 * 2) "Damage Addict" (Atkins, Connelly, Walker, Lee Fraser, Wobble) – 4:16
 * 3) "Scissor Quickstep" (Atkins, Connelly, Walker, Wobble) – 3:30
 * 4) "Blame and Demand" (Atkins, Connelly, Walker, Wobble) – 4:13
 * 5) "Leave the Ground" (Atkins, Connelly, Walker, Wobble) – 4:23
 * 6) "Bagman Damage" (Wobble) – 4:59
 * 7) "M60 Dub" (Wobble) – 6:33

<hr style="margin: 7em 25%">

=East Meets East=

<hr style="margin: 7em 25%">

=Ferragosto= <!--

Il Ferragosto è una festività tipicamente italiana, assente negli altri paesi europei, che cade il 15 agosto. Tradizionalmente dedicata alle gite fuori porta, è spesso caratterizzata da lauti pranzi al sacco e, data la calura stagionale, da rinfrescanti bagni in acque marine, fluviali o lacustri. Molto diffuso anche l'esodo verso le località montane o collinari, in cerca di refrigerio.

Il termine Ferragosto deriva dalla locuzione latina feriae Augusti (riposo di Augusto) indicante una festività istituita dall'imperatore Ottaviano Augusto nel 18 a.C. che si aggiungeva alle esistenti e antichissime festività cadenti nello stesso mese, come i Consualia, per celebrare i raccolti e la fine dei principali lavori agricoli. L'antico Ferragosto, oltre agli evidenti fini di autopromozione politica, aveva lo scopo di collegare le principali festività agostane allo scopo di fornire una adeguato periodo di riposo, anche detto Augustali, necessario dopo le grandi fatiche profuse durante le settimane precedenti.

Nel corso dei festeggiamenti, in tutto l'impero si organizzavano corse di cavalli e gli animali da tiro, asini e muli, venivano dispensati dal lavoro e agghindati con fiori. Tali antiche tradizioni rivivono oggi, pressoché immutate nella forma e nella partecipazione, durante il "Palio dell'Assunta" che si svolge a Siena il 16 agosto.

Nell'occasione, i lavoratori porgevano auguri ai padroni, ottenendo in cambio una mancia: l'usanza si radicò fortemente, tanto che in età rinascimentale fu resa obbligatoria dai decreti pontifici.

Coincide con la festa cattolica della dormizione e assunzione di Maria (madre di Gesù). Esiste un parallelo tematico tra il rapimento delle vergini sabine e quello della Vergine in cielo.

Ferragosto nel cinema

 * Ferragosto in bikini, è una commedia italiana girata nel 1961. Regia di Marino Girolami, Sceneggiatura di Tito Carpi e Marino Girolami. Personaggi e interpreti: Walter Chiari, Mario Carotenuto, Valeria Fabrizi, Raimondo Vianello, Lauretta Masiero, Carlo delle Piane, Tiberio Murgia, Toni Ucci, Bice Valori, Marisa Merlini; il film rappresenta una serie di personaggi caratteristici che si incontrano sulla spiaggia di Fregene;
 * Il sorpasso è un film italiano del 1962, diretto da Dino Risi, con Vittorio Gassman, Catherine Spaak e Jean-Louis Trintignant. La narrazione del film inizia "nella Roma deserta di un ferragosto qualunque".
 * L'ascensore, terzo episodio di Quelle strane occasioni, film commedia in tre episodi del 1976. L'episodio è diretto  da Luigi Comencini, con Alberto Sordi e Stefania Sandrelli, e racconta della giovane Donatella (Stefania Sandrelli) che resta chiusa in compagnia di un maturo monsignore (Alberto Sordi) nell'ascensore di un palazzo deserto per le feste di ferragosto.
 * Un sacco bello, film italiano del 1980 diretto ed interpretato da Carlo Verdone sullo sfondo di una Roma ferragostana, assolata e deserta.
 * Quinze août, 15 août, (15 agosto) è un cortometraggio francese (10 minuti) di soggetto drammatico, diretto da Nicole Garcia nel 1986, con Ann-Gisel Glass, Nicole Garcia e Jean-Louis Trintignant nella parte del marito infedele.
 * 15 août (tit. italiano: "15 agosto. Non sarà una vacanza per tutti") è un film francese diretto da Patrick Alessandrin nel 2001, con Richard Berry, Jean-Pierre Darroussin e Charles Berling che vengono abbandonati dalle mogli nel giorno di ferragosto e così costretti a dover badare ai loro numerosi figli.
 * Pranzo di ferragosto, film italiano del 2008 diretto da Gianni Di Gregorio. Vincitore del Premio Venezia Opera Prima "Luigi De Laurentiis" alla 65ª Mostra internazionale d'arte cinematografica di Venezia.

Ferragosto nella letteratura

 * Carlo Cassola, Ferragosto di morte (romanzo), Reggio Emilia, Ciminiera, 1980, collana "Narrare oggi";
 * Arturo Carlo Jemolo, Scherzo di ferragosto, Roma, Editori Riuniti, 1983;
 * Renato Olivieri, Maledetto ferragosto, prefazione di Raffaele Crovi, Milano, Rizzoli, 1983 e altre edizioni (Il commissario Ambrosio indaga sulla morte misteriosa di Andrea Bulgari trovato cadavere nella sua camera da letto in un giorno di Ferragosto. Milano è il luogo in cui si svolge la vicenda);
 * Raffaele Crovi, Ladro di ferragosto, Milano, Frassinelli, 1984;
 * Salvatore Gabriele, Ferragosto,, Coppola editore, 2002;
 * Gianfranco Miroglio, Ferragosto, Acqui Terme, Impressioni Grafiche, 2002;
 * Paolo Cevoli, Mare mosso, bandiera rossa: ferragosto a Roncofritto. Romanzo!, Milano, Kowalski, 2003;
 * Gino Pugnetti, Vendetta tremenda vendetta, Meridiano zero, 2003 (Incipit: "Era la mattina di Ferragosto, il primo ferragosto del dopoguerra, quello del 1945");

Voci correlate

 * Per ferragosto si mangiano i piccioni arrosto ; proverbio popolare antico

Ferragosto Ferragosto Ferragosto Ferragosto Ferragosto Феррагосто Menzaustu --> Feriae Augusti were originally the festive days lasting the entire month of August, in honor of the Emperor Augustus. During this period, the Romans honored their pagan deities and women made votive offerings in temples to ask for protection during childbirth. Participation in all festivities was open also to slaves.
 * FERRAGOSTO

Nowadays, Ferragosto comprises the holidays of mid August during which most Italians go on vacation.

Ferragosto is the most popular Italian festivity as well as one the most important Catholic recurring holidays. The Catholic Church celebrates the day the Virgin Mary was Assunta in Cielo, in other words transported directly to Heaven to be with her son and to look after those of us still here on Earth. The origin of Ferragosto is Pagan and it goes back before Christianity. Peasants in ancient times would rest during the month of August and celebrate the Goddess of all Harvestings in a ritual that would lead to pilgrimages to Her sanctuaries traditionally located in woods or on top of a mountain and offering her foods and prayers. Only in 18 BC the Roman Emperor Augustus (this name meaning "blessed by destiny, good luck") declared that all of the month of August would be dedicated to the Feriae Augusti, a series of festivals and celebrations; the most important was held on the 13th, and was dedicated to Diana, the Goddess who oversees the woods, the phases of the Moon, and Maternity. The celebrations used to take place in Diana's temple on the Aventino and it was one of the few occasions in which all the Romans from masters to slaves could walk and mix freely.
 * The Origin of Ferragosto

In addition to Diana, the Feriae Augusti were an occasion to celebrate Vortumnus, God of the Seasons and therefore of the ripening of crops, Conso, the God of the Harvest, and Opeconsiva, who personified the abundant harvest. In short, the Feriae were a celebration of abundance and fertility.

Only in the 18th century, Ferragosto became known as the day of the Ascension, and it became official only in 1950 with Pope Pius XII.

Among the traditional celebrations are:

Porto Santo Stefano (Grosseto): On August 15, there is a competition called "Palio Marinaro"; among fishermen divided in four teams representing the four main districts of the town of Porto Santo Stefano. This tradition originates from a legend that narrates about a fisherman's boat that was salvaged from the attacks of the Saracens by hiding in a small grotta (cave) which then became known as the "Grotta del Turco" (The Turk's Cave).

Castelbuono (Palermo): the history of the town is linked to the noble family of Ventimiglia. In 1316 they built a castle that was named after them (see picture below) and is still standing on a rock north of the main town. On August 15, the whole town gathers for the "Arruccata dei Ventimiglia"; locals dressed in ancient costumes create living paintings to evoke episodes of their history.

Like most religious holidays, Ferragosto provides families with an excellent excuse to gather and enjoy a fine meal, renewing the ties that bind the generations. Among the Italian most popular meals is the "Insalatona di Ferragosto" (Midsummer Salad):

(Ingredients: 4 chicken breasts - 1/2 Liter of milk - 1 large ripe tomato - 1 small ginger root - 1 1/2 tbsp butter - 300 grams of green salads - chives - vinegar - 1 tbsp soya sauce - salt)

Marinade the chicken breasts in the milk for 12 hours. Wash and strain the salad, dice the tomatoes, and slice the ginger finely. Remove the chicken from the milk, spread the breasts with butter and cook on a grill pan till tender. Place the salad and tomatoes in a salad bowl, and dress with 2 tbsp of vinegar and toss. Cut the chicken into fine strips and add to the salad, sprinkle with a tbsp of soya sauce, the ginger slivers and the chopped chives.

Ferragosto goes back further and has Pagan origins, which in this case are multiple. On the one hand, in 18 BC the Roman Emperor Augustus declared that all of the month of August would be dedicated to the Feriae Augusti, a series of festivals and celebrations; the most important was held on the 13th, and was dedicated to Diana, the Goddess whose task it was to oversee the woods, the phases of the Moon, and Maternity. The services, which were celebrated in Diana's temple on the Aventine, was one of the few occasions in which Romans from all walks of life, masters and slaves alike, mingled freely, and the women, who made offerings to the Goddess throughout the year in the hope that their labor would be safe and happy, offered prayers to Lucina, the guise Diana assumed when she was acting as protectoress of Labor.
 * Origin and meaning of FERRAGOSTO (Feriae Augusti

In addition to Diana, the Feriae Augusti were an occasion to celebrate Vortumnus, God of the Seasons and therefore of the ripening of crops, Conso, the God of the Harvest, and Opeconsiva, who personified the abundant harvest. In short, the Feriae were a celebration of fertility and maternity; like many other Roman holidays they derived from the East, and in particular from the Syrian celebration of Atagartis, a Mother Goddess who oversaw both fertility and work in the fields. With the advent of Christianity people turned to the Virgin for help in these matters, and began celebrating Her in August in the church in Jerusalem that was said to be Her resting place; the custom spread through the rest of the Empire under Mauritius, in the late 500s.

It's important to note that this was just a celebration of Mary; the modern dogma that she was transported to Heaven on Ferragosto took hold in the 18th century, and was only formally proclaimed by Pope Pius XII in 1950.

The Italian Holiday Ferragosto - Sacred or Profane?

For the August holidays in Italy, culminating on the 15th with Ferragosto, are rooted in tradition as old as the Roman Empire itself.

Ferragosto is an Italian contraction of the Latin feriae augusti: literally, “Augustus’s holiday.” Proclaimed by Augustus (Julius Caesar’s nephew and heir, and the first Roman Emperor), the feriae augusti were originally a full month of continuous celebration later reduced to a single day in early, and subsequently mid, August. The feriae marked a period in Roman society in which the division of classes slackened, witnessing the rare social mingling of citizens and slaves.

All mundane enterprises ceased during these festivities. Romans feasted and honored diverse gods and goddesses, typically those associated with the harvest and the changing of seasons. For Roman women, the feriae augusti meant a time to worship the goddesses relevant to their own interests, deities such as Diana, the protectoress of youth and a goddess of childbirth (as Lucina, a guise of both Diana and Juno). Thus, in addition to its status as public holiday, in time Ferragosto also became associated with principally “female” matters—fertility, maternity, and children.

Such correlations help to explain how a pagan harvest festival, one already strongly linked to sacred female figures, evolved into a feast day for the Catholic Church’s most revered female figure, the Virgin Mary. For, as Catholic readers will surely remember, August 15 is also the Feast of the Assumption, known in Italy as La Festa dell’Assunta or L’Assunzione di Maria Vergine. One of the Church’s basic Marian dogmas, the Assumption refers to the moment Mary was taken up, or “assumed,” directly into heaven upon her death. Proclaimed official dogma by Pope Pius XII in 1950, it was assigned to August 15 on the liturgical calendar—and not by coincidence. Though unofficial, honoring Mary in August had been an established practice since the Middle Ages.

That the Catholic Church co-opted Ferragosto as it had done with other pagan festivals seems little disputed. History is full of shifts of this kind. Throughout the whole of Europe, firmly-rooted pagan traditions never really died out, but were absorbed rather into an ever-expanding Christian world. Many Christian saints, including Mary, came to bear symbolic resemblance to prior religious figures; and even the most desultory look at the roots of Christmas and Easter quickly reveals a strong connection to ancient pagan antecedents.

From her Greek and Roman predecessors, Mary inherited strong associations with fertility, purity, and maternal strength: Mary’s triumph over death, for instance, recalls the symbology of Ceres, who, as the goddess of corn, died each year come harvest time, but every Spring was re-sowed, reborn; The flowers said to have bloomed spontaneously at Mary’s tomb (usually roses or lilies) as angels conveyed her to heaven, parallel the grain, corn husks and other harvest flora that for ages had been associated of her forerunners; and, even today, Catholics pray to Mary for guidance and care in childbirth just as pagan women sought the aid of Juno, Roman goddess of marriage and childbirth.

What does all this mean to Italians today, if anything? In a culture where the line separating secular from religious is often blurred, the 15th of August represents an outright blind spot. While acknowledging regional differences (in the South, devotion to Mary is known to be much more rigorous), Ferragosto seems to me overwhelmingly laical in practice. The Italians I know all consider Ferragosto a day to “get away,” usually at the beach, perhaps a hike in the mountains or a leisurely lunch with family. It certainly is not a day spent closed inside a church. Yet, the dogma of the Assumption is fundamental to Roman Catholic belief, and one to be observed accordingly. So why aren’t the church pews as crowded as the seashores on this day? True to her dichotomous character, Italy offers no simple answers to questions of faith or tradition.

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=Giffoni Film Festival=
 * Berlin
 * Cannes
 * Cairo
 * Karlovy Vary
 * Locarno
 * Mar del Plata
 * Moscow
 * Montreal
 * San Sebastian
 * Shanghai
 * Tokyo
 * Venice


 * Chicago International Children's Film Festival
 * New York International Children's Film Festival
 * The Giffoni Film Festival history Where the Giffoni Film Festival idea comes from

History
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1970-1973 The children and Youth Film Festival in Giffoni Valle Piana is born,  a small town in the province of salerno with less than 10.000 people. The original idea is of the 18 year old founder and artistic director Claudio Gubitosi. He is sided by a few cinema lovers like Andria, Mario Ferrara, Franco Rega, Generoso Andria. The organisers don't have a place to meet. They actualy meet and strenuously plan the future festival in one of the two cinemas in town. It is also the place where the films are screened. Their pure passion for cinema is much stronger than the actual lack of places and funds. Tens of kids voluntarily contribute to the organisation of the festival.

1974 The review becomes a Festival and an Institutional Body, The International Children's and Youth's Film Festival Autonomus Body, is responsible for the organization and management of the event. Generoso Andria is its President and has the legacy of the Regional counsellor for Tourism Roberto Virtuoso to boost him:" The Festival is a cultural bomb ready to explode and it will have a significant place in cinematographic history". The Film festival deals with all young peple's issues in contemporary society, and it is hosted and run by,  Domenico Meccoli, ex director of the Cinema festival of Venice and turns out to be a precious adviser of the festival. ZABRISKY POINT by Michelangelo Antonioni is hosted at te festival. Despite the scores of problems the festival goes on. The children and youth appreciate the films proposed at the festival thus stimulating Gubitosi and Cmpany's creativity. The actor Leopoldo Trieste is the first guest of the festival.

1975 The press starts to feel attracted to this event and to the GFF's special atmosphere, despite its initial diffidence. The "Il Mattino" the most popular and important newspaper of the South of Italy, gives a lot f spaceand credit to the event thanks to the reports from the Festival. RAI discovers the Festival too and dedicates its first coverage to it.. There are no hotelsin Giffoni therefore the monastey of father capucchins is turned into a guest house to better host all the guests. The actors Stelvio Cipriani and ANtonella Laudi are the main guests of the night shows at Piazza Mercato, The first GFFArena

1976 The Festval's cultural proposal improves increasing its fame despite its logistic problems like the terrible street conditions leading to Giffoni. Amongst other initiatives there is a review dedicated to the animation artist Norman Mc Laren. There is a great need for a press office. Pino Blasi, a reporter for Il Mattino newspaper, takes care of the rapport with the his colleagues from the press, thus revealing himself as a fundamental figure for the Festival's growth. The first awards for spcially interesting authors are given. In 1976 it is Roberto Faenza's, back then a very interesting film maker, and documentary expert Folco Qulllici.

1977 7th annual (30th July - 7th August)

The first state funds from the Ministry of Tourism and Entertainment are allocated to the GFF that add to the little sum the organizers had managed to put together thanks to a providential and much needed self-taxation. The Italian Army parks its cars and equipment in piazza Umberto I: The GFF films are screened at the Cinema Moderno and in the same piazza, The castle ruins of terravecchia, the medieval village are illuminated by photocells while pizza and cakes are made for everyone with their camp ovens. Giffoni hosts the first international meeting for youth and children's film festivals' directors.

1978 8th annual (29 July - 6 August)

There are more and more films selected. The Minister of Tourism and entertainment Carlo Pastorino quadruples the funds for the festival thanks to an open letter sent  to  newspapers by Claudio Gubitosi and during his visit to Giffoni, Mr Pastorino promises a greater commitment in the  future.

American actor Gordon Mitchell comes to Giffoni while the organizers meet the Iranian responsibles for Child's Cultural development, thus giving way to a friendship with Iranian filmmakers currently alive and kicking.

1979 9th annual (18 - 26 August)

It's the international Child year, The initiative is promoted by Unicef and sees the Giffoni Festival in the frontline to safeguard the rights of children. There is a strong collaboration with the Viennale, whose director Edwin Zbonek does not hesitate to say: "The Giffoni Festival is for children what the Vatican is for Catholics". A delegation of students from Giffoni goes to  Berlin and realises, together with their peers from Erich Hoepner Gymnasium a 45 minute film called "Figli della Strada". "Street children" Amidst the festival films we would like to mention films about problematic issues in contemporary society like SENZA LEGAMI by Marta Meszaros and UNA STRADA CHIAMATA DOMANI by Robert Mulligan with Richard Gere.

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 * The 80s The Giffoni Film Festival editions from 1980 to 1989

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1980 10th annual (26th July - 3rd August)

The newspaper "Il Mattino" is very attracted and interested by the huge qualitative growth of GFF and dedicates a special illustrated report to it. However Mr Bernardo D’Arezzo, new Minister of tourism and entertainment reduces funds drastically. Gubitosi reacts promptly with a starvation strike, Stores in Giffoni close and white sheets with protest writings hang from balconies and buildings. However soon, a terrible disaster hits the whole Campania region. The devastating earthquake of 23rd November 1980 reduces to mere rubble scores of towns in Irpinia. Giffoni is at the border with the area majorly hit.T he Festival starts collecting funds amongst all the emigrants abroad to help the people form this area.

1981 11th annual (1st - 9th August)

Amidst a sea of troubles the GFF takes place regularly and it is time for the French film LA BOUM (THE PARTY) with stunning Sophie Marceau that is presented as a world premiere in Giffoni. This film will mark with its incredible international success a huge turning point for international cinematography. The film has, in fact, been thought for an adolescent audience that is now considered differently: Adolescents are no longer considered children but are not adults yet, therefore film production must think of them specifically. Forty Countries send their films for the pre selection. Luigi Comencini, Italian director is awarded the "nocciola d’oro", while the GFF also tries to discover the hidden talents amongst the locals. Indee the first posters were realized by maestro Stavolone' in 81 but the author of the 81 and 82 posters is local talent seventeen year old Fausto Giannattasio.

1982 12th annual (31st July - 8th August)

The Festival finally establishes itself as one of the top international events thanks to one of the most important and talented directors of the 20th century: François Truffaut. The French maestro, at the festival says in a beautiful letter he gives to the director before leaving "…Of all film Festivals the Giffoni one is the most necessary". During the 12th annual the GFF honour Cech cartoonist Jon Popescu Gopo. Peppe d’Antonio becomes deputy artistic director of the festival. For the first time the Festival does not end with the end of the Summer event: Robert De Niro, "snatched" from the Venice Festivalal, is awarded in Autumn the Honorary citizenship in Giffoni. Luigi Comencini shoots in Giffoni with local extras the TV film IL MATRIMONIO DI CATERINA played by Anna Melato, Stefano Madia and Clelia Rondinella. The GFF jurors start travelling round the world thanks to cultural exchanges that bring them to the French city Barbezieux and to visit the European Parliament in Strasbourg.

1983 13th annual (30th July - 7th August)

Domenico Meccoli passes away, The film critic to whom the festival owes so much. The film show he created is called after him. The issues of youth around the world treated in his section becomes known as Domenico Meccoli. The objective remains unscathed i.e. go over young people's problematic issues with the help of cinema. The films in competition are definitely different now. Besides the fairy tales there are films capable of telling without holding anthing back and without rethoric the troubled world of 12 year olds: It's the case of KUNDSKABENSTRAE (The tree of knowledge) by Danish director Nils Malmros. We also like to mention another film in competiotion ALSINO Y EL CONDOR by chilean Miguel Littin and we can't forget BUSH CHRISTMAS, the Australian film in which a troubled young Nicole kidman appears. The GFF receives the High Patronage of the President of the Italian Republic Mr Sandro Pertini. Jurors and organisers from Giffoni will visit the head of state in October. Amongst the guests the Italian director Giuliano Montaldo.

1984 14th annual (28th July - 5th August)

A monographic fiilm show is dedicated to Chinese cinema so different and yet so fascinating that wins over the young audience. Ling Zhong, ambassador of the Chinese popular Republic visits the Festival. The film ZAPPA by Bille August is presented in the Meccoli section while the French  director Michel Deville  proposes LA PETITE BANDE in the competitive section. The " nocciola d’oro" this year is awarded to Mario Monicelli, Peter Ustinov (present in Giffoni), to the weekly magazine Topolino and to Steven Spielberg who sends a wonderful video message from the United States 16 mm. 84 is also the year in which the arena moves from piazza Umberto I to Piazza Annunziata, where it is possible to set a 2000 seats circa arena called Maison Lumière. The Campania Region, allocates an annual fund that will boost the organisation. From this edition and until 1988 the Festival poster will be chosen through a competitive selection for secondary school students from all over Italy.

1985 15th annual (27th July - 4th August)

The GFF dedicates a film show to the Albanian cinematography, bringing it to international attention for the first time. The film show gives way to the series of bonds currently vital and important with Polish film-makers. Amongst the authors Victor Gijka and Dhimiter Anagnosti. Amongst the films we like to mention UN BON PETITE DIABLE by Jean Claude Brialy (already in lots of films by Rohmer, Godard, Rivette and Chabrol) and THANK GODNESS THERE'S A THIEF IN THE FAMILY with rising star Matthiew Broderick directed by Herbert Ross. On the Maison Lumiére stage young Italian authors we will hear about in the future. Stefano Reali, Pino Quartullo, Francesca Archibugi, Massimo Guglielmi, Alessandro Bencivenni, Domenico Salerni, Nicola Vegro, Graziano Diana, Salvatore Mortello, Aida Mangia e Massimo Russo, They realise short-films produced by Rai for the series "Passione Mia". Sponsor of the project Monica Vitti. Nocciola d’oro to Nino Manfredi. Guests in the wonderful moonlit Maison Lumière scenery : Stefania Sandrelli, Ricky Tognazzi, Pasquale Squitieri, Luca De Filippo, Riccardo Pazzaglia, Aldo Giuffrè, Oreste Lionello, Pippo Franco, Giovanni Soldati e Marco Mattolini.

1986 16th annual (26 July - 3rd August)

The 16th annual retrospective is dedicated to Soviet cinema and is sided by a section inspired by the new tendenies of Italian cinema supervised by italian film critic Valerio Caprara. Giulietta Masina wins the "nocciola d’oro". The films in Giffoni reclaim a new identity: films for children and youth does not mean a minor cinema. In fact MY LIFE AS A DOG (la mia vita a Quattro Zampe) by Lasse Hallstrøm (present in Giffoni)indeed receives an Oscar nomination for best direction and best screen play to prove this claim more strongly. L'EFFRONTÈE by Claude Miller, with the debut of Charlotte Gainsbourg is premiered at the festival. Festival guests are: Giuliana De Sio, Alberto Sordi, Giuliano Gemma, Nanni Moretti, Enrico Montesano, Franco Zeffirelli, Gian Luigi Rondi. With the birth of the magazine "Cinema" Giffoni becomes "editor" too. The magazine studies more in depthly all the issues discussed at th festival and "exports", its experience across its regional borders organizing in Padova Gradito ai Minori the first of a long series of film shows for children and youth.indeed these filmshows will be proposed to other cities and schools in Italy.

1987 17th annual (25 July - 2nd August)

Seventy-four films selected and 24 nations to participate, are amongst the numbers to mark the 17th annual. Luna d’Oriente is the film review dedicated to Turkish Films. Cannon Film, the American cinematographic, distribution and film making company, chooses Giffoni to present seven works from 7 hugely famous fairy tales. The golden hazelnut "La nocciola d’oro" is awarded to Sergio Leone and to the producers "Golan and Globus". The most important guest are: Vanessa Redgrave, Franco Nero, Lello Arena, Maurizio Nichetti, Francesco Rosi, Memè Perlini, Marina Suma e Paolo Villaggio. The Italian film IL CORAGGIO DI PARLARE by Leandro Castellani wins the festival, It is the story of a boy who is brave enough to breach the conspiracy of silence. JOY by young German director very keen on sci-fi Roland Emmerich is also in competition. In '88 he will come back with a second film HOLLYWOOD MONSTER. In this case the name of the film is somehow psychic as nowadays Emmerich makes blockbuster movies in the WOrld's cinema capita. With the previous year's experience from 10 to 12 November in Rome, a film show from "giffoni", is organizd with the collaboration of’Agis School and the Cinematographic critics Unioni.

1988 18th annual (30th July - 7th August)

The Festival "comes of  age" and the 18th annual sees the setting up of the François Truffaut award in memory of the great late director. This award over the years it will become the Giffoni Film Festival greatest and most important prizeand it will be awarded to the most important cinematographic representatives in the world.The great French director Louis Malle is the first to reeive this award. Fra gli ospiti: Vittorio Taviani, Dario Argento, Stefano Reali, Klaus Maria Brandauer, Ornella Muti, Barbara De Rossi, Diego Abatantuono, Ida Di Benedetto, Massimo Ciavarro. Cristina Comencini's debut film ZOO, played by a very young Asia Argento, (who is also present at the festival) is in competition. In THE WIZARD OF LONELINESS by H. Anne Riley, we discover Lucas Haas who will be back in 1991 at the GFF with the splendid ALAN and NAOMI and in 1996 with Winona Ryder in BOYS. Today Lucas is amongst the most interesting new directors of american indipendent films (THE YOUTH IN US Sundance 2005). Ambrogio Pellegrino, creates in Bellinzona, in Switzerland, the homonymous festiva, after visiting Giffoni with the same format. In Autumn, second appointment of Giffoni films in Rome and in Padua. The festival shines also on the Croisette. At the Cannes Film Festival with a stall in collaboration with Cinema Sorrento (Na).

1989 19th annual (29th July - 6th August)

The GFF starts with Prime Minister Giulio Andreotti's helicopter roar arriving directly from Rome for the official opening. He opens the "new" cinema Valle completely done up thanks to the Giffoni Film Festival that with 500.000.000 di lire, furnishes it with the most modern equipment and gear to make it more comfortable and pleasant for the 400 hundred jurors. The Festival honours Canadian producer Rock Demers, founder of La Fète, that aims at making products of great cinematographic quality for a younger audiece. From Australia we screen SEBASTIAN AND THE SPARROW by a very young Scott Hicks who will have huge success with SHINE (6 nominations in 1997: direction, screen-play, photography, editing, leading player, non leading player). Amongst the players of the competitive section films at the festival, we like to mention a very shy protagonist of Cech film PENDOLARI: Barbora Bobulova. Guests at the Maison Lumière: Bernardo Bertolucci, Margarethe Von Trotta, Ettore Scola, Lina Wertmüller, Marco Risi, Gina Lollobrigida, Giancarlo Giannini, Ben Gazzarra, Philippe Leroy, Carlo Croccolo, Ottavia Piccolo, Carlo Verdone, Michele Placido, Julian Sands, Morten Harket, Barbara De Rossi, Claudio Amendola, Lina Sastri. Francesco Cossiga, President of the Italian Republic greets a delegation from the Giffoni Film Festival at the Qurinale taking leave of them in a very moving way: "On behalf of all the Nation I thank you for all you do for us".

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 * Anni '90 Le edizioni del Giffoni Film Festival dal 1990 al 1999. In Italian

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1990 20a edizione (28 luglio - 5 agosto)

Il nuovo decennio coincide con il rinnovamento dell’immagine del Giffoni Film Festival che, da quest’anno, viene curata da Gelsomino D’Ambrosio e Pino Grimaldi della Società di grafica pubblicitaria di Salerno Segno Associati. Torna protagonista l’Iran con una rassegna cinematografica per ragazzi firmata da Abbas Kiarostami, Amir Naderi, Bahram Beizai, Mohsen Makmalbaf. Il premio François Truffaut è conferito a Mauro Bolognini, Liliana Cavani, Liv Ullmann, Nanni Loy, Jeremy Irons. Ospiti del festival anche Giuliano Gemma, Bud Spencer, Francesco Nuti, Leo Gullotta, Totò Cascio, protagonista di NUOVO CINEMA PARADISO di Giuseppe Tornatore, premio Oscar 1989 come miglior film straniero, Isabella Ferrari e il Presidente della Rai, Sergio Zavoli. Il Presidente del Senato Italiano, Giovanni Spadolini, il 28 luglio, si reca in visita ufficiale al festival.

1991 21a edizione (27 luglio - 4 agosto)

Tra le immagini indelebili di questa edizione resta il lungo applauso tributato dal pubblico ad un commosso Michelangelo Antonioni che riceve il premio François Truffaut. Ad essere insigniti del prezioso riconoscimento anche i registi Gianni Amelio, Werner Herzog, Andrzej Wajda, Pupi Avati e Roberto Benigni e gli attori John Travolta, Gian Maria Volonté. Altri ospiti delle serate Ettore Scola, Vittorio Mezzogiorno, Maurizio Nichetti, John Savage e Pino Caruso. A Søren Kragh-Jacobsen, il regista danese, oggi conosciuto come uno dei fondatori di DOGMA e autore di MIFUNE-DOGMA III viene dedicato un omaggio speciale. Molti dei suoi film raccontano infatti storie di ragazzi e ragazze con sensibilità e tocco da maestro. E’ questo l’anno che introduce un’importante novità nella Giuria dei ragazzi: la presenza di un Presidente Onorario. E’ il grande regista russo Nikita Michalkov ad inaugurare questa nuova tradizione. Il 27 luglio tocca al Presidente della Camera dei Deputati, on. Nilde Iotti, visitare Giffoni. Il Festival è ormai una realtà consolidata e, a conferma di ciò, il film canadese TOMMY TRICKER, VIAGGIATORE NEL FRANCOBOLLO di Michael Rubbo, trasmesso in prima serata da Raidue ottiene oltre 3.000.000 di spettatori. Tuttavia la manifestazione deve fare i conti con la scarsità dei finanziamenti pubblici che non consentono di intravedere prospettive per il futuro in linea con quello che sta accadendo a Giffoni. In segno di protesta Claudio Gubitosi rassegna le sue dimissioni da direttore artistico.

1992 22a edizione (1-8 agosto) TEMA: L’EROE IMMAGINARIO – L’EROE IMMAGINATO

Da questa edizione il GFF sceglie un tema annuale che sarà il fil rouge delle discussioni con i ragazzi e tra ragazzi e artisti. La rassegna Il dolce vento del Nord dedica il meritato spazio alla vasta produzione di cinema per ragazzi dei paesi nordici, siglata da Bille August, Birger Larsen, Nils Malmros, Paivi Hartzell, Eva Dahr e Eva Isaksen. In concorso l'irresistibile ELEMENTARY SCHOOL di Ian Svêrák, candidato all'Oscar come miglior film straniero, ma battuto dal nostro MEDITERRANEO. Svêrák si rifarà nel 1996 vincendo l'Oscar con KOLYA. Sempre in concorso dall'Iran il film BADUK firmato da Majid Majidi, uno degli autori più interessanti della cinematografia iraniana alla quale il festival dedica sempre grande attenzione. Vincitore dell'edizione FRIDA della norvegese Berit Nesheim. L'Autrice porterà a casa il Grifone anche nel '94 con BEYOND THE SKY e riceverà una nomination nel '98 per il film THE OTHER SIDE OF SUNDAY. Il carnet delle presenze istituzionali si arricchisce della visita del neo-Presidente della Camera dei Deputati, on. Giorgio Napolitano. Il Premio Nobel per la Ricerca Scientifica Rita Levi Montalcini, viene insignito del premio "François Truffaut". Alle serate alla Maison Lumière, che intanto si è trasferita nuovamente nella più centrale Piazza del Poggio, intervengono: Emir Kusturica, Gianni Amelio, Theo Angelopoulos, Mario Monicelli, Alberto Lattuada, Carlo Lizzani, Anthony Quinn, Franco Nero, Giuliano Gemma, Kabir Bedi, Terence Hill, Ken Marshall, e Dalila Di Lazzaro. Il Presidente Onorario della Giuria è il regista Giuliano Montaldo.

1993 23a edizione (2 - 7 agosto) TEMA: PADRE E FIGLI

Si proietta sulla edizione la "conradiana" Linea d’Ombra, l’ideale, sottile, demarcazione fra l’adolescenza e la maturità. La nuova sezione, curata dal vice direttore Peppe D’Antonio, si propone essenzialmente come un approfondimento delle problematiche legate a questo delicato passaggio. Tra i film in rassegna ricordiamo SUNDAY'S CHILDREN di Daniel Bergmann (figlio di Ingmar) e TIR-NA-NOG INTO THE WEST di Mike Newell (4 Matrimoni e un Funerale, Harry Potter e il Calice di Fuoco) I film stranieri presentati a Giffoni vengono distribuiti in Italia sempre più spesso. Questo permetterà, a breve, di realizzare un progetto a lungo tenuto nel cassetto, proporre i film di Giffoni agli studenti per tutto l'anno.KADIDBELLAN (Colpo di Fionda/Slingshot) viene acquistato e distribuiti dalla Columbia. Ai giurati viene chiesto di assegnare un premio anche al miglior attore e alla migliore attrice. Il premio va ad un'esordiente, l'affascinante Marie Gillain e al suo piccolo partner (presente al festival) Alessandro Sigona per il film MARIE. E’ dedicato alla cinematografia dell’Europa orientale la retrospettiva L’Aria Serena dell’Est fra le cui opere spicca TANGO ARGENTINO del regista serbo Goran Paskaljevic. Il premio François Truffaut viene assegnato alla casa di distribuzione italiana Mikado. Presidente Onorario della Giuria è la bella Kathrine Spaak. Ospiti "sotto le stelle": Paolo e Vittorio Taviani, Abbas Kiarostami, Marta Meszaros, Roberto Faenza, Francesca Archibugi, Sergio Rubini, Michele Placido, Pasquale Pozzessere, Daniel Bergman, Silvio Orlando e Stefano Dionisi.

1994 24a edizione (30 luglio - 6 agosto) TEMA: IL SOGNO

Giffoni guarda verso orizzonti sempre più lontani, ma il suo Sogno si infrange su una delibera del Cipe (Comitato Interministeriale per la Programmazione Economica) che boccia il finanziamento per la costruzione della Cittadella del Cinema. La delusione è grande ma la dimensione della manifestazione e del suo progetto culturale è tale, ormai, che non si ci può permettere di arenarsi. Si continua a guardare avanti, si continua a "sognare". Il premio Truffaut va ad Alberto Sordi che è anche Presidente Onorario della Giuria di ragazzi. Sul palco della Maison Lumière, si alternano Dino Risi, Bertrand Tavernier, Wim Wenders, Giuseppe Tornatore, Mario Martone, Ettore Scola, Paolo Villaggio, Mariangela Melato, Gigi Proietti, Enrico Lo Verso, Aurelio Grimaldi, Remo Girone, Guido Manuli. Il Ministro della Pubblica Istruzione, Francesco D’Onofrio, incontra i giurati, mentre si chiude un accordo con la Sacis, società di distribuzione della Rai presieduta da Giampaolo Sodano, per la diffusione sul mercato televisivo nazionale, dei film presentati a Giffoni. Intanto un dato ufficiale rincuora Gubitosi e i suoi: un’indagine dell’Abacus decreta che il Giffoni Film Festival è secondo (dopo Venezia) per popolarità in Italia fra le manifestazioni cinematografiche. Si affaccia su Giffoni anche il gruppo televisivo privato nazionale Fininvest con un primo contatto esplorativo della sua rete giovane Italia Uno.

1995 25a edizione (29 luglio - 5 agosto) TEMA: IL VIAGGIO

"Da un quarto di secolo il più celebre festival di cinema per ragazzi" è lo slogan che accompagna l'edizione che ha compiuto in 25 anni un lungo viaggio. In concorso un film decisamente bizzarro NORTH (Genitori Cercasi) diretto da Rob Reiner (Harry ti presento Sally) e interpretato da un ragazzo che promette bene: Elijah Wood. Intorno a lui una sarabanda di genitori che intendono adottarlo tra cui Kathy Bates e Kelly McGillis, e aspiranti sorelle come la debuttante Scarlett Johansson. E un lungo viaggio attraverso l’etere compie anche la manifestazione che, ormai, anche grazie alla forte presenza di Mediaset, raggiunge le case di milioni di italiani. Al Cinema ragazzi è il titolo della rassegna televisiva che, nelle due settimane a cavallo del festival, manda in onda su Italia 1 i film passati nelle precedenti edizioni del GFF. Il Caso "Cittadella" diventa un’interrogazione parlamentare. Alcuni politici scendono in campo per perorare la causa del Festival. Il Maestro Michelangelo Antonioni è il primo a ricevere il Grifone d’Oro alla Carriera, mentre il pubblico della Maison Lumière, applaude commosso per oltre 10 minuti. Il premio come miglior attore viene assegnato dalla giuria al diciassettenne Ruaidhri Conroy, presente al festival, per la sua interpretazione nel film CLOCKWORK MICE accanto a Ian Hart. A Giffoni arrivano anche altri Premi Oscar: Ben Kingsley, Jon Voight, Gabriele Salvatores e il genio anticonformista di Krzysztof Kieslowsky, cui vengono assegnati i premi François Truffaut ‘95. Fra gli ospiti: Alberto Sordi, Nikita Mikhalkov, Luigi Magni, Damiano Damiani, Lina Wertmüller, Giacomo Campiotti, Pappi Corsicato, Silvio Orlando, Raoul Bova, Alessandro Gassman, Giuliano Gemma, Gian Marco Tognazzi, Massimo Ghini, Renato Zero. A parlare ai ragazzi di cinema, per la prima volta, anche un gruppo di leaders politici: Gerardo Bianco, Gianfranco Fini, Walter Veltroni, Clemente Mastella, Gianni Mattioli e il Garante per la radiodiffusione e l’editoria Giuseppe Santaniello. Con il festival si trasforma anche la città e l’Amministrazione comunale intitola cambia nome ad alcune strade. Oggi esistono Piazza Fratelli Lumière, Giardino Federico Fellini, Via Giulietta Masina, Via François Truffaut. Il Presidente Onorario della Giuria è la splendida attrice rivelazione degli anni ’90, Sabrina Ferilli.

1996 26a edizione (27 luglio - 4 agosto) TEMA: LA BUGIA

Il Cinema compie cent’anni e anche il GFF festeggia l'importante anniversario moltiplicando le sue iniziative. Nasce la nuova sezione Schermi d’Infanzia che presenta una cinematografia dedicata esclusivamente ai più piccoli (8/11 anni), mentre la sezione Linea d’Ombra diventa un festival autonomo che si svolge a Salerno in gennaio, pur mantenendo un contatto con il suo "papà" naturale. Da ricordare il film presentato a Linea d'Ombra e al GFF (anteprima della versione italiana) BASKETBALL DIARIES (Ritnorno dal nulla) con un ragazzino il cui volto fa impazzire le giovani giurate: Leonardo Di Caprio. Lo Stato assegna alla città un annullo filatelico speciale e una Lotteria Nazionale. RAINBOW in concorso nella sezione tradizionale del festival (12-14 anni) è firmato da Bob Hoskins che, non potendo essere presente al festival, telefona ai giurati durante la serata alla Maison Lumière. Altro autore interessante in concorso è l'olandese Ben Sombogaart che propone THE BOY WHO STOPPED TALKING. Il regista è destinato a diventare una stella in Olanda dove i suoi family film sono dei blockbuster. In anteprima a Giffoni il film ALASKA diretto da Fraser Clarke Heston (figlio di Charlton) e interpretato da Tora Birch (The Hole, American Beauty). Al regista Carlo Lizzani si deve l’iniziativa di sensibilizzazione di amici e colleghi a scendere in campo per sollecitare l’approvazione del finanziamento per la realizzazione della Cittadella del Cinema. Il tema di quest’anno è La Bugia, spunto ideale per una serie di incontri e dibattiti con Achille Bonito Oliva per l’arte, Marina D’Amato per l’infanzia, Paolo Liguori per la comunicazione televisiva, il Sottogretario al Bilancio, on. Isaia Sales per la situazione del Meridione, l’Associazione dei familiari delle vittime della strage alla stazione di Bologna per la verità nella giustizia, Amnesty International e la Missione di Pace in Bosnia per le bugie di Stato ed Ernesto Caffo per la sua esperienza con Telefono Azzurro. Il premio François Truffaut ‘96 va a: Mickey Rooney, Geraldine Chaplin, Carlo Lizzani. Fra gli ospiti Cristina Comencini, Antonio Capuano, Franco Amurri, Lino Banfi, Giulio Scarpati, Chiara Caselli, Eleonora Giorgi e dagli States Peter "Robocop" Weller. Presidente Onorario della Giuria l’eclettico Emir Kusturica. Nel mese di settembre arriva la notizia attesa da tempo: il Cipe ha finalmente deliberato un primo finanziamento di otto miliardi per la costruzione della Città del Cinema. Il sogno diventa realtà.

1997 27a edizione (20-27 luglio)

Il festival si apre all’insegna della pace. L’ex premier sovietico Michail Gorbaciov, premio Nobel per la pace, arriva a Giffoni in compagnia della moglie Raissa. Miglior attore, secondo i giurati, Kevin Bacon interprete del toccante DIGGING TO CHINA diretto da Timothy Hutton. Accanto a lui una bambina il cui volto tornerà più volte sul grande schermo: è Evan Rachel Wood (Thirteen).In concorso c'è anche BEYOND THE SILENCE della tedsca Caroline Link, interpretato da Sylvie Testud (presente al festival), e successivamente candidato all'Oscar come miglior film straniero. ma questa sembra l'edizione dei giovani attori da tenere sott'occhio: in THE WARRIOR OF WAVERLY STREET (aka STAR KID) troviamo Joseph Mazzello e nello spagnolo LA BUENA VIDA il bravissimo Fernando Ramallo (in Spagna in 2 anni ha interpretato ben 8 film). Al festival arrivano i registi Abbas Kiarostami, Agnes Varda, Peter Fonda, Marco Tullio Giordana, Marco Bellocchio, Pasquale Pozzessere, Dario Argento, Paolo Virzì, Michele Placido e gli attori Fabrizio Bentivoglio, Remo Girone, Raoul Bova, Margherita Buy, Athina Cenci, Luca Barbareschi, Lucrezia Lante Della Rovere, Violante Placido. Nell’area antistante il luogo dove sorgerà la Città del Cinema, alla presenza del Ministro per l’Agricoltura, Michele Pinto, del sottosegretario al Bilancio Isaia Sales e di numerosi personaggi del cinema e della cultura, avviene la posa della prima pietra. Il palinsesto del Festival si scompone in diverse sezioni. Il concorso principale diventa la sezione Liberi di Volare e Schermi d’Infanzia in Primi Schermi. In collaborazione con la tedesca Beta Film di Leo Kirch, viene allestito in Piazza Mercato il Junior Village in cui si alternano proiezioni e animazioni con i personaggi dei cartoon. Un parcheggio diventa, invece, una piccola arena all'aperto che ospita gli spettacoli teatrali della sezione Il Posto delle Favole" dove gli attori Remo Girone e Vittoria Zinny raccontano ai più piccini le più belle fiabe delle letteratura per ragazzi. A descrivere i segreti dei mestieri del cinema arrivano invece il direttore del doppiaggio Giacomo Magagnini, il produttore e distributore Jan Mojto, lo sceneggiatore Leo Benvenuti, il Press Agent Matteo Spinola, il regista Giuliano Montaldo, il maestro degli effetti speciali Carlo Rambaldi. E’ una nuova filosofia di Festival, che si offre alla propria audience in una veste diversa, capace di soddisfare le esigenze di tutta la famiglia. In tale ottica nasce anche la rassegna per le scuole Movie Days che porta a Giffoni, nei mesi invernali circa 12.000 studenti da tutta la regione. Presidente Onorario della Giuria, il "grande" Bud Spencer.

1998 28a edizione (19-26 luglio) TEMA: ANGELI E DIAVOLI

Cominciano i lavori di costruzione della Città del Cinema e la "macchina Festival" cresce sempre di più. Movie Days è un grande successo e Linea d’Ombra, giunta alla sua terza edizione, si afferma sempre più. Aumentano anche le sezioni. Rientrano in concorso dopo qualche anno di assenza i cortometraggi con la sezione competitiva Preludi. La rassegna non competitiva La Finestra sul Cortile riservata ai più grandi (15/18 anni). Sono oltre seicento i titoli dei film in preselezione per le diverse sezioni, provenienti da tutto il mondo. Tra i corto in concorso c'è PUPPIES FOR SALE interpretato da Jack Lemmon e un piccolo attore Jesse James che ritroveremo in film come PEARL HARBOUR, THE BUTTERFLY EFFECT. Il tema è quanto mai accattivante. Angeli e Diavoli, come dire il bianco e il nero, il bene e il male, due estremi in eterno conflitto nella vita, nella politica, nella storia ed anche nel cinema. A parlarne: Paolo Liguori per la cronaca, l’avv. Nino Marazzita per la giustizia, Paolo Crepet per la psicologia infantile, Claudio Cecchetto e Max Pezzali per la musica, Giorgio Gori per la TV. Alla Maison Lumière favole inedite vengono raccontate da un gruppo di narratori insospettabili: Giulio Andreotti, Alessandra Mussolini, il Presidente del Senato Italiano Nicola Mancino, l’anchorwoman di Canale 5 Cristina Parodi. Fra gli ospiti: Jean-Jacques Annaud, Jaco Van Dormael, Giovanni Veronesi Sergio Rubini, Francesca Neri, Valerio Mastrandrea, Nancy Brilli, Claudia Koll, Valeria Marini, Chiara Caselli, Alessia Marcuzzi. Presidente Onorario della Giuria, Leonardo Pieraccioni.

1999 29a edizione(18-24 luglio)

L’edizione di fine millennio ha consacrato più che mai la formula di un evento costruito su misura per tutta la famiglia. La parola Giffoni si associa immediatamente ai ragazzi, non solo per il cinema, ma per tutto quello che li caratterizza. Giffoni è il loro mondo ideale.

La rosa degli ospiti del Festival si arricchisce anno dopo anno. Arrivano i registi Emir Kusturica, Gianni Amelio, Francesca Archibugi, Cinzia Th Torrini, Viktor Gijka; gli attori Jon Voight, Joseph Fiennes, Enrico Lo Verso, Stefano Accorsi, Alessandro Haber, Giulio Scarpati, Lando Buzzanca, Anna Bonaiuto, Raoul Bova, Aldo, Giovanni, Giacomo e il maestro Ennio Morricone. Presidente Onorario della Giuria Maria Grazia Cucinotta.

Sono 900 i ragazzi provenienti da paesi quali l’India, l’Egitto, l’Iran e la Palestina. Non si parla più di Giuria ma di Giurie, quattro quante sono le sezioni (competitive e non) del "nuovo" Giffoni Film Festival (Liberi di Volare e Preludi, Primi Schermi, La Finestra sul Cortile - fra le competitive - e Domande da un secolo all’altro – non competitiva). Ma Giffoni non è solo cinema e non può non percepire i forti segnali di cambiamento nell'universo degli under 18 curiosi, ma forse anche spaventati, in cammino verso un nuovo millennio. Nasce in quest’ottica Domande da un secolo all’altro, rassegna non competitiva incentrata sugli argomenti che hanno caratterizzato il ‘900 e sugli interrogativi posti per il nuovo millennio. Ne hanno parlato l’ebreo fiorentino Nedo Fiano, sopravvissuto ai campi di sterminio di Aushwitz, l’astronauta Umberto Guidoni, i giornalisti Idris Sanneh e Gianni Minà a proposito della multirazzialità. Continua l'attività del GFF durante l'anno. La formula vincente di Movie Days viene esportata in tutta Italia con il nuovo progetto Movie Days on tour. Si firma anche un Protocollo d’Intesa con il Ministero della Pubblica Istruzione in cui Giffoni viene riconosciuto come punto di riferimento per docenti e studenti che intendano avventurarsi nell'affascinante mondo del cinema.

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 * Anni 2000 Le edizioni del Giffoni Film Festival dal 2000 al 2008. In Italian

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2000 30a edizione (15-22 Luglio)

Trentanni di ricordi, emozioni, sensazioni forti, difficili da descrivere. 30 anni di sacrifici, successi, traguardi raggiunti. Un percorso che il pubblico ripercorrere in una mostra in cui è possibile ritrovare lettere, vecchi cataloghi, così come oggetti donati al festival dai suoi ospiti. 1100 prodotti in preselezione per qualche decina che ha avuto l'accesso ai concorsi ufficiali. Oltre cento nazioni coinvolte nella preselezione e una giuria composta da ottocento ragazzi provenienti da ben 16 paesi: Polonia, Palestina, Mozambico, Sudafrica, Iran, Egitto, Finlandia, Scozia, Repubblica Slovacca, Norvegia, Corea, Cuba, Madagascar, Bielorussia, Canada, Italia.

Il Festival viene riconosciuto come irrinunciabile trampolino per anteprime nazionali come FANTASIA 2000 della Disney e TITAN A.E. della Fox. QUIERO SER... del tedesco Florian Gallenberger, miglior corto della sezione Y GEN, è destinato a ricevere l'Oscar come miglior cortometraggio fiction. I meandri, i lati oscuri, le ansie, le preoccupazioni ma anche le esigenze delle nuove generazioni sono state ampiamente presentate e dibattute nella neonata sezione Y-GENERATION alla quale intervengono: il Cardinal Ersilio Tonini, i giornalisti Enrico Mentana e Gianni Minà, il Presidente di Telefono Azzurro Ernesto Caffo. Per il trentennale del GFF viene realizzata una interessante mostra storica visitata da migliaia di persone. Alle tradizionali strutture si aggiungono, finalmente, due sale del restaurato Convento di San Francesco e, alla presenza del Ministro della Cultura, Giovanna Melandri, viene inaugurato l'antico cinema all'aperto, il "Giardino degli Aranci" che ha subito un nuovo restauro.

Migliaia di articoli e numerosi programmi televisivi italiani e stranieri hanno creato, soprattutto con le trasmissioni satellitari, un grande interesse internazionale. I servizi RAI e MEDIASET (soprattutto lo special) vengono visti da milioni di spettatori al giorno. Ben 80mila le presenze al festival. Al compleanno di Giffoni non potevano mancare grandi artisti italiani e stranieri: le star Greta Scacchi e Rupert Everett, l'apprezzata ed intrigante regista iraniana Samira Makhmalbaf, il regista Julian Temple e il regista/produttore Gary Goldman. Dall'Italia il maestro Mario Monicelli, Mario Martone, Asia Argento, Christian De Sica, Massimo Boldi, Iaia Forte, Lello Arena, Teo Teocoli, Francesco Paolantoni, Fiorello, Rosalinda Celentano, Claudia Mori e il giovanissimo Giorgio Cantarini (La Vita è Bella). Grande festa alla Maison Lumière con i più importanti idoli musicali dei ragazzi. Un nuovo premio l'Explosive Talent Award, viene assegnato da quest'anno ad un giovane attore. Il premio nel 2000 va allo spagnolo Fernando Ramallo. Da ricordare con commozione l'udienza concessa dal Santo Padre Giovanni Paolo II a 700 rappresentanti del Festival. Un treno speciale per festeggiare a Roma, in modo davvero speciale, la trentesima edizione del Giffoni Film Festival.

2001 31a edizione (14-21 luglio) TEMA: IL RI-NASCIMENTO

Archiviati i festeggiamenti della 30a edizione, il 2001 si apre all’insegna di una nuova nascita del festival segnata dal moltiplicarsi delle iniziative. I ragazzi delle giurie provengono da: Repubblica del Kazakhstan, Germania, Belgio, Argentina, Egitto, USA, Sudafrica, Svizzera, Bielorussia, Palestina, Islanda, Iran, Mongolia, Polonia, Croazia.

Le sezioni competitive del GFF 2001 offrono un panorama ampio delle produzioni per ragazzi dagli 8 ai 18 anni. Il vincitore della sezione Liberi di Volare (12-14 anni) è l’inglese THERE’S ONLY ONE JIMMY GRIMBLE (uscito in Italia con il titolo JIMMY GRIMBLE), mentre per Primi Schermi (8-12 anni) la vittoria va allo statunitense RACE TO SPACE con James Woods. Anche gli adolescenti de La Finestra sul Cortile scelgono gli USA con il film AROUND THE FIRE. Eccezionali poi le anteprime cinematografiche: IL DOTTOR DOLITTLE 2, SPY KIDS, JURASSIC PARK III. Sul fronte degli ospiti l’edizione è quanto mai interessante. Presenti protagonisti del cinema internazionale come il regista Oliver Stone, il produttore Dino De Laurentiis, gli attori Ray Liotta e Giovanni Ribisi e il giovanissimo Jamie Bell (la star di Billy Elliot) a cui va l'Explosive Talent Award e il supervisore degli effetti speciali di Jurassic Park III, Eddie Pasquarello. Non mancano star italiane come Gabriele Muccino, Leonardo Pieraccioni, Kim Rossi Stuart, Tonino Accolla (voce italiana di Eddie Murphy e Homer Simpson), le bellissime Anna Falchi e Sabrina Ferilli, I Fichi d'India, Giulio Scarpati e le giovani promesse Jasmine Trinca e Marco Cocci. Ad incontrare i ragazzi arriva anche un testimone della storia del secolo scorso come Lech Walesa. Quanto mai stimolanti le discussioni della sezione di approfondimento Y GEN con Pierluigi Diaco, Francesca Cheyenne, Valerio Caprara, Paolo Gambescia, Tamara Donà, Paolo Crepet e Don Gino Rigoldi e Claudio Coccoluto. Immancabile l’appuntamento con la musica con la prima edizione del concorso di giovani talenti Giffoni Music Concept che vede la vittoria del gruppo LA CAMERA MIGLIORE che, proprio a Giffoni, incontrano Carmen Consoli che diverrà presto la loro produttrice.

2002 32a edizione (20-27 luglio) TEMA: LA SCELTA

È la prima edizione che si svolge alla Cittadella del Cinema. Gli uffici del GFF vengono trasferiti all'interno della nuova struttura nel febbraio 2002. I giurati provengono da Italia, Sudafrica, Tunisia, Iran, Israele, Palestina, USA, Belgio, Bielorussia, Germania, Albania, Svizzera, Ungheria, Libia, Norvegia e Russia.

In concorso c'è stato lo splendido RESPIRO di Emanuele Crialese, già osannato a Cannes e il corto THE RED JACKET nominato come miglior cortometraggio fiction agli Oscar 2003. Altri titoli da non dimenticare BARAN di Majid Majidi, il vincitore SCARS e l'intenso ABANDONED. In anteprima vengono proposti JIMMY NEUTRON: RAGAZZO PRODIGIO (UIP), POLLICINO (Lucky Red), PETER PAN: RITORNO ALL'ISOLA CHE NON C'E', SHAOLIN SOCCER e ASTERIX E OBELIX MISSIONE CLEOPATRA (Buena Vista). Fuori concorso le sezioni Reload - film per ragazzi e famiglie, usciti nelle sale italiane - e Notti Animate - cortometraggi d’animazione assolutamente irresistibili. Per i bambini in età prescolare, la sezione teatrale IL POSTO DELLE FAVOLE, 7 spettacoli di cui due internazionali per i più piccoli. A segnare l'edizione la presenza di una magnifica madrina Meryl Streep che fa vivere ai giurati grandi emozioni. Presenti a Giffoni anche Mohsen Makhmalbaf (che partecipa anche ai dibattiti di Y Gen), Brad Renfro e Anton Yelchin a cui va il premio Explosive Talent Award. Dall'Italia la regista Antonietta De Lillo e gli attori Raoul Bova, Alessandro Gassman, Vincenzo Salemme, Ezio Greggio, Giuliana De Sio, Beppe Fiorello, Anna Valle, Claudia Gerini, Martina Colombari, Enrico Brignano, Lorenzo Crespi, Luca Barbareschi, Claudia Gerini, Piero Chiambretti. Animano i dibattiti di Y Gen Maurizio Costanzo, Linus, Andrea Muccioli, Giancarlo Nivoli, Genevieve Makaping, Paolo Apolito, Ennio Remondino, Ernesto Olivero, Angelo Machiavello, Mario Orfeo, Monsignor Antonio Riboldi, Domenico De Masi. Il ministro Letizia Moratti incontra i ragazzi di Y Gen e il dibattito si fa subito infuocato e stimolante. A lei si aggiungono altri ospiti istituzionali come gli onorevoli Maurizio Gasparri e Nicola Bono, il presidente della Regione Antonio Bassolino e l'Assessore al Turismo e allo Spettacolo Teresa Armato, Maria Burani Procaccini, Presidente della Commisione Bicamerale per l'Infanzia. Conducono le serate all'Arena Sordi Mara Carfagna e Antonello Sarno. GIFFONI MUSIC CONCEPT, condotto da Massimo Cotto, Rosita Celentano e Pupo ospita: Giorgia, Carmen Consoli, Negrita, Dirotta su Cuba, Max Pezzali, Max Gazzé, Yu Yu, Gazosa, Tricarico, Pacifico, La Camera Migliore.

Il festival partecipa attivamente a due importanti campagne ON THE ROAD MOVIE (sulla sicurezza stradale e voluto dal Ministero delle Infrastrutture) e O CI SEI O TI FAI (contro le tossicodipendenze, in collaborazione con il Ministero dell'Istruzione e un gruppo di onlus).

2003 33a edizione (19-26 luglio) TEMA: LA SCOPERTA

1000 i giurati provenienti da Sudafrica, USA, Belgio, Bielorussia, Germania, Irlanda del Nord, Spagna, Iran, Israele, Palestina, Australia, Italia. Le sezioni competitive passano da 3 a 4: Kidz (6-9 anni), First Screens (9-12 anni), Free to Fly (12-14 anni), Y Generation (o Y Gen) (15 ai 19 anni). Quest’ultima particolarmente interessante in quanto prevede una serie di dibattiti partendo dal tema dell'anno. Protagonista del film THE WHALE RIDER, nella sezione Free to Fly, è Keisha Castle-Hughes candidata agli Oscar 2003 come miglior attrice. Altissima la qualità delle opere presentate (90 tra lungo e cortometraggi di cui 63 in competizione) dirette da registi del calibro di Chen Kaige (ADDIO MIA CONCUBINA che ha proposto a Giffoni il film TOGETHER) o Andrew Davis (già autore di thriller mozzafiato come IL FUGGITIVO) che ha proposto nella sezione Y-GEN il film HOLES.

Non sono mancate le anteprime, tra le quali I RAGAZZI DELLA VIA PÁL prodotto da Mediaset e LIZZIE McGUIRE distribuito dalla Buena Vista. Per i bambini in età prescolare, la sezione teatrale IL POSTO DELLE FAVOLE diviene competitiva. A giudicare gli 8 spettacoli i piccoli della sezione Kidz.

Difficile dimenticare gli incontri con Juliette Lewis (“Spero di fare al più presto dei film che questi ragazzi possano amare”), Jon Voight (“Sono giffonese e ne sono orgoglioso”) o gli splendidi 10 minuti di teatro regalati da Ian McKellen sul palco dell’Arena della Cittadella. Alle star internazionali si sono uniti autori e attori italiani come: Pupi Avati, Paolo Virzì, Ferzan Ozpetek, Andrea e Antonio Frazzi con lo scrittore Diego De Silva, Enrico Oldoini, Maurizio Zaccaro, Francesco Apolloni, Alessandro Haber, Nicoletta Braschi, Nancy Brilli, Giorgio Panariello, Nino D'Angelo, Giobbe Covatta. Presenti anche molti volti del nuovo panorama cinematografico di casa nostra: Alessio Boni, Silvio Muccino, Jasmine Trinca, Gabriel Garko, Martina Stella, Stefano Pesce, Mariasole Tognazzi, Nicolas Vaporitis. Direttamente dalla TV invece c'erano: Sabrina Paravicini (che conduceva le serate all'Arena Sordi con il nostro Manlio K), Margot Sikabonyi e Pietro Sermonti, Luca Argentero.

Per discutere con i ragazzi di Y Gen sono arrivati: Alessandro Bergonzoni, Genevieve Makaping, l'antropologo Paolo Apolito, Roberta Damiata, Maria De Filippi, Ennio Remondino.

Le istituzioni dimostrano il loro interesse per Giffoni con diverse visite. Ospiti al GFF 2003: Pier Ferdinando Casini (presidente della Camera), Clementa Mastella (vice presidente della Camera dei Deputati), Maurizio Gasparri (Ministro delle Comunicazioni), Mario Tassone (Vice Ministro Infrastrutture e Trasporti), Antonio Valiante (vice presidente Giunta Regionale), Nicola Bono (sottosegretario Ministero dei Beni Culturali), Stefano Caldoro (sottosegretario Ministero dell'Istruzione), Maria Burani Procaccini (presidente Commissione Bicamerale per l'Infanzia), Roberto Centaro (presidente commissione antimafia).

Grande attenzione per la musica. Il concorso GIFFONI MUSIC CONCEPT, presentato da Massimo Cotto, premia nuovi autori della musica italiana. A fare loro da padrini le star nazionali come Niccolò Fabi, Paola Turci, Banda Bardò, Morgan, Luca Nesti, Capone e Bungt Bangt, Cristina Donà, Andrea Cardillo, La Camera Migliore. Due infine gli artisti internazionali Jorge Ben Jor e Shaggy che con uno strepitoso concerto ha fatto ballare l'intera Arena.

Il Complesso Monumentale di San Francesco ha ospitato le mostre della 33a edizione. 16 giovani artisti hanno interpretato la condizione giovanile e la famiglia per la mostra Un mondo di immagini per chi immagina il mondo. Declinazioni d’arte sull’universo giovanile organizzata dall’Alitalia e curata dal critico d’arte Massimo Duranti. Sempre al convento è possibile trovare la bicicletta usata da Massimo Trosi per “Il Postino” (concessa temporaneamente dagli organizzatori del Premio Troisi di San Giorgio a Cremano) o alcuni dei pezzi donati da Carlo Rambaldi al GFF come il misterioso alieno di Incontri Ravvicinati del Terzo Tipo, prototipi di E.T. e il braccio meccanico di King Kong. Il GFF collabora a progetti mirati alla sensibilizzazione dei più giovani nei confronti di problemi che li coinvolgono direttamente. È il caso dei progetti ON THE ROAD MOVIE (sicurezza stradale con Ministero Infrastrutture), O CI SEI O TI FAI (contro le tossicodipendenze con il Ministero dell'Istruzione), GNAMFEST (per una sana alimentazione con l'Assessorato all'Agricoltura della Regione Campania), AMREF (per aiutare l'Africa) e CIAL (per imparare a salvare il nostro futuro riciclando).

2004 34a edizione (17-24 luglio) TEMA: IL DESIDERIO

Circa 1300 i giurati provenienti da Italia, USA, Australia, India, Corea del Sud, Albania, Bielorussia, Germania, Lettonia, Spagna, Macedonia, Iran, Palestina, Israele per la 34esima edizione del GFF.

MACHUCA e LES CHORISTES in concorso nella sezione Free to Fly saranno entrambi candidati agli Oscar come miglior film straniero. Mentre Catalina Sandino Moreno, l'interprete di MARIA FULL OF GRACE (sezione Y GEN), riceverà la candidatura come miglior attrice protagonista. In anteprima sono stati proposti ELLA ENCHANTED, GARFIELD e MUCCHE ALLA RISCOSSA (Home on the Range).

Ad incontrare i ragazzi è arrivato da oltre oceano David Carradine. Del parterre europeo hanno fatto invece parte il maestro Ken Loach ma anche autori e attori italiani, naturalmente: Michele Placido, Emanuele Crialese, Luca Zingaretti, Carlo Vanzina, Maria Grazia Cucinotta, Francesco Apolloni, Cristian De Sica, Ettore Bassi, Anna Falchi, Pietro Taricone, Valeria Marini, Irene Ferri, Paolo Conticini, Carlo Conti, Vanessa Gravina, i comici Fabio De Luigi, Dado e Max Tortora, il produttore Domenico Procacci. Ospiti istituzionali: gli onorevoli Maurizio Gasparri e Nicola Bono, Walter Veltroni (che come sindaco di Roma ha presentato un progetto speciale contro il razzismo voluto dal comune e realizzato dagli studenti romani), il presidente della regione Antonio Bassolino, gli Assessori Regionali Teresa Armato e Vincenzo Aita, il sindaco di Napoli Rosa Russo Iervolino. A discutere dei ragazzi di Y GEN sono giunti a Giffoni Giampaolo Brusini e Andrea Muccioli, rappresentanti della Comunità di San Patrignano, una delle Onlus coinvolte nel progetto DON'T KILL YOUR BRAIN, e Maurizio Scelli Commissario della Croce Rossa Italiana. A Keisha Castle Hughes, protagonista de LA RAGAZZA DELLE BALENE è stato consegnato l'Explosive Talent Award. Le serate all'Arena vengono presentate da Mariolina Simone (COOMING SOON), Manlio K Castagna (GFF) e Luca Apolito (GFF). GIFFONI MUSIC CONCEPT viene presentato da Pippo Pelo e Simona Bencini. Il GMC prevede appuntamenti pomeridiani, i POW WOW nel corso del quale i ragazzi discutono di musica e di come sta cambiando con grandi artisti italiani. Ospiti delle serate, ma anche dei POW WOW: Velvet, Pacifico, Max Gazzè, Nada, Capone e Bungt Bangt, Raiz, Raf, Le Vibrazioni, Pupo, Daniele Silvestri, Frankie Hinrg, John Parish. Ancora Il Giardino degli Aranci, si trasforma in teatro IL POSTO DELLE FAVOLE. 8 gli spettacoli teatrali per bambini. Al Complesso Monumentale di San Francesco le mostre: Gente Permale Volti e storie di persone che cambiano. A San Patrignano - fotografie di Mauro Galligani; Merci François fotografie di Alfonso Tateo e Domenico Celentano sulla visita a Giffoni di Truffaut e Profumi d'Africa, fotografie di Alfonso Tortorelli scattate a bambini in Sud Africa. L'impegno sociale del GFF si concentra sulle campagne ON THE ROAD MOVIE (sicurezza stradale con Ministero Infrastrutture), DON'T KILL YOUR BRAIN (contro le tossicodipendenze con il Ministero dell'Istruzione e da un gruppo di numerose onlus), GNAMFEST (per una sana alimentazione con l'Assessorato all'Agricoltura della Regione Campania), TELEFONO AZZURRO (presentazione di un nuovo numero) e CIAL (per imparare a salvare il nostro futuro riciclando). Al GFF 2004 viene siglato un accordo con Steven Paul della statunitense Crystal Sky per la creazione di un festival per ragazzi ad Hollywood. Dall'Australia arriva invece il regista Mario Andreacchio, anche lui interessato ad una possibile collaborazione per la realizzazione di un evento dedicato ai ragazzi.

2005 35a edizione (16-23 luglio) TEMA: L’EMOZIONE

Per questa 35esima edizione, inaugurata dal Ministro dei Beni Culturali Rocco Buttiglione, sono stati 1500 i giurati provenienti da Italia, Australia, Ghana, Libia, Sudafrica, India, Corea del Sud, Albania, Belgio, Bielorussia, Germania, Inghilterra, Polonia, Armenia, Iran, Israele, Palestina, USA.

Tra gli autori dei corto erano presenti: Christian Lo (Ramp), Petr Novak (Enemies), Michael Spitz (Dreams of Buses), Francesco Lomastro (è quattro giorni che ti amo), Lucy Gouldthorpe (Bruni), Massimo Carrier Ragazzi (Treddi), Babak Nazari (There was the moon and the fox), Maren Erdmann (Dancing Darlings).

Confermato il trio alla conduzione delle serate all'Arena: Mariolina Simone, Manlio K Castagna e Luca Apolito. Da Hollywood è giunto al festival il ragazzo prodigio Haley Joel Osment - premiato con l'Explosive Talent Award - e l'affascinante Claire Danes. Non sono mancati gli autori italiani e internazionali come Paolo Sorrentino, Saverio Costanzo, Enzo D'Alò e Krzysztof Zanussi, il compositore Guido De Angelis e colui che possiamo definire un amico di Giffoni: Carlo Rambaldi. Dal grande al piccolo schermo un gruppo di attori affermati e di giovani promesse è presente al GFF: Giuliano Gemma, Massimo Boldi, Barbara De Rossi, Giuliana De Sio, Riccardo Scamarcio, Jasmine Trinca, Marco Marzocca, Mario Porfito, Francesco Paolantoni, Marco Leonardi, Danny Quinn, Natasha Stefanenko, Gabriella Pession, Sergio Muniz, Christiane Filangieri, Laura Chiatti, Linda Batista, Duccio Giordano, Primo Reggiani, Sebastiano Somma, e dalla Polonia Piotr Adamczyk.

Anche quest’anno il concorso GIFFONI MUSIC CONCEPT, condotto da Simona Bencini e Pippo Pelo, ha premiato nuovi autori della musica italiana. Secondo anno per i POW WOW condotti da Paolo Biamonte. Agli incontri ci sono tra gli altri: Gianmarco Mazzi, Giordano Sangiorgi, Tony Renis. Mentre a far ballare e cantare l'Arena ci sono: Piero Pelù, Povia, Paola Turci, Ginevra Di Marco, Cristiano Godano (Marlene Kunz), Negramaro, Divina, Simone Cristicchi, Marina Rei, Tiromancino, Pier Cortese, Magoni e Spinetti, Luca Nesti, Planet Funk, Irene Grandi, Enrico Boccadoro, Velvet, Edoardo Bennato, Serena Rossi, Stefano Bollani, Capone e Bungt Bangt, Devon Rex, Claudio Coccoluto, Simona Bencini, Vibrazioni.

In anteprima HERBIE, IL SUPERMAGGIOLINO distribuito da Buena Vista Italia, I FANTASTICI QUATTRO della Twenty Century Fox, SPONGEBOB della UIP e YO-RHAD UN AMICO DELLO SPAZIO creato da Victor Rambaldi e dal padre Carlo. Evento speciale l'anteprima della versione doppiata in italiano de IL CASTELLO ERRANTE DI HOWL del maestro Hayao Miyazaki.

Novità del 2005 l’Omaggio al cinema polacco e la proposta al grande pubblico dei cortometraggi prodotti dal GFF nelle scuole campane. Al San Francesco le mostre LE MADRI DI BAGDAD di Gianni Volpi, FOTOFINISH di Lucio Afeltra e e STOP ALL'USO DEI BAMBINI SOLDATO di autori vari e voluta da diverse organizzazioni tra cui Amnesty International. Sostenuti dal GFF i progetti CIAK OPERAZIONE SICUREZZA (per la legalità), DON’T KILL YOUR BRAIN, GNAMFEST, AMNESTY INTERNATIONAL, CIAL. Giffoni festeggia il compleanno di telefono azzurro ed Ernesto Caffo ha premiato Claudio Gubitosi per il suo impegno in favore dei bambini e dei ragazzi.

2006 36a edizione (15-23 luglio) Tema: L'ENERGIA

Per questa 36a edizione il Giffoni Film Festival ha ospitato oltre 1.600 giurati, provenienti da 29 nazioni, divisi in quattro sezioni competitive cinematografiche e due sezioni competitive non cinematografiche. Per la prima volta, inoltre, una sezione, SGUARDI INQUIETI, è stata composta da una giuria mista di adulti e ragazzi (tra i 19 e i 25 anni).

Durante il Festival sono state presentate 103 opere, selezionate dalla direzione artistica tra oltre 1.500 film, di cui 66 in concorso, suddivise nelle quattro sezioni ufficiali – Kidz, First Screens, Free to Fly e Y Gen.

Dopo il trionfo di critica e pubblico all’ultima edizione del Sundance, la categoria Y GEN (giurati dai 15 ai 19 anni) ha ospitato l’atteso “Quinceañera” di Richard Glatzer e Wash Westmoreland (distr. Italia Teodora Film): una 15 enne incinta e cacciata di casa, si rifugia da un prozio che ha già accolto il cugino omosessuale. Canadese, invece, è “C.R.A.Z.Y.” (sezione Y GEN, distr. italiana Istituto Luce), che affronta il tema della dissoluzione familiare con un linguaggio espressivo particolarmente forte. Jeff Bridges è il maestro di ginnastica di “Stick it” (distr. Italia Buena Vista) in cui una ragazza deve riacquistare il rispetto di sé attraverso lo sport.

Spiccano nel carnet della competizione per la categoria FREE TO FLY (12-14 anni) l’ultima fatica di Peter Cattaneo, regista del cult-movie “Full Monty”, che al GFF ha presentato “Opal dream” (distribuito in Italia da Lucky Red) sul potere dei sogni e sulla loro necessità. Dagli USA “The Greatest game ever played”, per la regia di Bill Paxton (“Frialty”) e distribuito da Buena Vista, nel quale un giovane povero sfida il mondo del golf. Il tema dell’integrazione sociale e della guerra è al centro di “Zozo” candidato svedese alla corsa per gli Oscar® e diretto Josef Fares (“Jalla, Jalla”). Altro candidato agli Oscar® il finlandese “Mother of Mine”, in cui un ragazzo si trova diviso tra due madri durante la Seconda Guerra Mondiale.

Della sezione FIRST SCREENS (9-12 anni) ricordiamo l’americano “Dreamer” (distribuzione italiana Eagle), avvincente storia di una bambina (Dakota Fanning, “Mi chiamo Sam”, “La Guerra dei Mondi”) che convince suo padre ad allenare un cavallo che tutti considerano spacciato. L’amore è al centro della vicenda di Gabe, il piccolo Romeo di “Little Manhattan” (distribuzione italiana Fox), mentre dell’amicizia tra un bambino e una volpe racconta “Helen the Baby Fox” (distribuito in Italia da Revolver).

Infine nella sezione KIDZ (6-9 anni) troviamo prodotti d’animazione come la favola russa “Dobrinya and the dragon” e un classico come “Lassie” diretto da un maestro del fantasy Charles Sturridge (“I viaggi di Gulliver”, “Favole”) e interpretato da Peter O’Toole e Jon Linch (“Sliding Doors”).

Ad incontrare i giovani sono giunti a Giffoni grandi nomi dello spettacolo italiano ed internazionale. Tra questi ultimi il protagonista de “Il Signore degli Anelli” Elijah Wood, la memorabile interprete di “Titanic”, premio Oscar® per “Misery non deve morire”, Kathy Bates, l’attraente rivelazione del cinema americano Jessica Biel e l’eroina di “X Men” Anna Paquin.

Madrina del festival Sabrina Ferilli, che 15 luglio ha inaugurato questa 36a edizione. Tra gli artisti italiani Giffoni ha ospitato il regista del film cult “La meglio gioventù” Marco Tullio Giordana, la giovane protagonista de “La Febbre” Valeria Solarino, lo sceneggiatore e regista Giovanni Veronesi, l’autore e i protagonisti di “Notte prima degli esami” Fausto Brizzi, Nicolas Vaporidis e Cristiana Capotondi. Con loro la star del cinema italiano come Adriano Giannini, il grande attore e regista Michele Placido, insieme all’eclettica Violante Placido nella doppia veste di attrice e cantante. Si aspettano con entusiasmo Giorgio Pasotti, Nicoletta Romanoff, il giovane attore Yari Gugliucci. Grande attesa c'è stata anche per la partecipazione dell’ex Miss Italia campana Daniela Ferolla, che per una sera è diventata conduttrice del Festival, per Valeria Marini, Luisa Ranieri, Yvonnè Brulatour Sciò, Monica Guerritore, Alessandro Siani e molti altri.

Il Festival è stato inoltre palcoscenico di due importanti anteprime cinematografiche: in apertura il 15 luglio l’anteprima europea dell'atteso “Garfield 2”, diretto dal regista Tim Hill, nato dalla penna di Jim Davis e distribuito dalla Twentieth Century Fox. In chiusura di Festival, il 21 luglio, “Cars – Motori ruggenti”, il nuovo entusiasmante cartone animato in 3D firmato Disney-Pixar Animation e diretto dal regista premio Oscar® John Lasseter (“Toy story 1 & 2”, “A Bug’s life”). E ancora, in chiusura, da Disney Channel l’anteprima del pilot di “Hannah Montana” la nuova serie live-action in onda da settembre, diretta dai registi Lee Shallat Chemel, David Kendall, Fred Savage. In contemporanea con l’anteprima di Roma è stato inoltre proposto ai ragazzi “Bella gente stasera in paradiso”, il film di montaggio che Vincenzo Mollica e Antonello Sarno hanno dedicato al cinema italiano che ha segnato la nostra storia.

Cresce l’impegno di Mediaset per la 36esima edizione del Giffoni Film Festival: CANALE 5 ha dedicato all’evento un’importante serie di appuntamenti, a partire da lunedì 12 giugno 2006 con la rassegna "Ragazzi al cinema", che ogni mattina su Canale 5, alle ore 9.10 circa, ha proposto una serie di pellicole che hanno partecipato alle precedenti edizioni del Giffoni Film Festival.

2007 37a edizione (12-21 luglio) TEMA: CONFINI

Il report della 37esima edizione sarà presto pubblicato

2008 38a edizione (18-26 luglio) TEMA: MITI E MAESTRI

Il report della 38esima edizione sarà presto pubblicato

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Awards

 * The Competitive Sections A soul split in two parts: Elements and Generator

Award winners

 * 2004 Giffoni Film Festival The winners of the 34th edition

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FREE TO FLY Miglior Film/Best Film 34a Edizione/34th Edition "Free to Fly" Section

GRIFONE D’ORO GOLDEN GRYPHON

4TH FLOOR Directed by Antonio Mercero (Spagna/Spain) Miglior Cortometraggio/Best Short Film 34a Edizione/34th Edition "Free to Fly" Section

GRIFONE D’ARGENTO SILVER GRYPHON

IL CORRIDOIO Directed by Vittorio Badini Confalonieri (Italia/Italy)

Al film va anche il Premio di € 500,00 della Fondazione Osservatorio Bambini e Media / The film will also be awarded with € 500,00 given by the Fondazione Osservatorio Bambini e Media GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 34a Edizione/34th Edition "Free to Fly" Section

GRIFONE DI BRONZO BRONZE GRYPHON

THE WOODEN CAMERA Directed by Ntshavheni Wa Luruli (Sudafrica/Gran Bretagna/Francia - South Africa/UK/France)

Motivazione:

Abbiamo scelto come vincitore del Gran Premio della Giuria il film “The Wooden Camera” in quanto mette in evidenza la bellezza di un mondo che tutti tendono ad ignorare e respingere.

Reasons:

We have chosen as the winner of the Grand Prize of the Jury the film “The Wooden Camera” as it underlines the beauty of a world that everybody tends to ignore and reject. Y GEN Miglior Film / Best Film 34a Edizione/34th Edition "Y Gen" Section

GRIFONE D’ORO GOLDEN GRYPHON

BONJOUR MONSIEUR SHLOMI Directed by Shemi Zarhin (Israele/Israel) Miglior Cortometraggio / Best Short Film 34a Edizione/34th Edition "Y Gen" Section

GRIFONE D’ARGENTO SILVER GRYPHON

STEALING INNOCENCE Directed by Nancy Stein (USA)

Al film va anche il Premio di € 500,00 della Fondazione Osservatorio Bambini e Media / The film will also be awarded with € 500,00 given by the Fondazione Osservatorio Bambini e Media GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 34a Edizione/34th Edition "Y Gen" Section

GRIFONE DI BRONZO BRONZE GRYPHON

CERTI BAMBINI Directed by Antonio e Andrea Frazzi (Italia/Italy)

Motivazione:

Abbiamo deciso, dopo un lunga ed animata discussione, di assegnare il premio a questo film perché finalmente degno della tradizione cinematografica italiana, in quanto affronta un importante problema sociale della realtà del nostro Paese. Inoltre denota una regia pulita ed impeccabile con scelte di montaggio originali ed impiegate con sapienza, insieme ad una sceneggiatura cruda ed efficace, confezionando un prodotto di ineccepibile qualità (come la nostra giuria!!)

Reasons:

We have decided, after a long and lively discussion, to give this prize to this film because it is worth of the Italian cinematographic tradition and in addition it deals with an important social problem of our country. Moreover it has been directed in a faultless and clear way; the editing choices are original and employed with wisdom. As far as the screenplay is concerned, it is direct and effective giving birth to a product of exemplary quality (just like our jury!!) FIRST SCREENS Miglior Film - Best Film 34a Edizione/34th Edition "First Screens" Section

GRIFONE D’ORO GOLDEN GRYPHON

DANIEL & THE SUPERDOGS Directed by André Melançon (Canada/Gran Bretagna – Canada/UK) Miglior Cortometraggio / Best Short Film 34a Edizione/34th Edition "First Screens" Section

GRIFONE D’ARGENTO SILVER GRYPHON

UNA VITA IN FUMO Directed by Gianluca Fratellini (Italia / Italy)

Al film va anche il Premio di € 500,00 della Fondazione Osservatorio Bambini e Media / The film will also be awarded with € 500,00 given by the Fondazione Osservatorio Bambini e Media KIDZ Miglior Film - Best Film 34a Edizione/34th Edition "Kidz" Section

GRIFONE D’ORO GOLDEN GRYPHON

THE WILD SOCCER BUNCH Directed by Joachim Masannek (Germania / Germany) Miglior Cortometraggio / Best Short Film 34a Edizione/34th Edition "Kidz" Section

GRIFONE D’ARGENTO SILVER GRYPHON

IVER Directed by Christian Lo (Norvegia / Norway)

Al film va anche il Premio di € 500,00 della Fondazione Osservatorio Bambini e Media / The film will also be awarded with € 500,00 given by the Fondazione Osservatorio Bambini e Media SPECIAL AWARDS "FREE TO FLY" Section PREMIO CGS (Cinecircoli Giovanili Socioculturali) “PERCORSI CREATIVI 2004” THE CGS AWARD (Social-cultural Cineclubs for Young People) “PERCORSI CREATIVI 2004”

THE CHORISTERS Directed by Christophe Barratier (Francia / Svizzera – France / Switzerland)

Motivazione:

La pellicola si distingue per la qualità della fotografia, intensa e nitida; per l’armonia raggiunta tra musica, canto e immagine, per la fluidità narrativa e la rappresentazione della coralità. Il rapporto fra ragazzi e adulti, rappresentato in tutte le sue sfumature e peculiarità, è realistico, convincente, educativo e rispettoso delle individualità di ciascuno e trova nella forza della memoria e nella condivisione una risposta universale.

Reasons:

The film distinguishes itself due to the quality of photography, intense and clear; due to the harmony between music, song and images, due to the narrative fluidity and the representation of concerted nature. The relationship between young people and adults, represented in all its essence, is realistic, convincing, educational and respectful of everyone’s individuality. Furthermore it finds in the strength of remembrance and in the positive aspect of sharing a universal answer. PREMIO ARCA ENEL THE ARCA ENEL AWARD

4th FLOOR Directed by Antonio Mercero (Spagna / Spain)

Motivazione:

Per aver affrontato temi tristi come la malattia, in modo originale, riuscendo allo stesso tempo a farci ridere e piangere, e a farci capire che la vita bisogna viverla e goderla in ogni suo momento, istante dopo istante.

Reasons:

For having dealt with sad themes such as disease with originality, succeeding in making us both laugh and cry, and making us understand that life must be lived thoroughly in every moment, second after second. PREMIO AMNESTY INTERNATIONAL AMNESTY INTERNATIONAL AWARD

THE WOODEN CAMERA Directed by Ntshavheni Wa Luruli (Sudafrica/Francia/Gran Bretagna – South Africa/France/UK)

Motivazione:

Perché racconta la storia di una nuova generazione che lotta per costruire il proprio futuro liberandosi dalle paure e dai pregiudizi delle generazioni precedenti che hanno vissuto purtroppo le problematiche su larga scala dei diritti umani.

Reasons:

Because it tells the story of a brand new generation that fights in order to obtain its future. A generation that fights to free itself of the fear and prejudice of previous generations that have, unfortunately, lived trough tragedies regarding human rights. SPECIAL AWARDS "FIRST SCREEN " Section PREMIO RAY-BAN JUNIOR RAY-BAN JUNIOR AWARD

FIA! Directed by Elsa Kvamme (Norvegia / Norway)

Motivazione:

Al film che più ha trasmesso autenticità, carattere, voglia di essere se stessi e di comunicare le emozioni, in modo semplice, col mondo adulto.

Reasons:

To the film that best conveyed the ideas of authenticity, character, the willpower of being oneself and communicating emotion, in a simple and natural way, with the adult world. PREMIO GNAM-FEST GNAM-FEST AWARD

MISA MI Directed by Linus Torell (Svezia / Sweden)

Motivazione:

Per la capacità di mettere in scena – attraverso i colori di una natura carica di suggestioni – il positivo e fertile confronto tra il cinismo cittadino e una genuina e antica cultura.

Reasons:

For the capability of demonstrating – through the colours of nature rich in emotion – the positive and fertile encounter between cynical city-life and a genuine and ancient culture. SPECIAL AWARDS "Y GEN" Section PREMIO ARCA ENEL THE ARCA ENEL AWARD

COWBOYS & ANGELS Directed by David Gleeson (Irlanda / Ireland)

Motivazione:

Per aver raccontato in modo efficace il percorso di ricerca di identità che ogni giovane si ritrova ad affrontare. Per aver trattato tematiche a sfondo sociale con sottile ironia. Un film che ci ha coinvolti e nel quale come adolescenti ci siamo identificati e come lo stesso film dice: “Abbiamo trovato la nostra voce, insegnateci ad usarla!”

Reasons:

For having dealt in the best possible way the plea for identity that every young person has to live through. For having dealt with social themes in an ironic and subtle way. A film that caught our attention as teenagers and in which we all identified with and as the film itself says: “We have found our voice, teach us to use it!” PREMIO TIM / TIM AWARD

PLAY IT LOUD! Directed by Benjamin Quabeck (Germania / Germany)

Motivazione:

Al film di questa sezione che meglio ha reso il tema della comunicazione tra le giovani generazioni.

Reasons:

To the film of this section that dealt with the theme of Communication in the best possible way for the new generations. IL DIRETTORE ARTISTICO, SULLA BASE DEI RISULTATI ESPRESSI DALLE GIURIE, HA ASSEGNATO I SEGUENTI RICONOSCIMENTI: THE ARTISTIC DIRECTOR HAS ASSIGNED THE FOLLOWING AWARDS BASED ON THE RESULTS OF THE JURORS VOTES: “KIDZ” SECTION 2° Classificato / Classified in 2nd place:

NEL MAGICO MONDO DI GAYA / BACK TO GAYA

directed by Lenard Fritz Krawinkel (Germania / Germany)

al quale va il Premio della Camera di Commercio di Salerno / which has been awarded with the Chamber of Commerce of Salerno Award

3° Classificato / Classified in 3rd place:

YOUNG JÖNSSON GANG AT SUMMER CAMP directed by Christjan Wegner (Svezia / Sweden)

al quale va il Premio del Consiglio Regionale della Campania / which has been awarded with the Campania Regional Council Award.

SHORT FILMS:

2° Classificato / Classified in 2nd place:

LITTLE DADDY directed by Michael W. Horsten (Danimarca / Denmark)

al quale va il Premio del Rotary Club Int’l – Salerno Est / which has been awarded with the Rotary Club Int’l (Salerno East) Award

”FIRST SCREENS” SECTION 2° Classificato / Classified in 2nd place:

MISA MI directed by Linus Torell (Svezia / Sweden)

al quale va il Premio del Presidente della Camera dei Deputati / which has been awarded with the Presidency of the Italian Chamber of Deputies Award.

3° Classificato / Classified in 3rd place:

FIA! directed by Elsa Kvamme (Norvegia / Norway)

al quale va la Medaglia d’Oro dell’ANEC (Associazione Nazionale Esercenti Cinema) / which has been awarded with the ANEC Gold Medal (The National Association of Cinema Owners)

SHORT FILMS:

2° Classificato / Classified in 2nd place:

ANNIE & BO directed by Johannes Weiland (Germania / Germany)

al quale va il Premio Città di Giffoni Valle Piana / which has been awarded with the Municipality of Giffoni Award. “FREE TO FLY” SECTION 2° Classificato / Classified in 2nd place:

THE CHORISTERS directed by Christophe Barratier (Francia/Svizzera – France Switzerland)

al quale va il Premio del Capo dello Stato / which has been awarded with the President of the Italian Republic Award.

3° Classificato / Classified in 3rd place:

THE BLUE BUTTERFLY directed by Léa Pool (Canada)

al quale va il Premio del Ministro per i Beni e le Attività Culturali / which has been awarded with the Ministry for Arts and Culture Award.

SHORT FILMS:

2° Classificato / Classified in 2nd place:

BUTTERFLIES directed by Julia Schwarz (Germania / Germany)

al quale va il Premio del Parlamento Europeo / which has been awarded with the European Parliament Award. “Y GEN” SECTION 2° Classificato / Classified in 2nd place:

CERTI BAMBINI (STOLEN CHILDHOOD) directed by Andrea e Antonio Frazzi (Italia / Italy)

al quale va il Premio del Presidente del Senato / which has been awarded with the Presidency of the Italian Senate Award

3° Classificato / Classified in 3rd place:

COWBOYS & ANGELS directed by David Gleeson (Irlanda / Ireland)

al quale va la Medaglia d’Oro dell’AGIS (Associazione Generale Italiana dello Spettacolo) / which has been awarded with the AGIS Gold Medal (Italian General Entertainment Agency). -->
 * 2005 Giffoni Film Festival The winners of the 35th edition

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FREE TO FLY Miglior Film/Best Film 35a Edizione/35th Edition "Free to Fly" Section

GRIFONE D’ORO GOLDEN GRYPHON

INNOCENT VOICES Directed by Luis Mandoki (Messico/Mexico) Miglior Cortometraggio/Best Short Film 35a Edizione/35th Edition "Free to Fly" Section

GRIFONE D’ARGENTO SILVER GRYPHON

GABRIEL Directed by Cherie Knot (AUSTRALIA) GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 35a Edizione/35th Edition "Free to Fly" Section

GRIFONE DI BRONZO BRONZE GRYPHON

DEAR FRANKIE Directed by Shona Auerbach (Gran Bretagna/UK)

Motivazione:

Dopo un’attenta analisi degli otto lungometraggi in concorso, la giuria di qualità ha deciso di premiare questo film per il valore artistico e l’ottima tecnica di ripresa.

Reasons:

Following an attentive analysis of the 8 feature films in competition, the quality Jury has decided to award this film for its artistic value and great filming technique. Y GEN Miglior Film / Best Film 35a Edizione/35th Edition "Y Gen" Section

GRIFONE D’ORO GOLDEN GRYPHON

NAPOLA Directed by Dennis Gansel (Germania/Germany) Miglior Cortometraggio / Best Short Film 35a Edizione/35th Edition "Y Gen" Section

GRIFONE D’ARGENTO SILVER GRYPHON

LIFE Directed by Ariel Zylbersztejn (Messico/Mexico) GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 35a Edizione/35th Edition "Y Gen" Section

GRIFONE DI BRONZO BRONZE GRYPHON

ZHOOREK Directed by Ryszard Brylski (Polonia / Poland)

Motivazione:

Per lo sperimentalismo della regia, per la sapienza nell’uso dei tempi, per i numerosi simbolismi offerti allo spettatore, per l’estrema profondità del film espressa con rigore e semplicità. Inoltre la giuria di qualità sente la necessità di menzionare l’interpretazione di Marilou Berry nel film LA PREMIERE FOIS QUE J’AI EU 20 ANS e quella di Max Riemelt nel film NAPOLA.

Reasons:

For the experimental style of directing, for the masterly use of timing, for the several symbolisms offered to the audience, for the extreme profoundness of the film expressed with rigour and simplicity. Furthermore the quality jury feels the necessity of mentioning the interpretation of Marilou Berry in the film LA PREMIER FOIS QUE J’AI EU 20 ANS and that of Max Riemelt in the film NAPOLA. FIRST SCREENS Miglior Film - Best Film 35a Edizione/35th Edition "First Screens" Section

GRIFONE D’ORO GOLDEN GRYPHON

DUMA Directed by Carroll Ballard (USA) Miglior Cortometraggio / Best Short Film 35a Edizione/35th Edition "First Screens" Section

GRIFONE D’ARGENTO SILVER GRYPHON

TADEO JONES Directed by Enrique Gato (Spagna/Spain) KIDZ Miglior Film Fiction - Best Feature Film 35a Edizione/35th Edition "Kidz" Section

GRIFONE D’ORO GOLDEN GRYPHON

THE WILD SOCCER BUNCH 2 Directed by Joachim Masannek (Germania / Germany) Miglior Film d’Animazione - Best Animation Film 35a Edizione/35th Edition "Kidz" Section

GRIFONE D’ORO GOLDEN GRYPHON

THE GOLDEN BLAZE Directed by Bryon E. Carson (USA) Miglior Cortometraggio / Best Short Film 35a Edizione/35th Edition "Kidz" Section

GRIFONE D’ARGENTO SILVER GRYPHON

DANCING DARLINGS Directed by Maren Erdmann (Germania/Germany)

AL FILM VA ANCHE IL PREMIO DELLA CAMPANIA FILM COMMISSION TO THE FILM GOES ALSO THE CAMPANIA FILM COMMISSION AWARD

(1000 METRI DI PELLICOLA / 1000 METERS OF FILM) SPECIAL AWARDS "FREE TO FLY" Section PREMIO CGS (Cinecircoli Giovanili Socioculturali) “PERCORSI CREATIVI 2005” THE CGS AWARD (Social-cultural Cineclubs for Young People) “PERCORSI CREATIVI 2005”

DEAR FRANKIE Directed by Shona Auerbach (UK)

Motivazione:

per aver affrontato con grande efficacia il tema della perdita, nella duplice prospettiva del saper abbandonare e dell’essere abbandonati. Il film utilizza l’escamotage della menzogna come preservazione da una realtà fatta di dolore, sfruttando con sapienza narrativa l’archetipo del rito di passaggio sia per quanto riguarda la figura del genitore sia per quella del giovane protagonista. Pertanto risulta un lavoro ricco di poesia privo di facili sentimentalismi.

Reasons:

For having faced the theme of mourn in more ways than one: abandoning and being abandoned. The film uses the retraction of lying as a shelter from the world of pain, by exploiting, with great narrative expertise, the archetype of transition both for the parent and the young protagonist. Therefore, the final result is rich in poetry and exempt from slush. PREMIO ARCA CINEMAGIOVANI 2005 ARCA CINEMAGIOVANI AWARD 2005

DEAR FRANKIE Directed by Shona Auerbach (UK)

Motivazione:

Per il suo coinvolgimento emotivo dato soprattutto da personaggi sinceri e appassionati, legati tra loro da un forte affetto familiare che si manifesta, in special modo, nel rapporto tra madre e figlio, anche senza bisogno di parole. E’ stata ottima anche la fotografia, l’ambientazione e l’interpretazione degli attori.

Reasons:

The award goes to this film for its emotional involvement given mainly by honest and passionate characters connected to each other by a strong family affection which appears, particularly, in the relationship between mother and son which doesn’t need the use of words. Worthy of mention also the cinematography, the art direction and the actor’s performance. PREMIO AMNESTY INTERNATIONAL AMNESTY INTERNATIONAL AWARD

INNOCENT VOICES Directed by Luis Mandoki (Messico / Mexico)

Motivazione:

Innocent Voices denuncia la negazione dei fondamentali diritti umani dei bambini durante una guerra che non lascia alternative, se non la fuga, ad un popolo impotente di fronte all’arruolamento dei propri figli da parte degli eserciti.

Reasons:

Innocent Voices denounces the denial of the most basic human rights for children in a war which leaves no choice but flight to a powerless people in the face of the recruitment of their own children by armies.

SPECIAL AWARDS "KIDZ " Section PREMIO GNAM-FEST GNAM-FEST AWARD

FINDING FRIENDS Directed by Arne Lindtner Næss (Norvegia/Norway)

Motivazione:

Per la capacità di raccontare il viaggio interiore di un bambino che in campagna impara a vivere e a crescere in modo nuovo.

Reasons:

For its ability to tell the interior journey of a child who, in the country, learns to live and grow up in a new way. PREMIO CIAL (CONSORZIO IMBALLAGGI ALLUMINIO) CIAL AWARD (ALUMINIUM WRAPPING CONSORTIUM)

TAINA – A New Amazon Adventure Directed by Mauro Lima (Brasile / Brazil)

Motivazione:

Al film che meglio rappresenta le tematiche di rispetto dell’ambiente e di sviluppo sostenibile.

Reasons:

To the film that better embodies respect towards the environment and sustainable development.

SPECIAL AWARDS "Y GEN" Section PREMIO ARCA CINEMAGIOVANI 2005 ARCA CINEMAGIOVANI AWARD 2005

NAPOLA Directed by Dennis Gansel (Germania/Germany)

Motivazione:

Premiamo questo film perché un’emozione viscerale lo percorre interamente, toccando gli estremi dei sentimenti umani quali la rabbia, l’amicizia, il coraggio e la ribellione non violenta. Il protagonista matura la propria coscienza riflettendo su stesso e su gli altri. Nei centri di addestramento nazisti si puntava all’annullamento delle emozioni e del proprio pensiero critico che sono invece i veri punti di forza che caratterizzano il film.

Reasons:

The award goes to this film because a visceral emotion runs through it, touching the very extreme human feelings such as rage, friendship, courage and non-violent revolt. The protagonist matures his consciousness by reflecting about himself and the other people. In the nazi training camps the aim was that of cancelling emotions and critical ability which are on the contrary the actual strength of the film. PREMIO LIONS CLUBS INTERNATIONAL LIONS CLUBS INTERNATIONAL AWARD

LOVE + HATE Directed by Dominic Savage (UK)

Motivazione:

Al film che ha saputo creare e sviluppare uno spirito di comprensione fra i popoli del mondo.

Reasons:

To the film that was able to create and develop a spirit of comprehension among the peoples of the world.

IL DIRETTORE ARTISTICO, SULLA BASE DEI RISULTATI ESPRESSI DALLE GIURIE, HA ASSEGNATO I SEGUENTI RICONOSCIMENTI: THE ARTISTIC DIRECTOR HAS ASSIGNED THE FOLLOWING AWARDS BASED ON THE RESULTS OF THE JURORS VOTES: “KIDZ” SECTION 2° Classificato “Lungometraggi Fiction” / Classified in 2nd place “Feature Films”:

FINDING FRIENDS directed by Arne Lindtner Næss (Norvegia/Norway)

al quale va il Premio della Camera di Commercio di Salerno / which has been awarded with the Chamber of Commerce of Salerno Award

2° Classificato “Animazione” / Classified in 2nd place “Animation Films”:

VALIANT directed by Gary Chapman (Gran Bretagna/UK)

al quale va il Premio del Provincia di Salerno / which has been awarded with the Salerno Province Award.

SHORT FILMS:

2° Classificato / Classified in 2nd place:

RAMP directed by Christian Lo (Norvegia/Norway)

al quale va il Premio della Fondazione Salernitana Sichelgaita / which has been awarded with the Sichelgaita Foundation Award ”FIRST SCREENS” SECTION 2° Classificato / Classified in 2nd place:

THE FAKIR directed by Peter Flinth (Danimarca / Denmark)

al quale va il Premio del Consiglio Regionale della Campania / which has been awarded with the Campania Regional Council Award.

3° Classificato / Classified in 3rd place:

FIVE CHILDREN AND IT directed by John Stephenson (Gran Bretagna / UK)

al quale va la Medaglia d’Oro dell’ANEC (Associazione Nazionale Esercenti Cinema) / which has been awarded with the ANEC Gold Medal (The National Association of Cinema Owners) “FREE TO FLY” SECTION 2° Classificato / Classified in 2nd place:

IN ORANGE directed by Joram Lürsen (Olanda / The Netherlands)

al quale va il Premio del Capo dello Stato / which has been awarded with the President of the Italian Republic Award.

3° Classificato / Classified in 3rd place: DEAR FRANKIE directed by Shona Auerbach (Gran Bretagna / UK)

al quale va il Premio del Comune di Giffoni / which has been awarded with the Municipality of Giffoni Award.

SHORT FILMS:

2° Classificato / Classified in 2nd place:

ZARTMO directed by Marc Dalmans (Belgio / Belgium)

al quale va il Premio del Parlamento Europeo / which has been awarded with the European Parliament Award. “Y GEN” SECTION 2° Classificato / Classified in 2nd place:

LOVE+HATE directed by Dominic Savage (Gran Bretagna / UK)

al quale va il Premio del Presidente del Senato / which has been awarded with the Presidency of the Italian Senate Award

3° Classificato / Classified in 3rd place:

THE FIRST TIME I WAS 20 directed by Lorraine Levy (Francia / France)

al quale va la Medaglia d’Oro dell’AGIS (Associazione Generale Italiana dello Spettacolo) / which has been awarded with the AGIS Gold Medal (Italian General Entertainment Agency).

SHORT FILMS:

2° Classificato / Classified in 2nd place:

ENEMIES directed by Petr Novak (Germania / Germany)

al quale va il Premio del Rotary Club - Salerno Est / which has been awarded with the Rotary Club Award – Salerno Est.

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 * 2006 Giffoni Film Festival The winners of the 36th edition

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FREE TO FLY Miglior Film/Best Film 36a Edizione/36th Edition "FREE TO FLY" Section

GRIFONE D’ORO GOLDEN GRYPHON

WE SHALL OVERCOME Directed by Niels Arden Oplev (Danimarca / Denmark) Miglior Cortometraggio/Best Short Film 36a Edizione/36th Edition "FREE TO FLY" Section

GRIFONE D’ARGENTO SILVER GRYPHON

VINCENT Directed by Giulio Ricciarelli (Germania / Germany) GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 36a Edizione/36th Edition "FREE TO FLY" Section

GRIFONE DI BRONZO BRONZE GRYPHON

MOTHER OF MINE Directed by Klaus Härö (Finlandia / Finland)

Motivazione:

Considerando l’aspetto tecnico e la sensibilità del regista con la quale ha saputo raccontare la storia, oltre al talento degli attori, noi riteniamo che il film Mother of Mine è meritevole del Gran Premio della Giuria per la sezione “Free to Fly”

Reasons:

Considering the technical aspect and the director’s sensitiveness in telling this story, along with the actors’ talent, we believe that the film “Mother of mine” deserves to be awarded the Jury’s Grand Prix for the “Free to fly” section.

Y GEN Miglior Film / Best Film 36a Edizione/36th Edition "Y GEN" Section

GRIFONE D’ORO GOLDEN GRYPHON

C.R.A.Z.Y. Directed by Jean-Marc Vallée (Canada) Miglior Cortometraggio / Best Short Film 36a Edizione/36th Edition "Y GEN" Section

GRIFONE D’ARGENTO SILVER GRYPHON

LISANNE Directed by Lars-Gunnar Lotz (Germania / Germany) GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 36a Edizione/36th Edition "Y GEN" Section

GRIFONE DI BRONZO BRONZE GRYPHON

PINGPONG Directed by Matthias Luthardt (Germania / Germany)

Motivazione:

Per averci dato la possibilità di leggere in maniera creativa il testo filmico, sconvolgendo tutti noi con la sola volontà di offrirci infinite possibilità di riflessione ed interpretazione. L’uso mai gratuito della metafora e dell’allegoria ha permesso di calarci nell’intimo dei personaggi, presentando un’opera intrisa di riferimenti alla tradizione cinematografica tedesca e polacca, ma al contempo aggiornandone il linguaggio con abilità di un maestro già navigato.

Reasons:

For having conveyed the possibility of reading the film creatively and shocking everybody through the offering of infinite possibilities of thought and interpretation. The use of poignant metaphors and allegories allowed the audience to explore the most intimate feelings of the characters and presented a work of art combining both references to the German and Polish cinematographic tradition and new elements with the ability of a great master.

FIRST SCREENS Miglior Film - Best Film 36a Edizione/36th Edition "FIRST SCREENS" Section

GRIFONE D’ORO GOLDEN GRYPHON

THE WILD SOCCER BUNCH 3 Directed by Joachim Masannek (Germania / Germany) Miglior Cortometraggio / Best Short Film 36a Edizione/36th Edition "FIRST SCREENS" Section

GRIFONE D’ARGENTO SILVER GRYPHON

CHESS Directed by Pernilla Hindsefelt (Svezia / Sweden)

KIDZ Miglior Film - Best Film 36a Edizione/36th Edition "KIDZ" Section

GRIFONE D’ORO GOLDEN GRYPHON

LASSIE Directed by Charles Sturridge (Gran Bretagna / UK) Miglior Cortometraggio / Best Short Film 36a Edizione/36th Edition "KIDZ" Section

GRIFONE D’ARGENTO SILVER GRYPHON

RABBIT Directed by Jonas Felixson (Svezia / Sweden) SGUARDI INQUIETI / TROUBLE GAZE Miglior Cortometraggio / Best Short Film 36a Edizione/36th Edition “SGUARDI INQUIETI “/ ”TROUBLE GAZE” Section

COMPITO IN CLASSE Directed by Daniele Cascella (Italia / Italy)

IL POSTO DELLE FAVOLE / KIDS IN WONDERLAND Miglior Spettacolo Teatrale / Best Show 36a Edizione/36th Edition “IL POSTO DELLE FAVOLE“/ ”KIDS IN WONDERLAND” Section

LA GRANDE PROVA DI PESCIOLINO AZZURRO

Della Compagnia “Manomagia” (Catania)

SPECIAL AWARDS "FREE TO FLY" Section PREMIO CGS (Cinecircoli Giovanili Socioculturali) “PERCORSI CREATIVI 2006” THE CGS AWARD (Social-cultural Cineclubs for Young People) “PERCORSI CREATIVI 2006”

OPAL DREAM Directed by Peter Cattaneo (Gran Bretagna – Australia / UK - Australia)

Motivazione:

La pellicola utilizza una struttura cinematografica semplice e allo stesso tempo originale, evitando facili didascalismi e mettendo a fuoco con efficacia il tema del potere dell’immaginazione. Attraverso la vicenda di Ashmol e della piccola sorella Kellvanne, il film racconta il rito di passaggio tra l’infanzia e l’inizio di una consapevolezza del mondo più matura che non può avvenire senza il supporto di una guida adulta. Da segnalare l’affiatamento, la solidarietà e la tenerezza che la famiglia e la comunità riescono a trasmettersi vicendevolmente. Questi valori vengono ben sintetizzati nel funerale che chiude la pellicola che pur celebrando la fine dell’immaginazione, ci ricorda come la fantasia, il bisogno di un amico e di una presenza vicina siano fondamentali sia per l’uomo che per il bambino.

Reasons:

The film uses a simple and original cinematographic structure, avoiding didactic tones and focusing effectively on the power of imagination. Through the experience of Ashmol and his little sister Kellyanne, the film tells the rite of passage from infancy to an age of deeper awareness of the world which cannot take place without the guide and the support of an adult person. It should also be highlighted the harmony, solidarity and tenderness that the family and the community are able to convey to each other. These values may be summarized through the funeral which closes the film. Despite emphasizing the end of imagination, it reminds us that fantasy, the need of a friend and of a caring person are fundamental both for adult people and children. PREMIO ARCA CINEMAGIOVANI 2006 ARCA CINEMAGIOVANI AWARD 2006

ZOZO Directed by Josef Fares (Svezia / Sweden)

Motivazione:

Che cosa è la Guerra? Dolore distruzione perdite, che coinvolgono troppo spesso delle vittime innocenti: i bambini. Per l’energia e la volontà di lottare del protagonista, nonostante lo shock provocatogli dalla morte dei genitori, e subito in un’età in cui i bambini dovrebbero solo sorridere e giocare. Per averci fatto sentire così vicino un tema che vorremmo fosse lontano.

Reasons:

What is war? Pain, destruction, loss; and so very often these aspects involve innocent victims: children. For the energy and willpower of the protagonist ready to fight back despite the shock owing to his parent’s death and this at an age when a child’s only worries should be to smile. For having made us aware of the kind of tragedy we wish would never occur

PREMIO AMNESTY INTERNATIONAL AMNESTY INTERNATIONAL AWARD

ZOZO Directed by Josef Fares (Svezia / Sweden)

Motivazione:

Per l'efficacia con cui lo spettatore può immedesimarsi nella condizione dei civili, vittime inermi di qualsiasi conflitto armato; per la straordinaria attualità del soggetto narrativo e la chiara rappresentazione della perpetuata indifferenza nei confronti dei Diritti Umani; per la dettagliata trattazione del tema della migrazione quale unica alternativa di sopravvivenza; per l'originalità nel raccontare gli ostacoli all'integrazione ed all'accettazione dell'altro; per il limpido messaggio nonviolento, presupposto imprescindibile per la convivenza globale.

Reasons:

For how effectively the audience can identify itself with the condition of civilians, harmless victims in any armed conflict; for the extraordinary topicality of the narrative subject and the clear representation of the perpetuated indifference toward Human Rights; for the detailed treatment of the theme of emigration as the only alternative for survival; for the originality in telling the obstacles against integration and the acceptance of the other; for the clean non-violent message, essential premise for the global cohabitation. PREMIO DELLA RIVISTA “IL PICCOLO MISSIONARIO”

A

CHESS Directed by Pernilla Hindsefelt (Svezia / Sweden)

Motivazione:

Per la capacità di raccontare la pace e l’integrazione in poche immagini e tanto umorismo.

Reasons:

For the capability to talk about peace and integration in very few images and great humour.

SPECIAL AWARDS "KIDZ " Section PREMIO CIAL (CONSORZIO IMBALLAGGI ALLUMINIO) CIAL AWARD (ALUMINIUM WRAPPING CONSORTIUM)

A

THE MAGIC LOG Directed by Juanjo Elordi (Spagna / Spain)

Motivazione:

Per aver meglio rappresentato tra tutti i film in concorso le tematiche di tutela ambientale e sviluppo sostenibile.

Reasons:

For having represented environmental and sustainable development issues better than any other film in competition.

SPECIAL AWARDS "Y GEN" Section PREMIO ARCA CINEMAGIOVANI 2006 ARCA CINEMAGIOVANI AWARD 2006

C.R.A.Z.Y. Directed by Jean-Marc Vallée (Canada)

Motivazione:

Per il continuo viaggio interiore alla ricerca di se stesso che il protagonista compie. Per aver raccontato la diversità come valore positivo e proprio di una persona, e l’importanza del dialogo all’interno di una famiglia. Per le musiche e l’ambientazione che rispecchiano l’incessante cambiamento del protagonista nel tentativo di accettarsi e essere accettati. Per l’originalità, la schiettezza e le varie sfaccettature della sceneggiatura che lo rendono capace di stupire e interessare fino alla fine.

Reasons:

For the ever lasting journey of insight that the protagonist takes. For having told the tale of diversity in the light of positiveness and the importance of communication within the family. For the music and settings that mirror the ever changing mood of the protagonist in his quest to accept his difference and be accepted. For the originality, outspokenness and different facets of the entire screenplay, that make the protagonist interesting and able to enchant till the end of the film. PREMIO BANCA DELLA CAMPANIA 2006 CAMPANIA BANK AWARD 2006

GRIFONE DI CRISTALLO CRYSTAL GRYPHON

C.R.A.Z.Y. Directed by Jean-Marc Vallée (Canada)

Motivazione:

Perché affronta il tema del complesso rapporto Padre/Figlio, fonte di quella energia che permette agli adolescenti di spiccare il volo.

Reasons:

Because it deals with the complex relationship between Father and Son, source of that energy that allows teenagers to fly.

IL DIRETTORE ARTISTICO, SULLA BASE DEI RISULTATI ESPRESSI DALLE GIURIE, HA ASSEGNATO I SEGUENTI RICONOSCIMENTI: THE ARTISTIC DIRECTOR HAS ASSIGNED THE FOLLOWING AWARDS BASED ON THE RESULTS OF THE JURORS VOTES: “KIDZ” SECTION 2° Classificato / Classified in 2nd place:

UNNA AND NUUK directed by Saara Cantell (Finlandia / Finland)

al quale va il Premio del Consiglio Regionale della Campania / which has been awarded with the Campania Regional Council Award.

3° Classificato / Classified in 3rd place:

WINKY’S HORSE directed by Mischa Kamp (Olanda / The Netherlands)

al quale va la Medaglia d’Oro dell’ANEC (Associazione Nazionale Esercenti Cinema) / which has been awarded with the ANEC Gold Medal (The National Association of Cinema Owners)

SHORT FILMS:

2° Classificato / Classified in 2nd place:

THE MONSTER directed by Jannik Splidsboel (Danimarca / Denmark)

al quale va il Premio della Camera di Commercio di Salerno / which has been awarded with the Chamber of Commerce of Salerno Award

”FIRST SCREENS” SECTION 2° Classificato / Classified in 2nd place:

HELEN THE BABY FOX directed by Keita Kono (Giappone / Japan)

al quale va il Premio della Camera dei Deputati / which has been awarded with the Chamber of Deputies

3° Classificato / Classified in 3rd place:

DREAMER directed by John Gatins (USA)

al quale va la Medaglia d’Oro dell’AGIS (Associazione Generale Italiana dello Spettacolo) / which has been awarded with the AGIS Gold Medal (Italian General Entertainment Agency).

SHORT FILMS:

2° Classificato / Classified in 2nd place:

LITTLE BLUE directed by Bob Svilhovec (USA)

Premio GFF al 2° classificato / GFF Award to the 2nd best

“FREE TO FLY” SECTION 2° Classificato / Classified in 2nd place:

I AM directed by Dorota Kedzierzawska (Polonia / Poland)

al quale va il Premio del Capo dello Stato / which has been awarded with the President of the Italian Republic Award.

3° Classificato / Classified in 3rd place:

ZOZO directed by Josef Fares (Svezia / Sweden)

al quale va il Premio del Comune di Giffoni / which has been awarded with the Municipality of Giffoni Award.

SHORT FILMS:

2° Classificato / Classified in 2nd place:

LIKE A BLADE OF GRASS IN THE MEADOW directed by Attilio Azzola (Italia / Italy)

Premio GFF al 2° classificato / GFF Award to the 2nd best

“Y GEN” SECTION 2° Classificato / Classified in 2nd place:

OFFSIDE directed by Buket Alakus (Germania / Germany)

al quale va il Premio del Presidente del Senato / which has been awarded with the Presidency of the Italian Senate Award

3° Classificato / Classified in 3rd place:

FOUR WEEKS IN JUNE directed by Henry Meyer (Svezia / Sweden)

al quale va il Premio della Fondazione Salernitana Sichelgaita / which has been awarded with the Sichelgaita Foundation Award

SHORT FILMS:

2° Classificato / Classified in 2nd place:

ALICE OR LIFE IN BLACK AND WHITE directed by Sophie Schoukens (Belgio / Belgium)

Premio GFF al 2° classificato / GFF Award to the 2nd best

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 * 2007 Giffoni Film Festival The winners of the 37th edition

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Miglior Film/Best Film 37a Edizione/37th Edition "KIDZ" Section

GOLDEN GRYPHON GRIFONE D'ORO

MID ROAD GANG Directed by Pantham Thongsang Somkiat Vithuranich (Tailandia / Thailand)

Miglior Cortometraggio/Best Short Film 37a Edizione/37th Edition "KIDZ" Section

SILVER GRYPHON GRIFONE D'ARGENTO

FOR ALL THE MARBLES Directed by Kris Booth (Canada / Canada)

Miglior Film/Best Film 37a Edizione/37th Edition "FIRST SCREENS" Section

GOLDEN GRYPHON GRIFONE D'ORO KIDZ IN DA HOOD Directed by Ylva Gustavsson Catti Edfeldt (Svezia / Sweden)

Miglior Cortometraggio/Best Short Film 37a Edizione/37th Edition "FIRST SCREENS" Section

SILVER GRYPHON GRIFONE D'ARGENTO

FILIZ IN FLIGHT Directed by Sylke Rene Meyer (Germania /Germany)

Miglior Film/Best Film 37a Edizione/37th Edition "FREE TO FLY" Section

GOLDEN GRYPHON GRIFONE D'ORO

MICHOU D’AUBER Directed by Thomas Gilou (Francia / France)

Miglior Cortometraggio/Best Short Film 37a Edizione/37th Edition "FREE TO FLY" Section

SILVER GRYPHON GRIFONE D'ARGENTO

A RECUPTARED GLANCE Directed by Marco Ottavio Graziano (Italia / Italy)

GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 37a Edizione/37th Edition "FREE TO FLY" Section

BRONZE GRYPHON GRIFONE DI BRONZO

MICHOU D’AUBER Directed by Thomas Gilou (Francia / France)

Motivazione:

Dopo aver confrontato le varie opinioni ed aver analizzato il film,sia dal punto di vista tecnico che etico,riteniamo che “Michou D’Auber” sia meritevole del Gran Premio Della Giuria, il Grifone di Bronzo.

Abbiamo deciso di premiare questo film per le location realistiche e appropriate al contesto, per la colonna sonora che si amalgama perfettamente alle immagini opportunamente elaborate in modo da renderle reali e suggestive e per la eccellente sceneggiatura; al di là degli aspetti tecnici è doveroso dover sottolineare la meticolosità nello svolgimento dei temi trattati.

Reasons:

After having analysed this film both from a technical and ethical point of view we decided to hand MICHOU D’AUBER the quality prize, the BRONZE GRYPHON. The decision was based on the film’s realistic locations, its context, score which made the film unique and emotional and also for its great script; apart from the technical aspects we want to underline the great attention given to the theme of the film by its author.

Miglior Film/Best Film 37a Edizione/37th Edition "Y GEN" Section

GOLDEN GRYPHON GRIFONE D'ORO

KEITH Directed by Todd Kessler (USA / USA)

Miglior Cortometraggio/Best Short Film 37a Edizione/37th Edition "Y GEN" Section

SILVER GRYPHON GRIFONE D'ARGENTO

LITTLE MAN Directed by Esben Tønnesen (Danimarca / Denmark)

GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 37a Edizione/37th Edition "Y GEN" Section

BRONZE GRYPHON GRIFONE DI BRONZO

EAGLE VS. SHARK Directed by Taika Waititi (Nuova Zelanza / New Zeland)

Motivazione:

La giuria di qualità per la sezione Y GEN della 37a edizione del GFF ha deciso di assegnare il premio “di qualità” al film EAGLE VS SHARK perché raccontando una storia d’amore delicata e complessa, ha colpito tutti noi con garbo e incisività, conquistando il nostro consenso, attraverso una comicità tanto surreale da diventare geniale, magnificamente espressa da un’eccellente regia e un cast superbo.

Reasons:

The Quality jury of the YGEN section of the 37th edition of the GFF decided to hand the “quality” prize to EAGLE VS SHARK as it is a film that revolves around a love story which is delicate and complex at the same time and hit us all for its grace and straightforwardness, its surreal and great jokes magnificently expressed through the actors and its direction.

Miglior Cortometraggio/Best Short Film 37a Edizione/37th Edition "SGUARDI INQUIETI / TROUBLED GAZE" Section

SILVER GRYPHON GRIFONE D'ARGENTO

LITTLE MARTIN Directed by Violaine Bellet (Francia / France)

Miglior Spettacolo Teatrale / Best Show 37a Edizione/37th Edition “IL POSTO DELLE FAVOLE“/ ”KIDS IN WONDERLAND” Section

PULCINELLA E LA CASSA MAGICA della Compagnia degli Sbuffi (Castellamare di Stabia)

SPECIAL AWARDS PREMI SPECIALI

"FREE TO FLY" Section

PREMIO CGS (Cinecircoli Giovanili Socioculturali) “PERCORSI CREATIVI 2007” THE CGS AWARD (Social-cultural Cineclubs for Young People) “PERCORSI CREATIVI 2007”

LEAPS & BOUNDS by Petter Næss (Svezia)

Motivazione:

La giuria (composta quest’anno da 18 ragazzi della Scuola Media “Don Bosco” di Macerata) ha assegnato il premio PERCORSI CREATIVI 2007 dell’associazione CGS (Cinecircoli Giovanili Socioculturali) al film LEAPS & BOUNDS per la capacità dell’opera di coinvolgere gli spettatori in una storia che, grazie all’avvincente ritmo degli eventi e ad una piacevole composizione delle immagini, riesce a trasmettere un forte senso di speranza toccando tematiche e valori particolarmente importanti, come la solidarietà, il senso della famiglia e dell’amicizia, la forza di credere nella possibilità di realizzare i propri sogni con l’aiuto degli altri.

Reasons:

The jury ( composed of 18 students from the DON BOSCO school in Macerata) assigned the award to LEAPS AND BOUNDS for its ability to touch the audience’s heart thanks to a story rich in events and pleasant images which convey a strong feeling of hope through solidarity, family and friendship which can make everyone’s dreams come true.

"FREE TO FLY" Section

PREMIO ARCA CINEMAGIOVANI 2007 ARCA CINEMAGIOVANI AWARD 2007

MICHOU D’AUBER Directed by Thomas Gilou (Francia / France)

Motivazione:

Per l’attualità delle tematiche trattate, quali discriminazione razziale, integrazione ed emigrazione. Per averci insegnato che amore e affetto abbattono ogni confine tra culture e religioni differenti. Per la coerenza e la fedeltà al periodo storico e l’ottima interpretazione degli attori.

Reasons:

The 2007 Free to Fly Arca Cinemagiovani award to MICHOU D’AUBER For the relevance of the issues dealt with in the film such as racism, integration and immigration. For teaching us that love and affection can destroy the boundaries between cultures and different religions. For the coherence and the reality of the historical period depicted and the outstanding performances of the actors.

"FREE TO FLY" Section

PREMIO AMNESTY INTERNATIONAL AMNESTY INTERNATIONAL AWARD

LITTLE BOY RED (ROSSO MALPELO) by Pasquale Scimeca (Italia/ Italy)

Motivazione:

La discriminazione e lo sfruttamento minorile, affrontati con lucido e pungente realismo, si rivelano essere ancora oggi temi di straordinaria e scottante attualità, dimostrando di non conoscere confini di spazio e di tempo.

Rosso Malpelo, adolescente condannato dalla violenza, dai pregiudizi, dalla povertà e dall’ingiustizia della società in cui vive è, come tanti suoi coetanei al giorno d’oggi in molti angoli del mondo, un vinto senza possibilità di sottrarsi ad un destino già disegnato.

Ciononostante la visione nitida e disperatamente rassegnata di una realtà negativa, costituisce la forza del film che si delinea prepotentemente nel suo tragico finale. Il messaggio che ne consegue è che ciascun individuo non può e non deve rimanere indifferente dinanzi alle violazioni perpetrate ai danni di minori ma deve concorrere ad assumersi responsabilità per garantire ad ogni essere umano, e prima di tutto ad ogni bambino, i diritti fondamentali.

Reasons:

Underage exploitation and discrimination dealt with in the film with a poignant and clear realism are sadly still relevant issues today and proof of no space nor time boundaries. Rosso Malpelo is an adolescent condemned by violence, prejudice, poverty and by an unjust society whose life resembles the lives of many of his peers around the world who struggle against fate with little chances of avoiding it. Nonetheless the clear and desperate, negative reality is the focus and strength of the film with a pending tragic finale. The message conveyed by the film is that each and every individual must fight against child abuse and cooperate in order to grant human beings, especially children, their fundamental rights.

"KIDZ " Section

PREMIO CIAL (CONSORZIO RECUPERO E RICICLO ALLUMINIO) CIAL AWARD (ALUMINIUM WRAPPING CONSORTIUM) A

RUDY, THE RETURN OF THE RACING PIG by Peter Timm (Germania/ Germany)

Motivazione:

Per la valenza socio ambientale che questo film sa esprimere in maniera semplice e diretta, attraverso le spericolate peripezie di un ragazzino convinto che tutti, anche il maialino Rudy, suo fidato amico, meritiamo di vivere in un mondo dove il rispetto fra gli esseri viventi e il rispetto per la natura si incontrano in maniera perfetta.

Reasons:

For its environmentally friendly story which is expressed in a very simple and easily understandable way, through the adventures of a young boy who believes firmly that everyone has a right to live respectfully among other creatures in the world, even Rudy, the little pig.

"TROUBLED GAZE " Section

PREMIO DELLA RIVISTA “IL PICCOLO MISSIONARIO” A

GAINING GROUND by Marc Brummund (Germania/ Germany)

Motivazione:

Per la capacità di raccontare con estrema sensibilità la storia di un genitore che supera i confini della sua terra e del suo coraggio pur di cambiare la vita di suo figlio.

Reasons:

For its ability to tell a story revolving around a parent who overcomes boundaries thanks to courage and changes a child’s life with great sensitivity.

"Y GEN" Section

PREMIO ARCA CINEMAGIOVANI 2007 ARCA CINEMAGIOVANI AWARD 2007

JIMMY ON THE HILL Directed by Enrico Pau (Italia)

Motivazione:

Per la fedeltà nella rappresentazione delle ambientazioni e nella caratterizzazione dei personaggi. Per le emozioni trasmesse dal protagonista e per la sua forza provocata dalla rabbia, dalla sofferenza, dalla voglia di essere libero, e dalla lotta per raggiungere un’affermazione nella società.

Reasons:

The 2007 Y-Gen Arca Cinemagiovani award to JIMMY ON THE HILL For the reality of the depiction of people and places. For the emotions conveyed by the protagonist and for his strength derived by anger, suffering and by the desire to be free and be someone in life.

"Y GEN" Section

PREMIO BANCA DELLA CAMPANIA 2007 CAMPANIA BANK AWARD 2007

GRIFONE DI CRISTALLO

NOTHING ELSE MATTERS Directed by Julia von Heinz (Germania/Germany)

Motivazione:

Perchè, con stile neorelista, ha saputo dare una rappresentazione dei diversi CONFINI, quello tra l'adolescenza e l'età adulta, quello tra la biologia e l'amore, quella tra la normalità e l'improvviso sprofondamento nel degrado.

Reasons:

Because with a neorealist style it depicted the most diverse BOUNDARIES, the one between adolescence and adulthood, between biology and love, between what is normal and what is suddenly swallowed by degradation

"FREE TO FLY" Section

PREMIO BABELGUM 2007 BEBELGUM AWARD 2007

KALEIDOSCOPE Directed by Lucy Gouldthorpe (Australia)

Motivazione:

Il Corto più cliccato sulla Piattaforma Babelgum

Reasons:

The most searched for short on the Babelgum platform

IL DIRETTORE ARTISTICO, SULLA BASE DEI RISULTATI ESPRESSI DALLE GIURIE, HA ASSEGNATO I SEGUENTI RICONOSCIMENTI:

THE ARTISTIC DIRECTOR HAS ASSIGNED THE FOLLOWING AWARDS BASED ON THE RESULTS OF THE JURORS VOTES:

“KIDZ” SECTION 2° Classificato / Classified in 2nd place:

HANDS OF MISSISSIPPI Directed by Detlev Buck (Germania/ Germany)

al quale va il premio della Presidenza del Senato which has been awarded with the Presidency of the Italian Senate Award

SHORT FILMS: “KIDZ” SECTION 2° Classificato / Classified in 2nd place:

BALUBA RUNA Directed by ChristianLo (Norvegia/ Norway)

al quale va il premio della Camera di Commercio di Salerno which has been awarded with the Chamber of Commerce of Salerno Award

“FIRST SCREENS” SECTION 2° Classificato / Classified in 2nd place:

CARE OF FOOTPATH Directed by Kishan Shrikanth (India)

al quale va il premio della Presidenza della Camera dei Deputati which has been awarded with the Chamber of Deputies

SHORT FILMS: “FIRST SCREENS” SECTION 2° Classificato / Classified in 2nd place:

FORE CHECKING GRANDPA Directed by Per Hanefjord (Svezia/ Sweden)

al quale va il Premio della Comunità Montana Monti Picentini which has been awarded with the “Picentini Comunità Montana” Award

“FREE TO FLY” SECTION 2° Classificato / Classified in 2nd place:

LEAPS & BOUNDS Directed by Petter Næss (Svezia/ Sweden)

al quale va il Premio della Presidenza del Consiglio della Regione Campania which has been awarded with the Campania Regional Council Award.

“FREE TO FLY” SECTION 3° Classificato / Classified in 3rd place:

FLICKA Directed by Michael Mayer (USA)

al quale va il Premio della Fondazione Sichelgaita which has been awarded with the Sichelgaita Foundation Award

SHORT FILMS: “FREE TO FLY” SECTION 2° Classificato / Classified in 2nd place:

INFRARED Directed by Lionel Mougin (Francia/ France)

al quale va il Premio ANEC (Associazione Nazionale Esercenti Cinema) which has been awarded with the ANEC Gold Medal (The National Association of Cinema Owners)

“Y GEN” SECTION 2° Classificato / Classified in 2nd place:

JIMMY ON THE HILL Directed by Enrico Pau (Italia/ Italy)

Al quale va il Premio del Capo di Stato which has been awarded with the President of the Italian Republic Award.

SHORT FILMS: “Y GEN” SECTION 2° Classificato / Classified in 2nd place:

ESPERÂNSIA Directed by Cláudio Jordão Viegas (Portogallo/ Portugal)

al quale va la Medaglia d’Oro dell’AGIS (Associazione Generale Italiana dello Spettacolo) which has been awarded with the AGIS Gold Medal (Italian General Entertainment Agency).

“TROUBLED GAZE” SECTION

SHORT FILMS:

2° Classificato / Classified in 2nd place:

BALLERINA Directed by Rosario Errico (Italia/ Italy)

Al quale va il Premio del Comune di Giffoni Valle Piana which has been awarded with the Municipality of Giffoni Award.

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 * 2008 Giffoni Film Festival The winners of the 38th edition

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MIGLIOR FILM / BEST FILM 38a Edizione / 38th Edition GRIFONE D’ORO / GOLDEN GRYPHON

KIDZ - section

THE STORY OF LEO (Italy) by Mario Cambi

FIRST SCREENS - section

RED ZORA (Germany) by Peter Kahane

FREE TO FLY - section

LEROY (Germany) by Armin Voelckers

Y GEN - section

BLIND (The Netherlands/Belgium/Bulgaria) by Tamar van den Dop

MIGLIOR CORTOMETRAGGIO / BEST SHORT FILM 38a Edizione / 38th Edition

GRIFONE D’ARGENTO / SILVER GRYPHON

KIDZ - section

OMA’S QUILT (Canada) by Izabela Bzymek

FIRST SCREENS - section

NATURAL BORN BULLIES (Italy) by Massimo Cappelli

FREE TO FLY - section

FELIX (Germany) by Andreas Utta

Y GEN - section

RETREATING (Italy) by Elisabetta Bernardini

TROUBLED GAZE - section

BENIGNO (Italy) by Francesco Benigno

GRAN PREMIO DELLA GIURIA / JURY GRAND PRIX 38a Edizione / 38th Edition

GRIFONE DI BRONZO / BRONZE GRYPHON

FREE TO FLY - section

THE BLACK BALLOON (Australia) by Elissa Down

Motivazione:

Uno spaccato di vita che dimostra come la “diversità” di un singolo figlio può rendere un’intera famiglia speciale. Questo traspare dagli occhi, dalle azioni e dalla stesso corpo del protagonista, Charlie ragazzo autistico, interpretato con la massima riuscita, così come lodevole è stata la forza del fratello nell’accettarlo. Eccezionali le inquadrature, per lo più a lungo raggio, e la colonna sonora che accompagna perfettamente le scene, diventando parte integrante del film. Complimenti alla regista per averci presentato una realtà poco conosciuta.

Reasons:

A portrait of life that shows how the “diversity” of a single son can make a whole family special. It shows through the eyes, the actions and the body of the protagonist, Charlie, an autistic boy, played beautifully, just as laudable was the strength of his brother in accepting him. Extraordinary shots, mostly long, and the musical score which perfectly accompanies the sequences, becoming an important part of the film. Congratulations to the director for giving us the opportunity to learn about such a mysterious reality.

Y GEN - section

BLIND (The Netherlands/Belgium/Bulgaria) by Tamar van den Dop

Motivazione:

Ogni scena di BLIND è espressione di bellezza e poesia. I cinque sensi vengono connotati in maniera completamente nuova: “vediamo” con le mani, “ascoltiamo” con gli occhi, percepiamo una realtà rinnovata attraverso la cecità del protagonista. La regia rigorosa e raffinata fa della pellicola un quadro in movimento che prende magicamente vita. Siamo stati “accecati” e nel contempo illuminati dalla profondità delle emozioni trasmesse da questo film.

Reasons:

Every scene in BLIND expresses beauty and poetry. The five senses are presented in a completely new way: we “see” with our hands, we “listen” with our eyes, we perceive renovated reality through the main character’s blindness. The sleek and strong direction makes the film a painting in motion which magically comes to life. We were blinded and enlightened at the same time by the profound emotions conveyed by the film.

PREMI SPECIALI / SPECIAL AWARDS 38a Edizione / 38th Edition

KIDZ - section

GRIFONE DI ALLUMINIO - CIAL (Consorzio Imballaggio Alluminio) ALUMINIUM GRYPHON - CIAL AWARD (Aluminium Wrapping Consortium)

TERRA (USA) by Aristomenis Tsirbas

Motivazione:

Per la valenza socio ambientale che questo film sa esprime in maniera semplice e diretta, attraverso un linguaggio attraente e colorato. La battaglia animata fra due schieramenti: umani contro alieni, pone in evidenza le cattive abitudini di vita degli umani, irrispettosi del pianeta che vivono e che hanno ormai distrutto. “Terra” viene premiato da CIAL e dal Giffoni, oltre che per la tecnica e la grafica con cui è stato realizzato, anche per l’idea nuova alla base della sceneggiatura: se esistono altri mondi e altre civiltà nel nostro universo, è anche possibile che siano migliori e più responsabili di noi umani, in questo film rappresentati come cattivi e senza scrupoli predatori

Reasons:

For its social and environmental value that the film expresses in a simple and straightforward way, through an attractive and colourful language. The animated battle between two sides: humans against aliens, shows the bad lifestyle of human beings, disrespectful of the planet where they live and that have now destroyed. “Terra” is awarded by CIAL and the Giffoni Film Festival, both for the technique and graphics used to make the film, and the new idea under the script: if in our universe there are other worlds and civilizations, it is also possible that they are better and more responsible than humans, who are represented as nasty and vicious predators.

FREE TO FLY - section

PREMIO CGS (Cinecircoli Giovanili Socioculturali) THE CGS AWARD (Social-cultural Cineclubs for Young People)

DECEMBER BOYS (Australia) by Rod Hardy

Motivazione:

Il film esprime l'universale messaggio della forza dell'amicizia in modo coinvolgente ed entusiasmante per un pubblico di ragazzi. Pregevole la qualità della regia, della fotografia e l'affiatamento del quartetto degli attori protagonisti, che rendono al meglio i caratteri dei personaggi, assai ben delineati.

Reasons:

The film expresses the universal message of the strength of friendship in an involving and amazing way for a young audience. Very good the quality of direction, photography and empathy of the four main actors, who played their part in a very skilful way.

ARCA CINEMAGIOVANI AWARD

THE BLACK BALLOON (Australia) by Elissa Down

Motivazione:

Per aver raccontato in modo emozionante l’integrazione problematica dei ragazzi autistici nella società. Per aver mostrato come con l’amore, il coraggio e la determinazione si può riuscire a trasformare una vita difficile in una vita speciale.

Reasons:

For having told in a very moving way about the difficult integration of autistic youths and society. For having shown how love, courage, and determination can turn a troubled life into a special one.

PREMI SPECIALI / SPECIAL AWARDS 38a Edizione / 38th Edition

AMNESTY INTERNATIONAL AWARD

HEART OF FIRE (Germany/Italy/Austria/France) by Luigi Falorni

Motivazione:

Per la semplicità con cui osserva la realtà dei bambini soldato con gli occhi di uno di loro, attraverso una chiave di lettura delicata che si rivela una scelta felice per avvicinare i ragazzi ad un tema difficile; per le spiazzanti osservazioni della piccola protagonista che smantellano con disarmante chiarezza un sistema assurdo culminante in un vortice di violenza alienante ed inutile; per l’umanità che riesce comunque ad emergere anche in contesti dove la crudeltà è, purtroppo, esperienza di vita quotidiana.

Reasons:

For the simple way through which it looks at the reality of children used as soldiers, through a delicate interpretation which turns out to be a good choice to involve children in a difficult theme; for the surprising observations of the little protagonist that dismantle with extreme clarity an absurd system culminating in an alienating and useless spiral of violence; for the humanity that manages to get through anyway even in contexts where cruelty is unfortunately an everyday experience.

Y GEN - section

GRIFONE DI CRISTALLO - BANCA DELLA CAMPANIA CRYSTAL GRYPHON - CAMPANIA BANK AWARD

THE NEW MAN (Sweden/Finland) by Klaus Härö

Motivazione:

“The New Man” senza retorica ci pone di fronte ad un interrogativo inquietante: preservare le ragioni della vita anche di fronte a prezzi altissimi. Grazie ad una regia asciutta, ad una fotografia realistica e ben confezionata ed a una sceneggiatura attenta, il film offre lo spaccato sociale e storico di una società che punta alla costruzione di “un uomo nuovo”. La ribellione della giovane protagonista, che si evolve lentamente nel corso della storia, giunge al culmine in una sequenza memorabile, quella del suicidio della sua amica Lisa e, nel finale, in cui lo sguardo commiserevole di una delle sue vigilanti coglie al meglio il suo spirito ribelle. Scopriamo così con orrore che Gertrude ha preferito fingersi disturbata mentale pur di dare alla luce il suo bambino. Con lo stesso orrore e inquietudine scopriamo un finale amaro: Gertrude uscirà solo nel 1979, dopo 28 anni di istituto di igiene mentale, accolta dal figlio lo stesso bambino che il destino aveva deciso di negare.

Reasons:

“The New Man” asks a disturbing question without using any rhetoric: to protect the reasons of life even if at very high costs. Thanks to a straightforward direction, to a realistic and well made art direction and to a detailed script, the film offers the social and historical portrait of a society that aims at the building of “a new man”. The rebellion of the young protagonist, that slowly develops during the course of the story, reaches its climax in a memorable sequence, that of her friend Lisa’s suicide, and at the end, when the pitiful look of one of her overseers best portraits her rebel spirit. So we discover with horror that Gertrude preferred to be considered a mentally disturbed person in order to be able to give birth to her child. With the same horror and restlessness we discover a bitter end: Gertrude will get out of the mental health institute only in 1979, after 28 years, welcomed by her son, the same child that destiny had decided to take away from her.

PREMI SPECIALI / SPECIAL AWARDS 38a Edizione / 38th Edition

ARCA CINEMAGIOVANI AWARD

EVERYTHING IS FINE (Canada) by Yves-Christian Fournier

Motivazione:

Per aver descritto con coraggio il disagio sociale dei giovani, logorati da un vuoto interiore dal quale sembra impossibile risorgere. Per l’abilità di mantenere toni controllati e pacati in contrasto con lo stato d’animo dei personaggi e la durezza del tema. Per aver mostrato la tecnologia sia come rifugio dal caos che come forma d’isolamento. Per aver scelto di non spiegare un gesto così intimo e sconosciuto come il suicidio.

Reasons:

For bravely describing the social uneasiness of youths, torn apart by a void within from which it seems impossible to come out of. For the ability of keeping a low and controlled tone in contrast with the spiritual state of the main characters and for the harshness of the theme. For showing technology as both a shelter from chaos and an isolation form. For choosing not to explain such an intimate and unknown deed as suicide.

BOSCH AWARD (1500mt. di Pellicola Cinematografica / 1500mt. of Cinematic Film)

SHORT FILMS:

THE LAB (Italy) by Mariano Fiocco

IL DIRETTORE ARTISTICO, SULLA BASE DEI RISULTATI ESPRESSI DALLE GIURIE, HA ASSEGNATO RICONOSCIMENTI AI SEGUENTI FILM:

THE ARTISTIC DIRECTOR HAS ASSIGNED THE AWARDS BASED ON THE RESULTS OF THE JURORS VOTES TO THE FOLLOWING FILMS:

KIDZ - section

FRODE AND ALL THE OTHER RASCALS (Denmark) by Niels Chr. Bubber Meyer

SHORT FILMS:

FROG (Sweden) by Cecilia Torquato

FIRST SCREENS - section

KARLA’S WORLD (Denmark) by Charlotte Sachs Bostrup

SHORT FILMS:

CRYBABY (Denmark) by Christina Rosendahl

FREE TO FLY - section

THE BLACK BALLOON (Australia) by Elissa Down

SHORT FILMS:

TOYLAND (Germany) by Jochen Alexander Freydank

Y GEN - section

THE NEW MAN (Sweden/Finland) by Klaus Härö

Primo Premio Speciale del Giffoni Film Festival

SOMEONE TO RUN WITH (Israel) by Oded Davidoff

SHORT FILMS:

ORGESTICULANISMUS (Belgium) by Mathieu Labaye

TROUBLED GAZE - section

SHORT FILMS:

UNDER MY GARDEN (Italy) by Andrea Lodovichetti

Miglior Spettacolo Teatrale / Best Show 38a Edizione / 38th Edition IL POSTO DELLE FAVOLE / KIDS IN WONDERLAND

LA SCATOLA DELLE EMOZIONI della Compagnia “TEATRO PROVA” di Bergamo

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What links here as of March 26, 2009


 * Batman (1966 film)
 * The Black Balloon (film)
 * The Climb (1999 film)
 * Digging to China
 * Don (Dutch film)
 * Emporte-moi
 * Goodbye, Mr. Chips (1969 film)
 * Say a Little Prayer (film)
 * The Tic Code


 * Chicago International Children's Film Festival
 * International Arts and Film Foundation


 * Ralph Bakshi
 * Jamie Bell
 * Polly Draper
 * Claudio Gubitosi
 * John Hay (UK film director)
 * Samira Makhmalbaf
 * Leslie H. Martinson
 * Farshid Mesghali
 * Aldo Scavarda
 * Anthony Way
 * Michael Wolff


 * François Truffaut Award
 * List of awards and nominations received by Morten Harket

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= Giotto di Bondone = <!-- GRANDI MAESTRI: Giotto a Bologna

Bologna - L'esilio dei papi ad Avignone durò 68 anni (1309-1377). Anche se i due primi papi della "cattività avignonese", Clemente V e Giovanni XXII (francesi come i cinque che seguirono), tentarono di riportare subito la sede del papato a Roma. Quasi nessuno sa che fu Bologna la città che doveva ospitare papa e curia come sede intermedia perché Roma era campo di battaglia fra le cosiddette grandi famiglie. Che per far questo il cardinale legato di Giovanni XXII, suo nipote Bertrando del Poggetto (Bertrand du Pouget), fu inviato a Bologna, a preparare la città, a renderla degna di una tale funzione e a diventare la capitale di una stato guelfo senza ad ogni modo far trapelare subito il grande disegno. Una vicenda misconosciuta (e rimossa), con tanti aspetti da chiarire, ora "portata alla luce" quasi come un reperto archeologico, da questa mostra aperta fino al 28 marzo al Museo civico medievale di Bologna.

Dal 1327 Bertrando cominciò a trasformare la città, con grandi progetti urbanistici, migliorando le fortificazioni, le vie di comunicazione. Fece selciare le strade, le due piazze principali, ricostruì tutti i ponti dentro le mura, il porto sul Reno, avviò un processo di bonifica (che comprendeva pulizia e igiene). Fece lavori alla cattedrale di San Pietro e al vescovado diventato il centro della macchina burocratica e la sede del governo signorile. E alla porta Galliera della città, in faccia a quel Nord che rappresentava l'impero, fece costruire il castello destinato ad accogliere il papa nel palazzo e a difenderlo con le mura. Per sé acquistò il palazzo di un grande banchiere (e usuraio).

Per far questo Bertrando chiamò a Bologna i grandi artisti del momento: Giotto, il maestro, ad affrescare la "Cappella magna", la chiesa del papa, lo scultore pisano Giovanni di Balduccio per il polittico marmoreo della chiesa, artisti ed artigiani francesi, toscani a lavorare con gli artisti bolognesi che ne ebbero una scossa, nell'aggiornamento artistico e ancora più nell'organizzazione del lavoro. Miniaturisti, orafi, specialisti del lusso. Perché questi grandi lavori, committenti e artisti, la corte di alti prelati e funzionari quasi tutti francesi, produssero altri lavori e occasioni. E infatti la mostra si intitola "Giotto e le arti a Bologna al tempo di Bertrando del Poggetto". I curatori, Massimo Medica e Giancarlo Benevolo (catalogo Silvana Editoriale), hanno riunito quella che si definisce una mostra preziosa anche se di non grandi dimensioni (una quarantina di "pezzi"). Fra dipinti e sculture rare, oreficerie, reliquari, avori, oggetti liturgici (come la mitria detta di Sant'Isidoro ricoperta di perle e pietre preziose), e un lungo campionario di capolavori miniati. Quanto era necessario per far emergere una storia dimenticata ed affascinante.

Nel 1332 Bertrando annunciò dunque la grande notizia, il ritorno del papa in Italia, anzi l'arrivo del papa nel castello di Galliera nel quale l'avrebbe preceduto lo stesso legato e la corte. Il che vuol dire che in quell'anno il castello se non era ultimato doveva essere un bel pezzo avanti e in grado di essere decorato. Un'impresa condotta in un paio d'anni, a velocità supersonica, che varrebbe la pena di conoscere e di cui invece si sa molto poco tranne che i lavori si svolsero sotto la responsabilità di un domenicano. "Magnificenza e ricchezza" si possono solo immaginare.

Ma Bertrando aveva lavorato come un katerpillar anche sulle istituzioni comunali della città. Nel 1333 con i nuovi statuti Bertrando aveva di fatto schiacciato l'autonomia comunale, creando un governo autoritario. Non aveva letto bene quella parola che campeggia nell'emblema della città: "Libertas". Fu il suo grande errore. Ancora più grande di aver vessato i bolognesi aumentando tasse ed estimi per finanziare l'impresa insieme agli scudi provenienti da Avignone e le prebende delle città di Romagna conquistate (almeno 752.624 fiorini d'oro forniti dai vari banchieri di fiducia del papa), più di aver fatto aumentare a dismisura il costo della vita. Fu così che il grande sogno di Giovanni XXII e Bertrando, e la grande occasione storica di Bologna sede del papa (e sede dello "Studium", l'università già celebre in Europa), con prospettive inimmaginabili, svanirono. Nella rivolta: nel sangue, nel ludibrio e nel saccheggio per la corte, nella fuga protetta per Bertrando. E nel marzo 1334 il castello di Galliera, il simbolo odiato dell'occupazione, fu distrutto (ma non raso al suolo), gli oggetti preziosi divisi fra i rivoltosi, le opere tolte dai luoghi per i quali erano state concepite e distribuite fra le chiese bolognesi.

E gli affreschi di Giotto? Non abbiamo notizie sul tema o i temi illustrati e sull'estensione dei dipinti che probabilmente erano anche nell'abside e interessavano più ambienti. Probabilmente erano dedicati alla Vergine Maria come farebbero pensare il polittico di marmo con al centro "Nostra Donna" e le due statuette con l'"Annunciazione" poste all'ingresso della chiesa, ugualmente opera di Giovanni di Balduccio. Ad ogni modo, ancora all'inizio del Quattrocento, come scrive G. Ronco nel "Compendio della storia di Bologna", la "cappella magna" era ben visibile con gli affreschi dipinti "de mano di M° Zoto depintore". La rocca di Galliera era stata infatti ricostruita nel 1403 dal legato pontificio Baldassarre Cossa. Non fu l'unica volta. Per farla corta, nel maggio 1511 i bolognesi abbatterono per la quinta volta la rocca che era stata ricostruita da Giulio II. Alla fine del Cinquecento erano ancora visibili i resti del castello e, purtroppo, i resti della cappella. P. Lamo scrive che a porta Galliera "A l'entrare a man sinistra v'è restato nel dirupamento de la muraglia un pecio de una volta che era dipinta di man di Giotto e ora se vede 4 figure a fresco, belle per quela maniera e si sono molto be(n) conservate". Valeva la pena mettere al riparo le quattro figure di Giotto, ma probabilmente il maestro è stato travolto dal significato di simbolo dell'oppressione straniera che il castello aveva per i bolognesi. Non abbiamo alcuna notizia sulla completa perdita degli affreschi che potrebbero essere stati lasciati alle intemperie. Nella guida del Touring si ricordano i pochi ruderi sopravvissuti del "famoso castello o cittadella di Galliera".

Il riferimento più antico all'attività bolognese di Giotto - come ci ricorda Massimo Medica - è quello contenuto nel commento alla "Divina Commedia" di Anonimo fiorentino, non lontano dai fatti riferiti perché è datato alla fine del Trecento e per alcuni alla prima metà del Trecento, e che dà l'impressione di avere fonti di prima mano.

Nonostante questi riferimenti la presenza a Bologna di Giotto non è pacifica per tutti gli storici dell'arte anche se - nota ancora Massimo Medica - è una "ipotesi più volte ventilata che di recente ha avuto un suo nuovo e giustificato rilancio, basato su una serie di indiscutilibili indizi". La perplessità nasce dalla difficoltà di inserire l'attività di Giotto a Bologna fra l'intenso periodo napoletano al servizio di Roberto d'Angiò e la conclusione della carriera e della vita a Firenze nel dicembre 1337. Il primo "paletto" per questo inserimento è l'anno dal quale la "cappella magna" era pronta per essere affrescata o per ricevere le altre opere previste, come le sculture di Giovanni di Balduccio, e cioè la fine del 1332 quando Bertrando si trasferì nella rocca di Galliera. Un secondo "paletto" è l'inizio della rivolta a Bologna, marzo 1334. A Napoli Giotto risulta documentato dal 1328 al 1332-1333, in "moltissime e impegnative commissioni" a Santa Chiara e soprattutto nel Castel Nuovo.

Una mole di lavoro (di cui sopravvivono solo pochi affreschi a Castel Nuovo) che Giotto portò a compimento grazie ad una "efficiente e collaudata bottega, formata si direbbe da artisti di estrazione diversa, anche locali, in grado di operare contemporaneamente in diversi cantieri". Anche per l'esecuzione di tavole, anche per alcune che rientrano nella tarda attività fiorentina. Anche in assenza del maestro, responsabile del progetto e di una esecuzione armonica, secondo i dettami del suo stile. Per certe imprese pittoriche, di fronte alla nostra presunzione moderna di autografia di un artista dovremo sempre più abituarci alla definizione estremamente azzeccata di "autografia di cantiere".

A questo punto la presenza di Giotto a Bologna potrebbe essere collocata intorno al 1332-33. In questi anni ci sono ben sei pagamenti relativi agli affreschi di Castel Nuovo, ma "non si è affatto sicuri che tutti i compensi abbiano avuto come destinatario lo stesso Giotto". Viceversa Giotto era sicuramente a Napoli nel 1332 perché Roberto d'Angiò non solo gli passava un vitalizio, ma gli pagava il guardaroba. Nel 1335 circa, secondo quanto riporta Giovanni Villani, Giotto sarebbe stato inviato dal Comune di Firenze al servizio di Azzone Visconti, signore di Milano.

Una serie di incertezze circonda anche il polittico bolognese di Giotto che è in mostra ed è conservato nella Pinacoteca. Per esempio, la sua tradizionale collocazione nella piccola chiesa di Santa Maria degli Angeli (esattamente "dell'Angelo") quale commissione di Gerra Pepoli, come attestato dal 1732. Dove venne realizzato. Se a Bologna dalla bottega che Giotto si era portato dietro per affrontare presto e bene l'impresa degli affreschi nella cappella. Bertrando doveva avere certamente fretta di preparare la sede per il papa che aspettava in Avignone. Un polittico su tavola era più complicato da fare sul posto dove non c'erano maestranze (non solo pittori, ma maestri di legname, "battiloro") in grado di preparare tavole perfettamente levigate, cornici. E allora torna l'ipotesi che anche questo polittico sia uscito dalla bottega attrezzata e polivalente che Giotto aveva organizzato a Napoli, o a Firenze come fanno pensare opere contemporanee e "affini" al polittico.

Il polittico, come conferma la qualità della pittura, l'"impegno figurativo e la stupefacente sontuosità", è "il frutto di una importantissima commissione", in linea con "gusti coltissimi". Gusti in grado di apprezzare "il garbo elegante e quasi profano, da gran signora" della Madonna "assisa su di un solidissimo trono, che rappresenta 'l'architettura più connotata in senso gotico fra quelle dipinte da Giotto'". Per Luciano Bellosi il dipinto, che è firmato da Giotto, ha "piena autografia giottesca" a differenza dell'opinione prevalente che, nonostante la firma, lo considera "per lo più frutto di un intervento della bottega" nonostante la grande considerazione di Roberto Longhi, Pietro Toesca, Cesare Gnudi.

C'è da rilevare "non poche particolarità" da punto di vista delle soluzioni tecniche, come il ricco uso delle decorazioni punzonate che hanno una "varietà e una eleganza che non ha pari" nella contemporanea produzione di Giotto come la "Madonna" di Ricorboli ugualmente in mostra. Secondo Medica, qui Giotto cerca di adeguarsi alle più moderne pratiche della pittura senese, di Simone Martini. Nonostante il gran nome di Giotto l'opera venne spostata in epoca imprecisata dall'altare maggiore della chiesa di Santa Maria degli Angeli, alla sacrestia, e sostituita dalla tela di un Bartolomeo Marescotti, allievo di Guido Reni.

Al centro la Madonna in trono col Bambino, ai lati, a figura intera, gli Arcangeli Gabriele e Michele, San Pietro (che ha grosse chiavi in mano e impugna la ferula, un'asta che termina con una Croce, antico simbolo del potere del papa quando prendeva possesso della prima basilica romana, il Laterano), e San Paolo che si appoggia elegantemente ad una spada dal fodero bianco. Altri cinque personaggi sono raffigurati nei busti rotondi della cimasa. La lunghezza è di 2,17 metri, l'altezza 1,46.

L'ampio e studiato panneggio del manto della Madonna - osserva Bellosi - "è reso con grande maestria attraverso l'uso dosato e sapiente dei colori, giocati sui toni del blu, a rivelare un modellato che si fa qui morbido e 'lanoso'". Nella "bellissima predella" le "sperimentazioni e le invenzioni del pittore raggiungono, anche dal punto di vista espressivo, livelli davvero alti, resi ancora più evidenti dalla qualità smaltata delle cromie, impreziosite talvolta da cangiantismi". Alcune figure della predella potrebbero essere opera di un artista denominato Pseudo Dalmasio, il più "giottesco" dei pittori bolognesi del momento.

In mostra, restaurata per l'occasione, c'è anche un'altra opera di Giotto (e bottega) dipinta nel 1334-36, la "Madonna col Bambino e quattro angeli" dalla chiesa fiorentina di Ricorboli, arrivata largamente frammentaria, con una superficie pittorica "generalmente consunta e, in molte parti, abrasa". In origine doveva essere la parte centrale di un trittico o polittico di dimensioni contenute. Nella scheda in catalogo, Angelo Tartuferi osserva che non mancano "alcuni vertici di raffinatezza esecutiva, quali la tenerezza pittorica del volto del Bambino, oppure la mano sinistra della Madonna, che avvicinano l'opera al timbro quasi lussuoso e profano del polittico di Bologna".

Anche il grande polittico in marmo di Carrara di Giovanni di Balduccio, il secondo pezzo forte di questa storia e il primo (effettivo) di questa mostra, doveva esprimere un carattere di sontuosità tanto che si riteneva fosse di alabastro. Con l'aggiunta della vivacità delle paste vitree incastonate lungo i bordi della predella e le dorature delle statue a figura intera. Secondo la descrizione dell'altare fatta da Giorgio Vasari nell'edizione 1568 delle "Vite" (che lo attribuiva a Giovanni Pisano), il polittico aveva al centro "la Nostra Donna ed altre otto figure assai ragionevoli", compresi due angeli reggicortina. I personaggi sono scolpiti come statuette autonome entro edicole con cuspide a loro volta con figure di profeti. Gli anni di realizzazione vengono indicati fra il 1332 e il '34, il periodo in cui anche Giotto operava nella cappella. I due artisti si erano trovati a lavorare insieme, pochi anni prima, nella cappella Baroncelli a Santa Croce a Firenze. Dopo l'assalto al castello l'opera fu trasferita nella chiesa di San Domenico dove rimase fino al 1605 quando fu definitivamente dispersa.

Del polittico a noi sono arrivati pochi pezzi, sei, di cui quattro in mostra. Manca purtroppo l'"elegantissima Madonna col Bambino" dalla "qualità quasi eburnea dell'intaglio nonché la raffinatezza della figura, di gusto quasi francese". L'Institute of Arts di Detroit non l'ha concessa. Manca anche la formella con la Natività, unica parte superstite della predella (in collezione privata italiana). Meglio dire subito le brutte notizie. Sono invece in mostra le statuette (alte 59-60, 5 centimetri) di San Pietro Martire (che appartiene al Museo civico medievale di Bologna), San Petronio (dal Museo della basilica di Santo Stefano sempre a Bologna), San Domenico (dal Museo Grobet-Labadie di Marsiglia), e la cuspide triangolare quasi completa (33 per 17,5 centimetri) con il Profeta Baruch (dalla Pinacoteca civica di Faenza). Questi quattro personaggi hanno gli occhi di taglio allungato, con inserimento di piombo nelle iridi, gli zigomi di particolare forma. Il marmo è fortemente levigato. Il nome Baruch scolpito in un cartiglio ha tracce di colori.

Il San Petronio santo protettore di Bologna, con tanto di pastorale e di modellino della città, entrambi dorati, ha la dalmatica "riccamente decorata con un finissimo lavoro di bulino" che si ripete nella mitria e nella barba minutamente lavorata. Delle tre è l'unica statua lasciata grezza sul retro. San Petronio doveva essere in realtà San Nicola (senza pastorale e modellino) come si ricava da alcuni caratteri di una iscrizione raschiata sul piedistallo.

Lo Pseudo Dalmasio torna in mostra con la piccola tavola (46,6 per 30,4 centimetri) "Madonna col Bambino con un cane", curiosa proprio per quel cucciolo tenuto rudemente da un paffuto Bambino, che è una iconografia insolita. Ci sono spesso gli uccellini, ma il cane è raro. Il riferimento potrebbe essere ai domenicani che sono conosciuti come i "cani da guardia del Signore", i guardiani dell'ortodossia. In un precedente restauro una parte del fondo oro è stata ridorata in modo da nascondere la corona a tre punte della Vergine, altro aspetto di rarità in una tavola di piccole dimensioni. Un successivo restauro ha rimesso in luce la corona.

La tavola (dal Museo di arte di Philadelphia), doveva essere il lato sinistro di un dittico come si ricava da vecchi chiodi visibili ai raggi X (per i cardini) e dal fatto che sia dipinta su entrambi i lati (sul retro i resti di una pittura color porfido con motivo geometrico).

Anche la "Crocifissione fra le Marie" dello stesso Pseudo Dalmasio doveva essere il pannello di un polittico come appare dalla cuspide. La Croce è in forma di albero (l'albero della vita) con in cima un pellicano (simbolo della resurrezione). Ai lati della Croce, invece dei tradizionali angeli, ci sono Mosè e Isaia (simboli dell'Incarnazione).

La "tendenza più gotica e ornata dell'arte bolognese e l'attrazione stilistica verso la rarefatta atmosfera di una corte francese" è rappresentata in mostra dalla tavola di Vitale da Bologna (Vitale degli Equi) "Incoronazione della Vergine" databile alla metà circa del Trecento e proveniente dal Louvre. Lo sfondo spettacolare della scena è il grande panno foderato di pelliccia di vaio (scoiattolo) e ricamatissimo che retto da tre angeli sorridenti scende fino alla base della composizione.

Preziosità fra le preziosità della mostra sono i polittici e dittici in avorio e le miniature. Polittici o dittici di avorio intagliato o scolpito, "policromato", ma qui le dimensioni sono di pochi centimetri (9-18 per 14-15 e con gli sportelli aperti). Sono ideali come altaroli portatili, per la devozione privata. Sono di manifattura parigina o della Francia orientale, perché Parigi sembra "detenere incontrastata non solo il primato, ma addirittura il monopolio" europeo in questo settore, dalla metà del Duecento agli anni Ottanta del Trecento. Già alla metà del Duecento si può parlare "di una 'proto-industrià artistica di serie" con un rigido controllo delle autorità sui processi produttivi. I tipi e le soluzioni iconografiche erano "standardizzate e riprodotte in decine, se non centinaia di esemplari". Con la vastissima diffusione erano uno degli strumenti principali per aggiornare gli scultori europei sulle novità stilistiche e di iconografia del gotico francese (come risulta dalle statuette in mostra di Giovanni di Balduccio). Con una corte come quella di Bertrando a Bologna, composta in grande maggioranza di personaggi francesi, sono ideali per illustrare il gusto di un'epoca e di un ambiente.

Come sono ideali per rendere l'universo bolognese dei miniatori e illustratori i codici e corali, codici giuridici e teologici, documenti, Bibbie e messali, libri (il libro a Bologna era re, come ricorda Enrico Castelnuovo). Un universo stimolato soprattutto dallo "Studium", dall'"arte del lusso" francese e gotica, da Bertrando e la sua corte, dal Giotto della Cappella degli Scrovegni. Opere di artisti di valore assoluto come il cosiddetto Maestro del B.18, il Maestro del 1328, l'Illustratore ("per l'aspetto esuberante delle sue composizioni", che, come osserva Longhi, trattava i testi giuridici come romanzi cavallereschi o novelle popolari ).

Ma l'avventura di Bertrando a Bologna non può finire fra i colori vivaci e le scene raffinate delle miniature, ma piuttosto fra le urla di terrore e morte di un assedio e di una resa. La distruzione del castello di Galliera e la rimozione dalla memoria storica di Bologna della signoria di Bertrando hanno impedito di avere precise descrizioni dell'edificio.

Secondo i prototipi esistenti aveva mura quadrangolari intervallate da un buon numero di torrioni (forse otto, necessari dal punto di vista militare e sempre impressionanti), e circondate da un fossato. Una parte del castello si estendeva oltre le mura della città, e la parte principale col palazzo destinato al papa, entro le mura. Fra le due porzioni era stato deviato il fiume Reno per mezzo di un canale. Il castello era dotato anche di un orto, di alberi da frutta, di un forno e di stalle.

Fuori del castello Bertrando scelse le abitazioni per i cardinali, i vescovi, gli alti prelati, la curia ed anche per se stesso, ma quando la situazione in città divenne insostenibile per la durezza del suo governo, per il timore dell'instaurazione di una signoria, tutti si rifugiarono nella rocca di Galliera. E il 17 marzo 1334 scoppiò la rivolta aperta, al grido di "Muoia il legato e tutti i quercinesi" (da Quercy, la città natale di Bertrando) e "quelli di Linguadoca" (da dove veniva la maggior parte dei francesi). Chi era rimasto in città fu braccato. Il maresciallo delle truppe papali torturato e ucciso. Un "familiare" del vescovo di Cesena "fu massacrato dalla folla e le sue membra vennero date in pasto ai cani".

Quanto al castello di Galliera il canale fu bloccato per privare gli assediati di acqua e secondo la "Cronica" dell'Anonimo romano, probabilmente uno studente di medicina, di poco posteriore ai fatti, "li Bolognesi traboccavano lo sterco dentro dello castiello e valestravano". Dopo 11 giorni di assedio e di tentativi di mediazione da parte dei capi della rivolta (si trattava pur sempre del legato del papa) e della guelfa Firenze, il 28 marzo il solo Bertrando con seguito e beni, ottenne di lasciare il castello. Protetto dai soldati fiorentini, Bertrando dovette passare fra due ali di folla che non lo risparmiarono: "tutto lo popolo de Bologna li gridava e facevanolli le ficora e dicevanoli villania. Le peccatrice li facevano le ficora... bene se aizavano li panni dereto e mostravanolli lo primo delli Decretali e lo sesto delle Clementine". Il peggio avvenne dentro il castello: prelati canuti o rubicondi, funzionari, vescovi, arcidiaconi, canonici, donzelli, furono denudati, picchiati, derubati, alcuni uccisi; qualcuno riuscì a scappare dalle mura calandosi con funi. La rocca fu saccheggiata in tutto quello che era asportabile: "codici, argenterie, avori, oreficerie, masserizie, cavalli, armi, armamenti, letti ('il solo vescovo di Bologna ne aveva settanta, trenta dè quali erano bellissimi e buoni'), ricchi abiti foderati di vaio, mantelli, cinture" come è elencato nella bolla con cui papa Clemente VI tentò di avere qualche risarcimento. Nei giorni successivi la rocca fu distrutta, tranne la "cappella magna" le cui opere d'arte furono divise fra le chiese di Bologna. Nel 1335 papa Benedetto XII cominciò a far costruire il grande Palazzo dei papi ad Avignone.

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= Hate Dept. =

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=Technical Difficulties (Hate Dept. album)=

Technical Difficulties is the third studio album by synthesizer-laden post-punk band, Hate Dept.. The only single, "Release It", earned radio airplay in 50 North American markets, and peaked at number 40 of the Billboard's Hot Dance Music/Maxi-Singles Sales chart. The album was mixed by Steven Seibold, Bill Kennedy, Jon St. James, and Mon Agranat and recorded at Front Page Studios in Glendale, California, Westlake Recording Studios in West Hollywood, California, The Enterprise Studio II in Burbank, California, and at The Laundry Room in San Clemente, California, and then mastered by Eddy Schreyer at Oasis Mastering in Studio City, California. An almost complete promotional album with an additional intro as the opening track, a rough version of "Wait", and two different versions for "Release It", "Gone", and "Hit Back", was released in late 1998.

Reception
Steve Huey of Allmusic wrote that .... |first= They may sound like an industrial band -- clanking drum machines, synthesizers, and loud, crusty guitars -- but Hate Dept. are alt-rockers at heart, emphasizing traditional song structure and punk lyrical attitude over sonic experimentation and abrasiveness. Technical Difficulties is arguably their most accessible release to date, featuring the strong single "Release It."

Track listing

 * Standard edition

Personnel

 * Line-up
 * Steven Seibold – vocals
 * Mark Greco – guitar, vocals
 * Jeff Smith – synthesizer, vocals
 * Charles "Sponge" Hunt – drums, vocals


 * Guest musicians
 * Tracey Hooker – trumpet on track #3 "Wait"
 * Royden Vigilance – additional vocals on track #3 "Wait"


 * Production
 * Steven Seibold – producer, programmer, and mixing
 * Eddy Schreyer – mastering
 * Bill Kennedy – mixing, and additional producer on tracks #7 "Gone", and 8 "Hit Back"
 * Jon St. James – mixing, and additional producer on track #3 "Wait"
 * Mon Agranat – mixing
 * The Gerrixx – graphic design, photography
 * Dustin Moore – photography
 * Jenessa – photography
 * Joe Chicarelli – additional producer on tracks #1 "Superdrama", and #4 "Anger Impulse"
 * Charles Hunt – additional producer on track #2 "Coming Down"

Extended plays
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=Jimi Hendrix posthumous discography=

Extended plays
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= Billie Holiday =

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=The Complete Decca Recordings= Billie Holiday: The Complete Original American Decca Recordings is a box set two-disc compilation of the complete known studio master recordings, plus alternate takes, of Billie Holiday during the time period indicated, released in 1991 on GRP, GRP 26012. The box includes 50 tracks, a 78 page booklet with extensive photos, a song list, discography, essays by Milt Gabler, Toots Camarata, and Steven Lasker.<!--, and an insert of appreciations for Holiday from a diversity of figures including ???, ???, and ???. At the 44th Grammy Awards on February 27, 2002, the box set won the Grammy Award for Best Historical Album of the previous year.

History
Holiday was recording for Columbia in the late 1930s when she was introduced to "Strange Fruit", a song based on a poem about lynching written by Abel Meeropol. When Holiday's producers at Columbia found the subject matter too sensitive, Milt Gabler agreed to record it for his Commodore Records. In addition to owning Commodore Records, Milt Gabler was an A&R man for Decca Records, and he signed Holiday to the label in 1944. Her first recording for Decca, "Lover Man", was a song written especially for her by Jimmy Davis, Roger "Ram" Ramirez, and Jimmy Sherman. Holiday continued to record for Decca until 1950, including sessions with the Duke Ellington and Count Basie orchestras, and two duets with Louis Armstrong. Holiday's Decca recordings featured big bands and, sometimes, strings, contrasting her intimate small group Columbia accompaniments. Some of the songs from her Decca repertoire became signatures, including "Don't Explain" and "Good Morning Heartache".

Content
Discs one through six, and disc seven tracks one through fourteen present the master takes in chronological recorded order. The remainder of disc seven, and discs eight through ten, present the alternate takes and other items, also in chronological recorded order. The other items consist of eight tracks not part of the general body of Wilson/Holiday recordings from 1935 to 1941. The first, track 15 of disc seven "Saddest Tale" with the Duke Ellington Orchestra, was taken from the soundtrack to the movie short Symphony in Black by Paramount Pictures in 1935. Disc eight, tracks three through five, contain airchecks with the Count Basie Orchestra from 1937, the only documentation of Holiday's year-long tenure as Basie's band singer. Disc nine, tracks seven and eight, feature recordings broadcast on the Camel Caravan radio variety program of January 17, 1939; with backing by the Benny Goodman Orchestra, Billie sings alongside Johnny Mercer, Martha Tilton, and Leo Watson on the second song, Mercer's "Jeepers Creepers."

The final two tracks of the set, numbers 22 and 23 of disc ten, are from the Esquire Award Winners Concert at the Metropolitan Opera, broadcast and recorded on V-Discs for distribution to servicemen fighting overseas during World War II. Holiday had won top female jazz vocalist for 1943, and became the first African-American woman to sing at the Met. "Do Nothing 'Til You Hear From Me" and "Billie's Blues," under a different title, are performed accompanied by other Esqure poll winners, Roy Eldridge, Barney Bigard, Art Tatum, Al Casey, Oscar Pettiford, and Sidney Catlett. This recording took place more than two years after the final studio session in 1941, and during the Petrillo recording ban; the AFM waived the strike terms for the recording of V-discs.

Original recording sessions took place at the following locations in New York City: at the 55 Fifth Avenue Studio on November 27, 1933; at the 1776 Broadway Studio from 1935 through January 1939; at the 711 Fifth Avenue Studio from March 1939 through June 1940; at Liederkranz Hall in September and October 1940; and at Columbia Studios in their new headquarters at 799 Seventh Avenue in 1941. Known producers for the original recordings are John Hammond and Bernie Hanighen.

Significance
In terms of a collected body of work combining both influence and quality of achievement, these recordings are some of the most important in jazz history. Ranking jazz records always presents an exercise in both controversy and consternation, but certainly the Wilson/Holiday sides belong in the company of the Hot Five and Hot Sevens of Louis Armstrong, the collated set by Fletcher Henderson later called A Study In Frustration, the early Basie band on Decca, Duke Ellington's records with Ben Webster and Jimmy Blanton for RCA Victor, the Charlie Parker bebop sides for Savoy and Dial, and the Atlantic LPs by Ornette Coleman, not to mention the expanse of albums by Miles Davis and John Coltrane, together and separately.

The sessions coincide with the rise of the Swing Era on its way to becoming the popular music of the United States during the late Depression and war years. Chosen by Hammond, Hanighen, Holiday, or Wilson, many of the musicians present derived from the top swing bands of the day, such as those by Ellington, Basie, Goodman, Artie Shaw, Jimmie Lunceford, and Cab Calloway, among others. Of special note are the records cut with members of the Basie band, Holiday herself hired by Basie in 1937, including his fabulous rhythm section of Freddie Green, Walter Page, and Jo Jones, along with key soloists Buck Clayton and Holiday's musical soul-mate, Lester Young. The roster of Holiday and Wilson sidemen reads like a who's who of jazz soloists from the 1930s, many of whom would be of great influence to later styles of bebop, cool jazz, third stream, virtually every aspect of jazz through the 1960s.

Like Armstrong's Hot Five aggregations and The Beatles after 1966, the various bands assembled were purely creatures of the studio, although some sessions featured principally members of Basie's touring band, accustomed to playing together regularly on the road. The sessions acted as a workshop, allowing musicians who usually did not intermix professionally outside of cutting contests to exchange ideas. As has been remarked upon by numerous critics and jazz scholars, the special appeal of Holiday in this setting derived from her fitting in with the other musicians as a musician, taking her solo with the rest of them. General practice of the day dictated that the song be paramount, musicians subservient to the band arrangement or the singing star. Producers Hammond and Hanighen, both aligned more to the artistic than the business of end of jazz, encouraged the musicians rather to play as they wished. The results over six years offered a textbook in swing jazz played by small groups in a relaxed yet committed fashion.

As a singer, Holiday had influence on defining the style of a big band vocalist after that of Bing Crosby and her role model, Louis Armstrong. Her records appeared just as the swing era was getting underway; subsequently, singers such as Ella Fitzgerald, Frank Sinatra, Anita O'Day, Peggy Lee, and Doris Day, for instance, starting out with the bands of Chick Webb, Tommy Dorsey, Gene Krupa, Benny Goodman, and Les Brown, all found inspiration in the Holiday records on Brunswick and Vocalion. Her manipulation of rhythm and length of musical phrases, allied to her ability to find emotional resonance in songs, was acknowledged publicly as a template by singers from her own era, Sinatra, Lee, Bennett, and others, and by myriad singers in later eras. As stated by Gary Giddins in the liner notes to the box set:
 * "When I first got to know ["A Sailboat in the Moonlight"], I thought it a fine melody with pretty chord changes and words that might be corny but didn't seem to be so bad when Lady Day delivered them. Then I chanced to find the sheet music at a Midwestern bazaar; at home, I picked out the melody with one finger and was astonished at how different it was from what Holiday sang. Until that moment, I had not fully gauged how freely imaginative her embellishments could be. By ironing out a phrase here, retarding another there, raising this note, slurring that, she transformed a hopelessly banal and predictable melody into something personal, real, meaningful."

That Sony would lavish such an expensive box for recordings originally designed for the inexpensive medium of jukebox play from six to seven decades previously stands as testament to the staying power of this body of work.

Select Collective Personnel

 * Billie Holiday – vocal
 * Teddy Wilson – piano
 * Bobby Hackett - cornet
 * Henry "Red" Allen - trumpet
 * Bunny Berigan - trumpet
 * Buck Clayton - trumpet
 * Harry "Sweets" Edison - trumpet
 * Roy Eldridge - trumpet
 * Chris Griffin - trumpet
 * Harry James - trumpet
 * Jonah Jones - trumpet
 * Hot Lips Page - trumpet
 * Charlie Shavers - trumpet
 * Cootie Williams - trumpet
 * Benny Morton - trombone
 * Dicky Wells - trombone
 * Trummy Young - trombone
 * Buster Bailey - clarinet
 * Benny Goodman - clarinet
 * Vido Musso - clarinet
 * Edgar Sampson - clarinet, alto saxophone
 * Artie Shaw - clarinet
 * Tab Smith - soprano saxophone, alto saxophone
 * Benny Carter - alto saxophone, tenor saxophone
 * Johnny Hodges - alto saxophone
 * Don Redman - alto saxophone


 * Chu Berry - tenor saxophone
 * Don Byas - tenor saxophone
 * Herschel Evans - tenor saxophone
 * Babe Russin - tenor saxophone
 * Ben Webster - tenor saxophone
 * Lester Young - tenor saxophone, clarinet
 * Harry Carney - baritone saxophone, clarinet
 * Margaret "Countess" Johnson - piano
 * Billy Kyle - piano
 * Joe Sullivan - piano
 * Claude Thornhill - piano
 * Sonny White - piano
 * Dave Barbour - guitar
 * Al Casey - guitar
 * Freddie Green - guitar
 * Carmen Mastren - guitar
 * Dick McDonough - guitar
 * Allan Reuss - guitar
 * Milt Hinton - bass
 * John Kirby - bass
 * Grachan Moncur - bass
 * Walter Page – bass
 * Kenny Clarke - drums
 * Cozy Cole – drums
 * J.C. Heard - drums
 * Jo Jones - drums
 * Gene Krupa - drums

Reissue Personnel

 * Michael Brooks - producer
 * Michael Cuscuna - producer
 * Steve Berkowitz - co-producer
 * Seth Rothstein - co-producer
 * Mark Wilder - digital remastering
 * Seth Foster - digital remastering
 * Phil Schaap - consultant
 * Ron Jaramillo - art direction, design
 * Adam Owett - art direction

Track listing

 * 1) "Tribe" – 3:42
 * 2) "Holy City Zoo" – 4:06
 * 3) "New Paradigm" – 4:55
 * 4) "Wambulance" – 3:07
 * 5) "Manufactured Terror" – 3:52
 * 6) "Skull and Bones" – 4:30
 * 7) "Sky God Worshippers" – 4:26
 * 8) "The New Religion" – 3:33
 * 9) "This One's for You" – 4:00
 * 10) "Atmosphere" – 3:15

<li>"Tribe" (Blueblood Warpaint Remix) – 4:32</li> <li>"Wambulance" (Terminator Remix) – 5:18</li> <li>"Holy City Zoo" (Elektrofish Remix) – 4:34</li> <li>"This One's for You" (Programmist Remix) – 3:42</li> <li>"Tribe" (Elektrofish Remix) – 3:41</li> <li>"Manufactured Terror" (DJ Rob Remix) – 3:58</li> <li>"Skull and Bones" (SinDaddy Remix) – 4:49</li> </ol>
 * Bonus Tracks

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=Dick Hyde (musician)=

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=IS (Infinity of Sound)=

IS (Infinity of Sound) (아이에스) is a New Age Korean traditional music group that consists of Kim's triplet sisters, Jin-ah, Sun-ah and Min-ah who play traditional Korean musical instruments fused with contemporary lyrics and funky beats.

History

 * http://www.facebook.com/pages/Infinity-of-Sound/119743711381220?v=info

Genre: New-Age, Korea Traditional Music Members: Hometown: SOUTH, KOREA
 * Jin-Ah Kim (gayageum)
 * Sun-Ah Kim (geomungo)
 * Min-Ah Kim (haegeum)

Record label: MUSICWELL

About:

Twitter @InfinityofSound

Youtube.com/InfinityofSound

http://3isfan.com/ Website: http://3isfan.com http://www.youtube.com/InfinityofSound http://www.facebook.com/pages/Infinity-of-Sound http://twitter.com/InfinityofSound

Genre: New-Age Korea Traditional Music Members: Kim Jin-Ah(Gayageum) Kim Sun-Ah(Geomungo) Kim Min-Ah(Haegeum) Hometown: SOUTH, KOREA Record label: Musicwell About: Twitter @InfinityofSound

Youtube.com/InfinityofSound

http://3isfan.com/
 * http://www.youtube.com/InfinityofSound

Infobox This is a trio attending the Graduate School of the Korean National University of Arts. The sisters ― Kim Jin-ah, who plays the Gayageum ; Sun-ah, the geomungo ; and Min-ah, haegeum ― have performed their music both at home and abroad. In its debut album, “Step One,” the group showed the essence of traditional music mixing the acoustic sounds of the instruments with their own vocals. But in the recent album “In Dreams Volume 1,” they have attempted to blend in electronic sounds. Notably, the band has recently released an album featuring the title track “Mouana” in collaboration with France-based Cameroonian band Erik Aliana & Korongo Jam. Using two guitars, gayageum, geomungo, haegeum and an African folk drum, Udu, the song is marked by the powerful vocals of Erik Aliana and good harmony of IS. The two groups first met in 2007 at Japan’s World Music Festival. They performed on a different stage but they were attracted by each other’s music. After that, the Cameroonian band visited Korea in 2008 to take part in the Nangye Traditional Music Festival and perform together with IS for the song “Mouana.”
 * Genre: Fusion, Pop
 * Location Seoul, ??, KR
 * Label Musicwell
 * Type Indie
 * 
 * Kim Jin-Ah (Gayageum), Kim Sun-Ah (Geomungo), Kim Min-Ah (Haegeum).
 * kayagum (zither), yanggum (dulcimer) and haegum (fiddle)

Thirteen Indian acts converged in Singapore recently to participate in the Sutasi Song Contest and Talent Search – a reality TV show to track down Asia’s finest bands, solo artistes and songwriters. The Indian acts were part of 42 artistes chosen from a regional playoff within South-East Asia, North-East Asia and South Asia. Out of these, 12 finalists.

In 2009 the trio participated to the international music competition program for bands and singer/songwriters, airing throughout Asia, called "Sutasi."

Korean Kayagǔm Sanjo: A Traditional Instrumental Genre

SOAS Musicology series

Authors	Keith Howard, Chaesuk Lee, Chae-suk Yi, Nicholas Casswell

Publisher	Ashgate, 2008

ISBN 0754663620, 9780754663621

...ensambles emerged, among them Yeoul, Gaya Beauty, IS (Infinity of Sound) and the family ensamble Lee Rang (comprising Mun Chaesuk and her two daughters. Ensambkes call for new creativity from composers and arrangers, typicalli packaging the result as "kugak fusions". They typically simplify ornamentation techniques, creating harmonic, easy-listening repertory that is the scourge of many traditional... p. 39

"Milion Roses" = Soviet 1981 song composed by Soviet composer and piano player Raimonds Pauls ... featured in Korean Kdrama I am legend


 * Step One by IS INFINITY OF SOUND

Three young singing sisters who also play traditional instruments. Their voices are pretty much pop sounding, while the Kim sisters also play kayagum (zither), yanggum (dulcimer) and haegum (fiddle). The excellent Wong Il (Puri) plays the piri (oboe) and various percussion, and there's also accordion and piano (from Peter Schindler). The music has an experimental edge to it, with hip-hop rhythm and repetitive string phrases. A welcome new direction for Korean music.11 tracks including Spring, used in a Korean drama.

IS (Infinity of Sound), a band known for using Korean traditional instruments to play modern music, is releasing its second mini album, "In Dreams Volume 2."

The versatile triplets Kim Jin-ah, who plays gayageum, Sun-ah, geomungo, and Min-ah, haegeum, are all graduate students at Korea National University of Arts, and also appeared in the film Antique (film)Antique (a 2008 South Korean film based on Fumi Yoshinaga's manga Antique Bakery) and TV dramas Goong S and Moon River.

The new album leans more toward trendy music, interpreting Korean traditional music in a pop style.


 * http://www.last.fm/music/Infinity+of+Sound


 * http://www.screened.com/sun-ah-kim/14-883290/
 * http://www.screened.com/min-ah-kim/14-883291/
 * http://www.screened.com/jin-ah-kim/14-883289/


 * Film 2008 Antique High school girl trio
 * TV 2007 The Legend of Hyang-dan Singing trio


 * Infinity of Sound (South Korea)

Infinity of Sound (South Korea) IS (Infinity of Sound) is a Korean trio blurring the boundaries between Korean traditional, electronic music, pop, and fusion.

The band consists of triplet sisters Kim Jin Ah (playing gayageum - a 12-stringed Korean arfa), Sun Ah (geomungo - a six-stringed Korean arfa), and Min Ah (haegeum - a two-stringed fiddle)

The 24-year-old girls are no amateurs, they graduated with honours from Korean University of Arts in 2007 and each have a Master’s Degree. They grasped media’s attention even before releasing their first album “Step One” because of their cameo roles as musicians of the royal court in Korean drama “Princess Hours”, as well as their pop song covers.

Their debut album is something along the lines of “Korean traditional music meets contemporary vocal”. In the second album, “In Dreams Vol 1”, the trio started to blend in electronic sounds. Their latest album, “In Dreams Vol 2” (aka, “Moana”) is a collaboration project with French artists Erik Aliana & Korogo Jam and introduces African rhythms.

IS (Infinity of Sound), a band known for using Korean traditional instruments to play modern music, is releasing its second mini album, "In Dreams Volume 2."

The versatile triplets Kim Jin-ah, who plays gayageum, Sun-ah, geomungo, and Min-ah, haegeum, are all graduate students at Korea National University of the Arts, and also appeared in the film "Antique" and TV drama "Moon River."

The new album leans more toward trendy music, interpreting Korean traditional music in a pop style.

IS (Infinity of Sound)

KIM Jin-a, KIM Seon-a, KIM Min-a (Bachelor of Traditional Arts in Instrumental Music/2007)

IS is a fusion music group created by triplets Jin-a Kim (playing gayageum), Seon-a Kim (geomungo), Min-a Kim (haegeum). They graduated and started to take graduate programs in the School together in 2007. Before the release of a debut album, they became known to the public by appearing in cameo roles as musicians of the royal court in "Princess Hours S", a popular TV drama series in Korea.

Korea National University of Arts

Members

 * Jin-Ah Kim – gayageum, lead and backing vocals
 * Sun-Ah Kim – geomungo, lead and backing vocals
 * Min-Ah Kim – haegeum, lead and backing vocals

Studio albums

 * 2007 Step One
 * (featuring Wong Il (Puri) and Peter Schindler; released by Seoul on 6 March 2007)

Extended plays

 * 2009 In Dreams Volume 1
 * (released by Musicwell on 18 June 2009)
 * 2010 In Dreams Volume 2
 * (featuring Erik Aliana & Korogo Jam; released by Musicwell on 8 December 2010)

Singles

 * 200x "First Signle"

Extrnal links

 * Infinity of Sound on Myspace
 * Infinity of Sound at Rate Your Music (empty 2011-06-19)
 * (not present 2011-06-19)
 * (not present 2011-06-19)
 * Infinity of Sound at Rate Your Music (empty 2011-06-19)
 * (not present 2011-06-19)
 * (not present 2011-06-19)
 * (not present 2011-06-19)

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=Killing Joke= removed ref form line, "On October 20th, Paul Raven died..."

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= Absolute Dissent =
 * metacritic - absolute-dissent - critic-reviews

Guest musicians
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= MMXII (album) =

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=Paul Raven=

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=KJ Alchemy: The Remixes= Alchemy - The Remixes RDT15932212 (1996)

Track listing

 * 1) "Requiem (A Floating Leaf Always Reaches the Sea Mix)" – 10:24
 * 2) "4 Stations of the Sun (Hallucinogen Mix)" – 7:25
 * 3) "Pandemonium (The Dragonfly Mix)" – 6:12
 * 4) "Drug (Black Sun Mix)" – 6:05
 * 5) "Millennium (Back to Orion Mix)" – 6:47
 * 6) "Exorcism (The Bretonic Revenge - Total Eclipse Remix Edit)" – 6:11
 * 7) "Pandemonium (A Thread of Steel in the Suspension Bridge of Time Mix)" – 9:08
 * 8) "Democracy (Russian Tundra Mix)" – 17:46

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=Killing Joke discography=

Title: LOVE LIKE BLOOD Artist: KILLING JOKE Label: EG-POLYDOR Date of entry: 17.02.1985 Highest Placement: 30 Weeks in the Charts: 1 KILLING JOKE IN NEW ZEALAND CHARTS Singles Title Entry Peak weeks Love Like Blood 05/05/1985 6 12 Kings And Queens 21/07/1985 43 2 Adorations 05/10/1986 34 3 UK Top 40 Hit Database everyHit.com. Position Artist Title Format Date Details 39 Killing Joke Killing Joke Album  Oct 1980 12 Killing Joke Revelations Album  May 1982 29 Killing Joke Fire Dances Album  Jul 1983 16 Killing Joke Love Like Blood Single  Feb 1985 11 Killing Joke Night Time Album  Mar 1985 34 Killing Joke Millennium Single  May 1994 28 Killing Joke Pandemonium Single  Jul 1994 16 Killing Joke Pandemonium Album  Aug 1994 39 Killing Joke Democracy Single  Mar 1996 25 Killing Joke Loose Cannon Single  Jul 2003 CHARTSTATS Follow The Leaders Follow The Leaders 23/05/1981 55 60 5 Empire Song Empire Song 20/03/1982 43 52 4 Birds Of A Feather 30/10/1982 64 67 2 Let's All Go (To The Fire Dances) Let's All Go (To The Fire Dances) 25/06/1983 51 57 3 Me Or You Me Or You 15/10/1983 57 67 2 Eighties Eighties 07/04/1984 60 62 5 A New Day A New Day 21/07/1984 56 64 3 Love Like Blood Love Like Blood 02/02/1985 16 33 9 Kings And Queens Kings And Queens 30/03/1985 58 66 3 Adorations Adorations 16/08/1986 42 57 7 Sanity Sanity 18/10/1986 70 74 2 America 30/04/1988 77 79 3 My Love Of This Land 23/07/1988 89 95 2 Millennium Millennium 07/05/1994 34 38 2 The Pandemonium Single The Pandemonium Single 16/07/1994 28 51 3 Jana 04/02/1995 54 54 1 Democracy 23/03/1996 39 39 1 Loose Cannon Loose Cannon 26/07/2003 25 37 2 Hosannas From The Basements Of Hell Hosannas From The Basements Of Hell 01/04/2006 72 72 1 Albums Album  First Seen   Highest position     Avg Position     No. weeks     Graph Key [Killing Joke - Killing Joke] Killing Joke 25/10/1980 39 48 5 [Killing Joke - What'S This For] What'S This For 20/06/1981 42 51 4 [Killing Joke - Revelations] Revelations 08/05/1982 12 56 6 [Killing Joke - Ha - Killing Joke Live] Ha - Killing Joke Live 27/11/1982 66 67 2 [Killing Joke - Fire Dances] Fire Dances 23/07/1983 29 56 3 [Killing Joke - Night Time] Night Time 09/03/1985 11 46 9 Brighter Than A Thousand Suns 22/11/1986 54 54 1 [Killing Joke - Outside The Gate] Outside The Gate 09/07/1988 92 92 1 [Killing Joke - Pandemonium] Pandemonium 06/08/1994 16 37 3 [Killing Joke - Democracy] Democracy 13/04/1996 71 71 1 Year Single Chart  Peak 1980 Change/Requiem  Dance Music/Club Play Singles 43 1980 Psyche  Dance Music/Club Play Singles 50 1981 Follow The Leader  Dance Music/Club Play Singles 25 Chart information courtesy of Billboard.com © 2006 VNU eMedia, Inc. All rights reserved.
 * IE
 * NZ
 * Billboard Singles

Singles (Old list)

 * "Nervous System" (December 1979)
 * "Wardance" / " Pѕyche "  (March 1980)
 * "Requiem" / "Change" (October 1980)
 * "Follow the Leaders" / " Tension "  (May 1981) – UK #55
 * "Empire Song" / " Brilliant "  (March 1982) – UK #43
 * "Chop-Chop" / " Good Samaritan "  (June 1982)
 * "Birds of a Feather" / " Sun Goes Down " / " Flock the B side "  (October 1982) – UK #64
 * "Let's All Go (to the Fire Dances)" / " Dominator "  (June 1983) – UK #51
 * "Me or You" / " Wilful Days "  (October 1983) – UK #57
 * "Eighties" / " Eighties Common Mix "  (April 1984) – UK #60
 * "A New Day" / " Dance Day "  (July 1984) – UK #56
 * "Love Like Blood" / " Blue Feather "  (February 1985) – UK #16, Germany #24, Ireland #30, NL #8
 * "Kings and Queens" / " The Madding Crowd "  (March 1985) – UK #58
 * "Adorations" / " Exile "  (August 1986) – UK #42
 * "Sanity" / " Goodbye to the Village "  (October 1986) – UK #70
 * "America" / " Jihad " (April 1988) – UK #77
 * "My Love of this Land" / " Darkness Before Dawn "  (July 1988) – UK #89
 * "Money Is Not Our God" (1991)
 * "Change: The Youth Mixes CD" (1992)
 * "Exorcism" (1994)
 * "Millennium" (May 1994) – UK #34
 * "Pandemonium" (July 1994) – UK #28
 * " Pandemonium in Dub " (July 1994)
 * "Jana" CDs (February 1995) – UK #54
 * " Jana " / " Millennium " (1995)
 * "Democracy" (March 1996) – UK #39
 * " Democracy dif. Mix " (March 1996)
 * "Love Like Blood/Intellect" (March 1998)
 * "Loose Cannon" 12" (July 2003) – UK #25
 * "Seeing Red" (2003)
 * "Hosannas from the Basements of Hell" / " Afterburner " / " Universe B "  (April 2006) – UK #74
 * " Hosannas from the Basements of Hell " / " Afterburner (Alternate Vers.) " (April 2006)

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=King Crimson=

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=The Brondesbury Tapes= The Brondesbury Tapes (1968) (Greatest Hits)
 * Artist: Giles Giles & Fripp
 * Label: VOICEPRINT UK
 * Album The Brondesbury Tapes (1968)
 * Type Compilation
 * Genre Pop/Rock, Art Rock, Prog-Rock
 * DPCI: 244-10-2806
 * ASIN: B002TLWT8O
 * Catalog #: 11866162

Considering that Giles, Giles & Fripp's original album sold about 500 copies, the very existence of this 70-minute CD is a source of astonishment as well as delight. Comprised of privately made tapes of the legendary progressive/pop/rock trio -- all home recordings, on a Revox stereo reel-to-reel recorder, that made lots of use of overdubbing -- this CD shows Robert Fripp, Peter Giles, and Michael Giles (along with Julie Dyble and Ian McDonald) at their most experimental. Virtually all of what ended up on The Cheerful Insanity of Giles, Giles & Fripp seems to have started life here, before they ever got into Decca's studios, so this is a chance to hear some of their released music as works-in-progress, most notably Robert Fripp's "Suite No. 1" (which was later transmuted into "Prelude: Song of the Gulls" from Islands), and an early Fripp guitar piece, "Tremelo Study in A Major." King Crimson completists will also be overjoyed to find the GG&F rendition of "I Talk to the Wind" (two different takes of it, in fact) in its original version, sung by Julie Dyble, which appeared on the double LP Young Person's Guide to King Crimson, finally turning up on CD on this disc. Also present on this CD is another lost early link in Crimson's subsequent output, "Why Don't You Just Drop In," which evolved through several intermediate stages into "The Letters" on Islands; and a portion of Fripp's "Passages of Time" ended up in the bridge of "Peace--A Theme" from In the Wake of Poseidon. Dyble turns up on vocals along with Ian McDonald (who plays sax, flute, and keyboards, as well as singing) on "Make It Today," a smooth piece of progressive pop-jazz (complete with a McDonald sax solo) that sounds as though it could have come from Judith Durham of the Seekers in a light moment. McDonald is all over these tapes, playing flute on an outtake of "Digging My Lawn" and saxes and piano elsewhere. Not all of it is great music -- "Plastic Pennies" is pure (albeit pleasant) pop, worthy of the Seekers -- but the raw talent is impressive. Additionally, listening to these tapes, one gets the sense that Giles, Giles, Fripp & McDonald, whatever they called themselves, could have made it, at least as far as the jazz clubs in England, without ever becoming what we later knew as King Crimson. There's also a pleasant bonus for fans of Peter Sinfield, whose "Under the Sky" (later a centerpiece of his solo album), turns up here in its ethereal original version, sung by Dyble. There is distortion on a few tracks, but most of what's here displays amazingly good quality for home demos dating back more than 30 years. Bruce Eder, All Music Guide

Track listing

 * 1) "Hypocrite" (Giles) – 3:41
 * 2) "Digging My Lawn [A]" (Giles) – 1:58
 * 3) "Tremelo Study in a Major (Spanish Suite)" – 1:41
 * 4) "Newly Weds" (Giles) – 1:52
 * 5) "Suite No. 1" (Fripp) – 5:34
 * 6) "Scrivens" (Giles) – 2:15
 * 7) "Make It Today [A]" (McDonald, Sinfield) – 3:26
 * 8) "Digging My Lawn" (Giles) – 1:55
 * 9) "Why Don't You Just Drop In [I]" (Fripp) – 3:40
 * 10) "I Talk to the Wind [1]" (McDonald, Sinfield) – 3:17
 * 11) "Under the Sky" (McDonald, Sinfield) – 3:53
 * 12) "Plastic Pennies" (Fripp) – 2:18
 * 13) "Passages of Time" (Fripp) – 3:32
 * 14) "Under the Sky" (McDonald, Sinfield) – 2:49
 * 15) "Murder" (Giles) – 2:41
 * 16) "I Talk to the Wind" (McDonald, Sinfield) – 3:15
 * 17) "Erudite Eyes" (Fripp) – 6:46
 * 18) "Make It Today [B]" (McDonald, Sinfield) – 4:46
 * 19) "Wonderland" (Fripp) – 6:08
 * 20) "Why Don't You Just Drop In [II]" (Fripp) – 3:42
 * 21) "She Is Loaded" (Giles) – 3:12

Releases

 * 2001 CD Voiceprint Records 235
 * 2002 CD Mister E 1
 * 2009 LP Vinyl Lovers 900693

Personnel

 * Giles
 * Giles
 * Fripp


 * Additional Artists
 * Ian McDonald (Vocals)
 * Peter Giles (Vocals)
 * Michael Giles (Vocals)
 * Judy Dyble (Vocals)

<hr style="margin: 7em 25%">

=King Crimson discography=

<hr style="margin: 7em 25%">

=Jo Jo in the Stars=
 * List of film festivals in Europe
 * List of international animation festivals
 * JO JO IN THE STARS Awards
 * Jojo in the Stars ‹ Short of the Week
 * Jo Jo in the Stars at YouTube

She'd been running the show for as long as anyone could remember, parading her collection of monsters and misfits for all to see.

They'd come in their thousands, hungry for a glimpse of Mdme Pica's brood. And he'd be there too, night after night.

Only he'd come for Jo Jo ...

The rain fell for ten long years, and with each passing year the crowds dwindled until her cavernous halls stood almost empty.

What was once shocking no longer amused. Some new horror was needed to draw them in once more.

Someone — or something...

<hr style="margin: 7em 25%">

=Miriam Makeba=
 * http://badgals-radio.com/rip-miriam-makeba-goodbye-mama-afrika-we-shall-surely-miss-you/
 * http://www.capetownmagazine.com/news/Rest-in-Peace-Miriam-Makeba/10_22_9608

Miriam Makeba (4 March 1932 - 10 November 2008) was a South African singer, songwrtiter, author, actress, former UN ambassador, FAO Goodwill Ambassador, and anti-apartheid and civil rights activist. Makeba, also known as "The Empress of African Song" and Mama Africa, was the first African recording artist to be awarded a Grammy. She began her career in the 1950s with The Manhattan Brothers, then formed her own female group, the Skylarks. Banned from returnig to South Africa after she toured overseas with King Kong, she was in exile for 30 years, in the United States then in Guinea. She returned to South Africa in 1990.
 * LEAD

In a career spanning six decades, from the 1950s to the 2000s, she has worked with international superstars such as Hugh Masekela, Harry Belafonte, Paul Simon, Dizzy Gillespie, Nina Simone, Sidney Poitier, Miles Davis, and Whoopi Goldberg, and has has met world leaders including John Fitzgerald Kennedy, Fidel Castro, Ahmed Sékou Touré, Haile Selassie, Samora Machel, Julius Nyerere, Jomo Kenyatta, Kwame Nkrumah, Nelson and Graça Machel-Mandela, François Mitterrand, Pope John Paul II, and Carl XVI Gustaf of Sweden. She is perhaps the only African artist who has had three private audiences with the Pope. A citizen of the world who had nine passports and received honorary citizenship of ten different countries, Makeba...


 * In Cuba 1972???


 * In Guinea

15 years....

3 audiences...
 * Pope John Paul II

... performs in aid of the Cairo-based Association of Friends of the National Cancer Institute (AFNCI) effort to raise funds for the construction of a hospital specialising in the treatment of children with cancer.
 * Nkrumah 2001

Makeba was the first African artist to perform before the founding fathers of the Organisation of African Unity (OAU).

Makeba remembers going to the South African embassy in New York to apply for permission to return home for her mother's funeral. "The man at the desk took my passport. He did not speak to me. He took a rubber stamp and slammed it down. Then he walked away. I picked up my passport. It was stamped 'Invalid'. 'They have done it,' I told myself. 'They have exiled me. I am not permitted to go home -- not now, maybe not ever. My family, my home. Everything that has gone into the making of myself, gone'." She has had nine different passports, including those of Ghana, Guinea and Tanzania. In 1972, Fidel Castro gave her a Cuban passport.

She even has a school named after her in Pretoria.

"I look at an ant and see myself: a native South African, endowed with a strength much greater than my size, so I might cope with the weight of racism that crushes my spirit." —Miriam Makeba

"That was the only time my mother saw me on stage. At one point in the play I am strangled and my mother jumped from her seat and screamed: 'No. You will not get away with murder. You cannot do this to my daughter.' Friends explained to her that this was not for real -- that we were acting. But she made such a fuss. Everyone was so embarrassed. On stage my heart sank" —Miriam Makeba

"Normally I sleep during long flights, but when I was returning to my country I could not sleep a wink" —Miriam Makeba

"My brother's was the first face I spotted in the crowd, [...] After a stopover at his house, I went straight to my mother's grave. I spent hours alone in the graveyard, remembering, weeping and contemplating in silence." —Miriam Makeba

"The young people were very excited and chanted 'Mama Africa' as I entered the packed hall where the meeting was held." —Miriam Makeba

Thus will all the strands of her life -- all the people Miriam Makeba has been, all the places she has seen, and all the causes for which she has raised her voice -- come together at last.


 * http://www.foxnews.com/wires/2008Nov10/0,4670,EUObitMakeba,00.html
 * http://www.usatoday.com/news/world/2008-11-10-4059870396_x.htm
 * http://www.usatoday.com/news/world/2008-11-10-4059870396_x.htm

South African musical legend Miriam Makeba dies

Monday, November 10, 2008

By CELEAN JACOBSON, Associated Press Writer Frances D'Emilio; Boubacar Diallo, Maseco Conde, Eddy Isango

JOHANNESBURG, South Africa — She died just how she wanted to _ singing on stage for a good cause. And her recorded songs wafted out of taxis and radios, as fellow Africans struggled with their grief at her passing.

Miriam Makeba, the "Mama Africa" whose sultry voice gave South Africans hope when the country was gripped by apartheid, died Monday of a heart attack after collapsing on stage in Italy. She was 76.

In her dazzling career, Makeba performed with musical legends from around the world _ jazz maestros Nina Simone and Dizzy Gillespie, Harry Belafonte, Paul Simon _ and sang for world leaders such as John F. Kennedy and Nelson Mandela.

Her distinctive style, which combined jazz, folk and South African township rhythms, managed to get her banned from South Africa for over 30 years.

"Her haunting melodies gave voice to the pain of exile and dislocation which she felt for 31 long years. At the same time, her music inspired a powerful sense of hope in all of us," Mandela said in a statement.

He said it was "fitting" that her last moments were spent on stage.

Makeba collapsed after singing one of her most famous hits "Pata Pata," her family said. Her grandson, Nelson Lumumba Lee, was with her as well as her longtime friend, Italian promoter Roberto Meglioli.

"Whilst this great lady was alive she would say: 'I will sing until the last day of my life'," the family statement said.

Makeba died at the Pineta Grande clinic in Castel Volturno, near the southern city of Naples, after singing at a concert in solidarity with six immigrants from Ghana who were shot to death in September in the town. Investigators have blamed the attack on organized crime.

The death of "Mama Africa" sent shock waves through South Africa, where callers flooded local radio stations with their recollections of her. In Guinea, where Makeba lived most of her decades in exile, radio and television stations played mournful music and tributes to their adopted icon.

The first African to win a Grammy award, Makeba started singing in Sophiatown, a cosmopolitan neighborhood of Johannesburg that was a cultural hotspot in the 1950s before its black residents were forcibly removed by the apartheid government.

She then teamed up with South African jazz trumpeter Hugh Masekela _ later her first husband _ and her rise to international prominence started in 1959 when she starred in the anti-apartheid documentary "Come Back, Africa."

When she tried to fly home for her mother's funeral the following year, she discovered her passport had been revoked.

In 1963, Makeba appeared before the U.N. Special Committee on Apartheid to call for an international boycott of South Africa. The white-led South African government responded by banning her records, including hits like "Pata Pata," "The Click Song" ("Qongqothwane" in Xhosa), and "Malaika."

Makeba received the Grammy Award for Best Folk Recording in 1966 together with Belafonte for "An Evening With Belafonte/Makeba." The album dealt with the political plight of black South Africans under apartheid.

Thanks to her close relationship with Belafonte, she received star status in the United States and performed for President Kennedy at his birthday party in 1962. But she fell briefly out of favor when she married black power activist Stokely Carmichael _ later known as Kwame Ture _ and moved to Guinea in the late 1960s.

Besides working with Simone and Gillespie, she also appeared with Paul Simon at his "Graceland" concert in Zimbabwe in 1987.

After three decades abroad, Makeba was invited back to South Africa by Mandela shortly after his release from prison in 1990 as white racist rule crumbled.

"It was like a revival," she said about going home. "My music having been banned for so long, that people still felt the same way about me was too much for me. I just went home and I cried."

Tributes flooded in Monday from across Africa.

Congo's minister of culture, Esdras Kambale, called Makeba a role model for all Africans.

"We are very saddened," Kambale said. "Fortunately, she left a large body of music that will be immortal."

Percussionist Papa Kouyate _ who played in Makeba's band for 20 years and is the widower of her daughter Bongi _ remembered Makeba as a giving person.

"I married her daughter Bongi and she adopted me as her own child," he said. "I will mourn Mama Africa for a long time."

Still, Makeba attracted controversy by lending support to dictators such as Togo's Gnassingbe Eyadema and Felix Houphouet-Boigny from Ivory Coast, performing at political campaigns for them, even as they violently suppressed democratic movements in West Africa in the early 90s.

The first person to give her refuge was Guinea's former President Ahmed Sekou Toure, who has been accused in the slaughtering of 10 percent of his country's population.

Makeba insisted, however, that her songs were not deliberately political.

"I'm not a political singer," she insisted in an interview with Britain's Guardian newspaper earlier this year. "I don't know what the word means. People think I consciously decided to tell the world what was happening in South Africa. No! I was singing about my life, and in South Africa we always sang about what was happening to us _ especially the things that hurt us."

The U.S. State Department sent condolences to Makeba's family as international tributes for Makeba also flooded in Monday.

"Her voice and her battles influenced the process of liberation and democratic rebirth in South Africa," Italian President Giorgio Napolitano said in a statement.

Jacques Diouf, director general of the U.N. Food and Agriculture Organization, praised Makeba for the work she did for the poor as its goodwill ambassador. "We will miss her energy and her respectful concern for the world's most vulnerable," he said in a statement.

Makeba announced her retirement three years ago, but despite a series of farewell concerts she never stopped performing. When she turned 75 last year, she said she would sing for as long as possible.

Makeba is survived by her grandchildren, Nelson Lumumba Lee and Zenzi Monique Lee, and her great-grandchildren Lindelani, Ayanda and Kwame. A funeral will be held in South Africa, but details have not yet been announced.

Photographer Jurgen Schadeberg, who shot widely acclaimed pictures of Makeba for Drum magazine in the 50s, felt she epitomized the era where politics and culture collided in a heady mix.

"We are losing our great divas," he lamented by telephone from France.

Copyright 2008 The Associated Press.



BIOGRAPHY [ TIMELINE | EDIT ]

Born: March 4, 1932 | Died: November 9, 2008

South African diva Miriam Makeba is well known throughout the world as Mama Africa and the Empress of African Song. She is African music's first and foremost world star. She is a pioneer who played her early songs and blended different styles long before anyone even began to talk about “world music.” Her record production is spread across many companies all over the world - so far and wide that it's difficult to get a panoramic view of it. But no collection of African music should be without one or more of Miriam Makeba's recordings.

Miriam was born in Johannesburg. As a young girl of thirteen, she entered a talent show at a missionary school and walked off with the first prize. She was often invited to sing at weddings, and her popularity grew in leaps and bounds as more and more people became dazzled by her talent. In 1952 she was chosen to sing for The Manhattan Brothers and toured South Africa with them. As early as 1956, she wrote and released the song “Pata Pata.”

She received invitations to visit Europe and America, where she came to the attention of Harry Belafonte and Steve Allen and was capitulated to stardom. 1959 saw her becoming the first South African to win a Grammy award for the album “An Evening with Harry Belafonte & Miriam Makeba.”

Miriam became an exile in 1960 when South Africa banned her from returning to her birth country - she was deemed to be too dangerous and revolutionary - this was after she had appeared in an anti-apartheid documentary, entitled “Come Back Africa”, and this upset the then white apartheid government of South Africa. Miriam only returned to South Africa thirty years later.

In 1967, more than ten years after she wrote the song, “Pata Pata” was released in the United States and became a hit worldwide. It has since been re-recorded by numerous international artists. Miriam was a darling of the American public, but they turned against her when she married the radical black activist, Stokely Carmichael, in 1968. Once again, she was at the receiving end of a dissatisfied and disgruntled country. Although the United States never banned her, her US concerts and recording contracts were suddenly cancelled.

She moved back to Africa, this time to Guinea where she was welcomed with open arms. Miriam continued to record songs and toured intensively. She was well respected by the government of Guinea and was asked to address the United Nations General Assembly as a Guinean delegate. She twice addressed the General Assembly, speaking out against the evils of apartheid.

Although always regarding herself as a singer and not as a politician, Miriam's fearless humanitarianism has earned her many International awards, including the 1986 Dag Hammerskjold Peace Prize and the UNESCO Grand Prix du Conseil International de la Musique. Makeba is also known for having inspired an enduring fashion in the 60's when the slogan “black is beautiful” was launched which popularized the Afro hairstyle of the period.

She has toured with singers such as Paul Simon, Nina Simone, Hugh Masekela and Dizzy Gillepsie. The ban on her records was lifted in South Africa in 1988 and she returned to her homeland in December 1990. Four years later she started a charity project to raise funds to protect women in South Africa. Her first concert in South Africa (1991) was a huge success and this was a prelude for a world-wide tour which included the USA and Europe.

She has released over fifty albums over the years, and her powerful and distinctive voice retains the clarity and range that enable it to be both forceful as a protest march and as poignant as an African lullaby.

She keeps on singing, with her granddaughter Zenzi Lee in her background choir and a great-grandson in her entourage. She released a critically acclaimed comeback album, “Homeland,” released in 2000, which was nominated for a Grammy Award in 2001. She appeared in the movie of 2002 by Lee Hirsch, the opulent and exciting documentary “Amandla!” about the powerful part of music in the struggle against Apartheid. In 2004, at the South African Music Awards 10, her album “Reflections,” won two awards: Best Jazz Vocal Album and Best Adult Contemporary Album. She is on an international tour in 2007 with her eight member band, and performed for a free concert in May in London’s Trafalgar Square.

Miriam is MamaAfrica, a lady with a special touch. She has weathered many storms in her life, including several car accidents, a plane crash and even cancer. She remains as active in her latter years as she did as a young girl with stars in her eyes.

Her exceptional personal and artistic profile is part of the history of this century, all adding to the dramatic elements of an extraordinary life, making Miriam Makeba a living legend.


 * MIRIAM MAKEBA

The Grand Dame of World Music. 'Mama Africa," Miriam Makeba had a pop hit with 'Pata Pata" (also called "The 'Clicking' Song" for the tongue clicks that characterize Zulu languages) in 1967, bringing at leavened version of mbaqanga to Western ears for the first time.

When I came here, I was something completely new, because I sang my songs. I sang my "clicking songs," so it was something completely different. It opened the way for many South African artists, including Hugh Masekela, Dollar Brand, what's his name now? Abdullah Ibrahim. At home he was Dollar Brand. He was best known at home as Dollar Brand. Everyone is in. Paul Simon has opened it even wider.

With Harry Belafonte, I had another vehicle, because when I was performing with him, I was reaching more people. His audience was wide, so is Paul's. So when I'm with him, I'm reaching different people. It is an audience that we might never have reached on our own. Paul's audience is completely different. And they like it, when we came on stage, even those who had never heard us before, they were happy to discover and hear. And people left happy: they came backstage and said they liked our music.

I think artists should be like that, should help each other. I've always liked to perform with other artists, because I think I'm contributing something to them as well as they're contributing something to me. Paul's record was big, but in the show, all of us contributed something to make the show the success that it was. I'm very grateful to him, because I feel, through his show, I was able to...

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...come back here and renew my old friendships and fans. People are quite happy that I'm here.

Even though Paul Simon used South African township musicians and South African township music, he has a style all his own, and his style and my style are completely different. I don't want to measure anything I do against what Paul Simon does, or any other artist for that matter. I think that is the spirit of competition that I never was used to, and will never get used to. I always feel that I am going to do what I'm doing. If it works, it works. If it doesn't, it doesn't, but I'm not going to measure myself according to so and so.

My door was open before I sang with Paul Simon, before Paul Simon did anything. With his style and his mixing of our music with his style, it worked for him. It was very good. Maybe more young people are talking about South African music because of Paul Simon.

That doesn't mean that it opened my door, because my door was opened before that. I never sold millions, but my first performance in this country was on the first of November 1959, on Steve Allen's show, which was viewed by 60 million people. Then, I opened at the Village Vanguard the next day. I've stayed here for the next ten years, when in fact, I was only supposed to stay for four weeks. So my little door was there, because I came from nowhere to stay for four weeks, and I wound up staying for ten years and working everywhere.

I've never sold records like Paul Simon has, because it's not the same thing. That's why I don't like the comparison. I cannot dispute the younger people, simply because I was not here from 1969 until I came back with Paul Simon. I was completely oft the scene in this country. So children who are the age of my grandson, who is twenty-one, most of them do not know Miriam Makeba, except for children who have parents who are my fans, who heard the music in their homes. That was not because of anything else except the fact that I was not here. And coming back with Paul Simon in 1987 was very good for me, because I came back then, and coming back in n show like his was just wonderful for me. I hope that I will not be erased again.

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"Pata Pata" is the song that really took off for me in the sixties. I wasn't very happy about it. Like, man, let me move away from "Pata Pata." But they say, "Hey, people like 'Pata Pata.'" You have to do what people like.

I remember, I did an interview with Al Jackson on the radio in New York, and when "Pata Pata" played, the phones were blinking and blinking because people were calling. There is a friend of mine, Duma, who said, "You see, when 'Pata Pata' plays, all the phones light up." I always say to him, "Get me away from 'Pata Pata,'" and he says, "You can't do anything about it, because that's the song that became big for you, and because the people like it. You've got to keep singing it."

It's the language. Many of my compatriots say they're from South Africa, they hear, "Can you click like Miriam Makeba?" It's like this language is mine. It's not, but they heard it first from me. It's like the short haircut. Some people would ask me. "Why do you wear your hair natural?" and I said, 'You want me to wear my hair unnatural? You answered yourself. It's natural"

One cannot just stay in one place. You have to grow, you have to change, without changing your basic style. I think I completely changed my style and went to sing jazz or something else, people would be shocked, maybe, unless I put just one song of a different type within my usual type of singing. Then it wouldn't be too much of a shock. We're always afraid to do that, because you don't know the reaction you're going to get from the press, from your fans, from everybody else. I think working with Sipho Mabuse brought something a little bit new from the younger generation in South Africa, because he is still in South Africa, and he came from there to Brussels to work with me on the album.

I always wanted to leave home. I never knew they were going to stop me from coming back. Maybe, if I knew, I never would have left. It is kind of painful to be away from everything that you've ever known. Nobody will know the pain of exile until you are in exile. No matter where you go, there are times when people show you kindness and love, and there are times when they make you know that you are with them but not of them. That's when it hurts.

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...sentence but the judge wouldn't give it to him. So there was a lake at the prison, and he drowned himself. It was a national story, everyone knew about it. It was also the first musical ever in South Africa.

So Todd was trying to raise the money, and we were going to Capetown with this tour. They called Todd and said, "We've got the money for the music." So he had to leave the tour, and we needed a piano player. We went out to look for a piano player; and somebody told us there's a guy who plays cocktail piano in this lounge.

So the leader of the Manhattan Brothers, Kippie Moeketsi, he was our mentor He knew everything from Bach to Charlie Parker; he was a real militant, but Abdullah Ibrahim and myself use a lot of his sounds and methods. He was one of the kingpins of mbaqanga. He died in 1983, at the age of fifty-nine. A great guy, and real activist. I can only compare his political attitude to Miles Davis, but he was even more intellectual, more scholarly. He was very clear about us being exploited. He always told us, "You are being exploited. Remember that. I'm going to teach you that."

- He taught us everything about Charlie Parker and Duke Ellington. He knew everything: "But remember, even the guys I'm teaching you about were exploited. You will never be free until South Africa is free." He was real radical.

Even when we did the musical, some rich white folks who were liberals and like activists raised the money for King Kong. So when it came time to discuss salaries for the band, because it was big money, was going to be a big hit, had a cast of eighty people. They wanted to pay us some menial money, and Kippie was the one to stand up and say, "You've been exploiting us all our lives. This is our big shot." And he asked for ten times more than what they were offering, otherwise the band was going to walk out. He was our representative. And the other guys were trying to calm him down, and saying. "Kippie, be cool man."

And he said, "No, even you have been exploiting me. I want to get as much as I can out of this, and as much as I can for all the guys."

We ended up getting the most money we've ever been paid. Kippie was really fantastic.

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He was one of the guys who went out and he chose Dollar Brand to replace Todd Matshikiza. He was the musical mentor of the group. So I spent five months on the road with Abdullah.

The tour didn't go so well. These guys were not so popular anymore. Not as popular as they thought they were. So we got stranded on the road. We lived together under very dire conditions. Africans were not allowed in hotels in those days in South Africa, so every town you went to, you lived with families that were into music, and were relatives of people in the group, and stuff like that. There was actually a time in the tour when we had nothing to eat. But Dambuza, the leader of the Manhattan Brothers, wouldn't give us our railroad tickets back. He kept saying, "The next town. The next town is where we're going to make it."

Five months later, Kippie had been drinking, and he pissed on this guys pants. The audience couldn't see, he said, "Dambuza. I want In go home," and pissed on his pants.

They were doing these steps and you could here the water go slosh. Dambuza looked back and said, "Kippie, I'm going to kill you." And we're all dying of laughter.

So the tour was over, and we finally got home, because Kippie pissed on the guy's leg, and the guy was going to kill him, but the guy finally saw the sense. And my parents, they gave me a rough time about playing music. They said, "We told you. don't be a musician stay in school." I came back weighing 110 pounds.

Abdullah went back to Capetown. I went home and formed a trio.

We went and did this musical, King Kong, which was a smash, ran for about a year and a hall. By the time we were finished, Dollar had his trio, and they were playing a place called the Ambassador Jazz Club. We called each other, and myself, Kippie, and another guy decided to go to Capetown to join Dollar's trio, and we became the Jazz Epistles. We played at the Ambassadors for two months, and you couldn't get into the place. That's when we did all our compositions. Then we moved up to Johannesburg. We were the first group, first African group to do an LP. And then we became a household name.

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We were about to embark no a national tour when Sharpeville happened and gatherings of more then ten people were banned.

I'd been waiting for a passport, and my passport came through during that waiting period. The band came on in March, and in May, two months later, my passport came through and I left. Since then, I've never really played with Abdullah. I've seen him, but I've never been on his shows. We've never had the opportunity to play together, partly because we're never in the same place, and partly because we've grown in different directions.

He was like the free spirit musically. Him and Kippie. They'd go into an avant garde spin. They were heavy into avant garde. Dollar was really the biggest, I would say he's the authority on Monk. Dollar is Monk right up to lifestyle.

I think it was the inconsistencies and conditions in the environment that made it impossible for me to do the kind of albums that I'm doing now. When I came here, I was alone, and I didn't have access to people who were familiar with the South African dance band medium. So, I ended up with a hybrid, because the musicians that I was playing with when I started were Americans. Su I had to write everything down and explain to them. The groove was difficult for them.

I think that today people have become more universal, and that the younger musicians I usually work with are Americans. They're graduates of the Berkelee school of music. But they know as much, and sometimes even more, about African music than I know. And they are as much scholars of African music as I was of American music when I came here, because I came here as a bebopper.

In South Africa what's amazing—Dizzy said, “I want to join your revolution because it's got so much music. The only thing we had was 'We Shall Overcome.' Every time I see South Africa on TV, they've got a new song."

I said, "I don't know when they rehearse, who writes the lyrics, when they compose the songs, but it's topical. Everything is topical. And they have the choreography down, too. Where do thirty thousand people get together to rehearse something like this?"

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But South Africa is such a musical place. It's like the Caribbean or Brazil or Zaire is a lot like that. lt lives by music.

Music in Africa is a ceremonial thing. It's used for every occasion. I think it's one of the things that frustrates the colonial mentality. And it saves us. If we were like the Native Americans, purely like a warlike people, I think the music has saved us, because we always go back and sing about what's happening to us. It is the thing that has sustained us. Sometimes, instead of fighting, we'll just sing about it. Most of the time, I think that is what sustained the African American. They were brought here as slaves, they were shackled and whipped, but they sang their asses off. And today, the African American influences 80 percent of popular music. They may not get the returns, but they definitely influence it. And it's a thing that under the conditions and brutality that Africans internationally have had to develop behind, whatever they are given the opportunity to do, they excel in it.

I've also spent a lot time in southern Africa, in Zimbabwe. I lived for four years in Botswana. There are more Botswanans living in South Africa than there are in Botswana. The borders are artificial colonial borders, so it's a great mbaqanga area. And I was able to stop writing music on paper. I found a band that just knew everything that I'd ever done, and every other classic.

I'd sooner be in Botswana now. The reason I left Botswana, there was a South African commando raid on Botswana, and they killed all my friends, all my friends. including the fellow who encouraged me to come to Botswana. Our mothers were friends. we were childhood buddies. And when I was in Lesotho to perform in 1980—I had gone with Miriam Makeba to perform there—we hadn't been in the area in twenty years. I was supposed to go to Botswana to perform, Lesotho and Swaziland. And the governments ol Botswana and Swaziland cancelled our concerts. There was a "cholera epidemic." The government was so scared of the impact of our return. So the Lesotho government said, "Fuck it. There's no cholera here.“ And we played to seventy-five thousand people, Christmas Day 1980.

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But they use that. They say, "If we are so bad. would we allow Graceland? ll we were so bad, would there be a Miriam Makeba, Dollar Brand, Hugh Masekela?"

But what the world doesn't realize is that we are just one percent of one percent, and probably not the most capable, of the artists. But now, we've got a little network, there are a lot of artists who go home, who go in and out.

I think that the only other stage now is to be able to go to a free South Africa and play with guys like Philip Tabane. Philip Tabane is one of our most talented musicians. I'm looking to do an album with him, to produce an album. He is somebody I really admire. He has been doing what he is doing for thirty years.

There are so many great musicians in South Africa. I think that the main problem is that the great artists who are not mainstream in South Africa, guys like Philip Tabane, should be very popular artists internationally, because of what he does, but is not known because somebody has to recognize him, identify him, he has to get an international deal, the record company has to believe that he means something, and give him exposure. When he played at the Apollo, it flipped out the audience. People were on their feet. And they had unbelievable reviews, and then nothing happens alter that.

Being a sangoma doesn't necessarily make you a great artists. It makes you a member ol a certain cultural tradition. I think that more than being a sangoma, Philip Tabane is a great artist. I think that if he just got the right kind of attention, he would fly. But he is one of thousands of people who need a shot.

The main thing is, not only South African artists, but African artists, shouldn't have to come overseas to get recognition. But we're living in a situation where we still have a postcolonial structure in Africa, where anyone who is in recreation or entertainment was originally looked upon as a lazy native, so an infrastructure for the music industry was never really formed in Africa. It is now in its infancy. I would like to help to hurry it up. African artists should not have to 'come from overseas and grovel for attention because there are enough people in Africa to support them, and they can live as well as salsa musicians or samba musicians who come overseas by choice.

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A person like Philip shouldn't be different from a Milton Nascirnento. He should be able to come over here and go home to a normal society and be appreciated for what he does. He is prevented at home from the people hearing him. The mainstream there is not created by the people. It is created by a record industry that exploits the cheapest desires of African music consumers. In that place, they don't have a space for a person like Philip.

It's the same here in a lot of respects. They go for what's popular, exploit it while it's popular and so a lot of great African American artists making African American classical music, what the media here calls a few things, one of them is Jazz, don't get a shot. I don't know why. There's something sick about this country. Jazz, musicians in this country should have a national endowment, because it is the classical music of this country. If it wasn't for jazz there wouldn't be rock, but racism is so rampant in the industry, that the people who make the music industry what it is get the least benefits from it.

We were in Paris, getting ready to open Sarafina, and we played a month in England. Last Saturday, Sarafina opened in Paris, so I went from Landon to Paris, and I was in the theatre, and someone said, "Fela wants to see you." I saw Fela, and he was doing his new album, Over Takee, Don't Over Takee, Yaa. He's great.

I met Fela. because I had heard about him from a lot of friends when I first came to school. They'd say, "There's a trumpet player just like you in England, his name is Fela." Because he started on trumpet. He picked up the sax when he formed Africa 70.

What happened was, when I peaked here in 1968, I had the number one record in the country for about six weeks. It was incongruous to my political position that I was making all this money, but I came from 27 million oppressed people. And there was something unfulfilling. I had a house in Malibu, I was driving a fancy car, I was living the life, and there just seemed to be an emptiness to success, the way it translated into conspicuous consumption. I felt I wasn't getting enough of what I was about, so I decided that I was going to leave the country.

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I wanted to go to South Africa, but I couldn't home, because I was at the height of my activist period. lt was the time of the anti-Vietnam war. I was very active. My friends were like Peter Fonda and Crosby and Stills when Crosby was still with the Byrds and Stills was in Buffalo Springfield. The Grateful Dead, the Jefferson Airplane, the Doors, Big Brother and the Holding Company. We were always doing antiwar concerts. Then there was the Black Panthers and Black Power. I was very involved in that.

There was a void in my live. It was great to be involved with American politics, to be antiwar, to be into black power, but still, I was like a Hollywood-type celebrity. I had the fancy car the fancy house by Malibu. I felt I had to get out of the stagnation. I decided to go to Africa. I gave myself a pilgrimage. I bought myself a ticket to about fifteen countries.

I studied in Zaire, and while I was there I saw Franco. I got a house right opposite from his club, and I jammed with him a lot. I was really looking to play with African musicians. I had written to Fela, and he said come over and we'll take it from there. I spent a month with him, and I played with his band a lot. I didn't record with him, but he was helping me find musicians. It was still the same quest. To get closer to the home sod. He said, "The best thing you could do is tour with me. Be a guest artist with the band. So, I did that.

When we got to Ghana, a group called Hedzolleh Soundz opened for him. They really knocked me out. I stayed with that group for about five years; we did about six albums. When I got there I said. "This group knocks me out."

Fela said. "I thought you'd like them. I think you should stay with them."

So he left me in Ghana. I still travel on a Ghana passport. I'm a Ghanan citizen. I speak the languages. I spent seven years, on and off in Ghana.

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HANK BORDOWITZ

"Miriam Makeba" from Noise of the World

WHEN I CAME HERE, I was something completely new, because I sang my songs. I sang my "clicking songs," so it was something completely different. It opened the way for many South African artists, including Hugh Masekela, Dollar Brand, what's his name now? Abdullah Ibrahim. At home he was Dollar Brand. He was best known at home as Dollar Brand. Everyone is in. Paul Simon has opened it even wider.

With Harry Belafonte, I had another vehicle, because when I was performing with him, I was reaching more people. His audience was wide, so is Paul's. So when I'm with him, I'm reaching different people. It is an audience that we might never have reached on our own. Paul's audience is completely different. And they like it, when we came on stage, even those who had never heard us before, they were happy to discover and hear. And people left happy: they came backstage and said they liked our music.

I think artists should be like that, should help each other. I've always liked to perform with other artists, because I think I'm contributing something to them as well as they're contributing something to me. Paul's record was big, but in the show, all of us contributed something to make the show the success that it was. I'm very grateful to him, because I feel, through his show, I was able to come back here and renew my old friendships and fans. People are quite happy that I'm here.

Even though Paul Simon used South African township musicians and South African township music, he has a style all his own, and his style and my style are completely different. I don't want to measure anything I do against what Paul Simon does, or any other artist for that matter. I think that is the spirit of competition that I never was used to and will never get used to. I always feel that I am going to do what I'm doing. If it works. it works. If it doesn't, it doesn't, but I'm not going to measure myself according to so and so.

My door was open before I sang with Paul Simon, before Paul Simon did anything. With his style and his mixing of our music with his style, it worked for him. It was very good. Maybe more young people are talking about South African music because of Paul Simon.

That doesn't mean that it opened my door, because my door was opened...

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314 • Hank Bordowitz

...before that. I never sold millions, but my first performance in this country was on the first of November 1959, on Steve Allen's show, which was viewed by 60 million people. Then I opened at the Village Vanguard the next day. I' stayed here for the next ten years, when in fact I was only supposed to stay for four weeks. So my little door was there, because I came from nowhere to stay for four weeks, and I wound up staying for ten years and working everywhere.

I've never sold records like Paul Simon has, because it's not the same thing. That's why I don't like the comparison. I cannot dispute the younger people, simply because I was not here from 1969 until I came back with Paul Simon. I was completely off the scene in this country. So children who are the age of my grandson, who is twenty-one, most of them do not know Miriam Makeba, except for children who have parents who are my fans, who heard the music in their homes. That was not because of anything else except the fact that I was not here. And coming back with Paul Simon in 1987 was very good for me, because I came back then, and coming back in a show like his was just wonderful for me. I hope that I will not be erased again.

"Pata Pata" is the song that really took off for me in the sixties. I wasn't very happy about it. Like, man, let me move away from "Pata Pata." But they say, "Hey, people like ‘Pata Pata.' " You have to do what people like.

I remember, I did an interview with Al Jackson on the radio in New York, and when "Pata Pata" played, the phones were blinking and blinking because people were calling. There is a friend of mine, Duma, who said, "You see, when ‘Pata Pata' plays, all the phones light up." I always say to him, "Get me away from ‘Pata Pata,' " and he says, "You can't do anything about it, because that's the song that became big for you, and because the people like it. You've got to keep singing it."

It's the language. Many of my compatriots say they're from South Africa, they hear, "Can you click like Miriam Makeba?" It's like this language is mine. It's not, but they heard it first from me. It's like the short haircut. Some people would ask me, "Why do you wear your hair natural?" and I said, "You want me to wear my hair unnatural? You answered yourself. It's natural."

One cannot just stay in one place. You have to grow, you have to change, without changing your basic style. I think if I completely changed my style and went to sing jazz or something else, people would be shocked, maybe, unless I put just one song of a different type within my usual type of singing. Then it wouldn't be too much of a shock. We're always afraid to do...

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Hank Bordowitz • 315

...that, because you don't know the reaction you're going to get from the press, from your fans, from everybody else. I think working with Sipho Mabuse brought something a little bit new from the younger generation in South Africa, because he is still in South Africa, and he came from there to Brussels to work with me on the album.

I always wanted to leave home. I never knew they were going to stop me from coming back. Maybe, if I knew, I never would have left. It is kind of painful to be away from everything that you've ever known. Nobody will know the pain of exile until you are in exile. No matter where you go, there are times when people show you kindness and love, and there are times when they make you know that you are with them but not of them. That's when it hurts.

I was banned from going home. I am still banned, but in the past year, I got phone calls from home from people saying that the government said I could come home if I want to and I apply for a visa, just like anybody else, because I'm not South African any more. I told the newspaper guy who called me, "Well, you can tell them that I consider myself South African, always South African" If I have any other travel document that I am using, it is an honorary one, because I never renounced my citizenship of birth, and second, we have leaders who are in prison; we have a state of emergency that keeps our people in prison. If they say we can come home, then lift the state of emergency, release all our people from prison, and let all our exiles come back home and be free, to come back home and vote for whomever we want to vote for. We might surprise them. We might vote for one of them. They don't know that. They should give us at least that opportunity. For me to just be told I can go home, why was I told that I couldn't go home in the first place. I never understood that.

I must say I was the first person to come over and let people discover a little of our culture, not only of South Africa, but of Africa. That's why they call me Mama Africa. I always knew that it was possible. All I needed to do was be here. I'm very confident about that because I know I have something different and special to give. There aren't too many Makebas.

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PART 3 Music: and Social Transformation

My Story

Miriam Makeba

Singer, songwriter, author, actress, former UN ambassador and outspoken anti-apartheid activist, Miriam Makeba was the first African recording artist to be awarded a Grammy. She began her career in the 1950s with groups such as The Manhattan Brothers, then formed her own female vocal group, the Skylarks. Banned from returning to SA after she toured overseas with King Kong, she was in exile for 30 years, in the US then Guinea. She returned to SA in 1990.

On stage I wear the robe that belonged to my mother, the isangoma. The colours swirl and come together on this robe, they are the dark brown of the earth, and the deep blue of the sky. I do not wear this heirloom from my mother all the time, only every so often. And every so often, a strange thing happens when I sing. I do a song, but I am not conscious of it. After we leave the stage, I ask my musicians, 'Did I sing such-and-such song?' 'Oh, yes', they tell me. But I have no memory of it, When I see films of the show or listen to tapes, there I am, dancing with all the life that is in me, and there is my voice and no other's. I cannot explain why I should 'black out'. And no one can explain it to me.

I used the expression, 'dancing with all the life that is in me'. During a trip to Swaziland in 1980, it is first suggested that the life that is in me may be more than just my own. l meet my niece Yvorne, who lives here in Swaziland. Yvorne, whose African name is Nonsikelelo, is very dear to me. I thank my ancestors and the Superior Being and anyone else who has favoured me with her, because Yvorne is the only one of my family I can see and touch in my exile. When I left South Africa, it was she who did what I once did and assisted my mother when the omadlozi came and my mother went into one of her trances. Yvorne knows all about isangomas. She takes me to consult with one. This is a task that all my people must do if they are ill, or if they want word of their ancestors, or if strange things are bothering them.

The isangoma, a young woman, talks to me in her hut. She doesn't know me at all, but she asks, 'Don't you sometimes feel that you didn't sing this or that song when you perform?' I am amazed. She then tells me what others have suggested over the years: that I, like my mother, am possessed by amadlozi. I have always wondered about this. My mother's spirits almost destroyed her before she went through ukuthwasa. If a person who is it channel for spirits suppresses them, they can make that person ill, or even kill them. If I am a channel for some spirits, like...

138

...my mother was, why don't they make themselves known to me by causing illnesses or misfortune?

But they have made themselves known, the isangoma says. My spirits are stealing the show! Amadlozi are show-offs. This is why they made my mother dress in their clothes and carry on when she was in their spell. I sing before the public, and the spirits get a chance to steal my mind and present themselves. That is why to this day I have been excused, and I may still be excused from going through the hard ordeal of ukutlrwasa and becoming an isangoma.

[...]

For many years they have called me 'The Empress of African Song'. But when Swiss television comes to do a documentary about my life, they choose the title Mama Africa. In Europe there is a film competition among the French-speaking nations teaming with French-speaking African nations. Switzerland chooses Guinea instead of the Ivory Coast, Gabon, Senegal, or the other former French colonies because I live here and they want to use me as their subject.

To the film-makers I represent the continent and its music to the Western world. African music, though very old, is always being rediscovered in the West. Then it becomes new, and very hip. Just recently I was in Nuremberg, Germany. My new manager. Willie Leiser, booked me into a rock festival, I did not know why. The main group was The Who, and the other groups were also rock 'n' roll. When I came on, the young people in the audience did not know what to make of me. They suddenly became the most hostile audience I ever had. And for the first time in my life things were thrown at me: beer cans. paper airplanes. I almost walked off stage. But something told me I should continue. But I was angry! My anger must have gone into the force of my singing, because the audience was silent before I could finish the song. When I was done they were just standing there. And by the end of my set. they were screaming. When l my musicians and I left the stage, the screaming went on and on for so long. I had to be called back.

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Discography
=Mondo TV=

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=Moogfest=
 * Glastonbury Festival
 * Glastonbury Festival line-ups
 * Glastonbury Festival 2008
 * Glastonbury Festival 2009
 * Glastonbury Festival 2010
 * Glastonbury Festival 2009
 * Glastonbury Festival 2010


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"When I opened the T-burg shop, I thought I was going into the electronic kit business," Moog told the Chronicle. "Then I met a composer who wanted to make electronic music on tape. We got together just for fun."

Today the once-cumbersome synthesizer fits on a microchip. Car alarms, computer chimes and the sound signatures of products like Maxwell House coffee are all sonic concatenations of Moog's original works.

Minimoog/Emerson live...Wakeman/solo instrument....

"Until Bob Moog came along, we (keyboard players) were hidden in the background. He gave us an instrument that can cut through concrete and frighten guitarists to death," growled Rick Wakeman, the hulking, platinum-blonde keyboard player for the progressive rock band Yes.

"Emerson came out with a cape, he brought his vintage, 8-foot-tall Moog that had to be carted in with its own truck!”

"Bob was very grateful, it was a very emotional night for him to have people who he helped over the years come and pay tribute to him. He came out on stage, spoke, and introduced the closer, Keith Emerson, who was a spectacle; Emerson came out with a cape, he brought his vintage, 8-foot-tall Moog that had to be carted in with its own truck!"

Such resounding success energized Carlini and he was soon planning another Moogfest for the following May, but as the event approached, he encountered unexpected resistance from Moog Music regarding Bob’s involvement. “I didn’t know that Bob was ill; Mike Adams didn’t want to divulge that Bob was sick. I said ‘Bob has to show up; the festival is centered around him! He needs to make an appearance, even if for 20 minutes.’ I kept pushing, and Bob emailed me and said ‘I’m having some life challenges and I am unable to come out, as much as I would love to be there.’”

"The other major change was to recast Moogfest as a contemporary music event that celebrates a new generation of musical performers who are pushing the boundaries of electronic music. We also opened it up so that it wasn't strictly about artists playing Moog instruments, though many if not most do, but rather about Bob Moog's legacy as innovator who opened up a whole new toolbox to inspire the creative imagination of generations of musicians. We love the history of Moog and many of those classic artists too—we intend to include them in future festivals—but we wanted Moogfest to be a celebration of the present and the future, and not only the past."

ASHEVILLE, N.C. — Mark Mothersbaugh, the keyboardist and singer of Devo, reminisced on Friday night about visiting the R. A. Moog Company’s synthesizer factory in Buffalo some time in 1971 or 1972. “It was like heaven,” he said. He was onstage here at Moogfest, a three-day festival with more than 60 acts — bands and disc jockeys, theremin soloists and professed synthesizer geeks — to celebrate the Moog synthesizer, an instrument that transformed music by giving composers countless new sounds.

At the factory, Mr. Mothersbaugh said, he saw shelves holding rows of Minimoogs, the pioneering, suitcase-size synthesizer that was introduced in 1970 and made electronic music portable. It was, he declared, “the most futuristic thing I’d ever seen.”

That future was four decades ago, before digital synthesizers, laptop computers and smartphones put the tools for electronic music on desks and in pockets. Moog Music, as the company was renamed, is now in Asheville, in the mountains of western North Carolina where Robert Moog (pronounced to rhyme with “rogue”), the inventor behind the synthesizer, lived from 1978 until his death, in 2005.

The nonprofit Bob Moog Foundation is raising money to build a “Moogseum” here based around Mr. Moog’s extensive archives, and it presented daytime panel discussions on the history of the synthesizer, featuring Mr. Moog’s collaborators and resurrecting some of his early equipment. A display case at the Orange Peel, a club commandeered by Moogfest, held a Minimoogseum: a history of the Minimoog and a playable theremin.

But Moogs were not mandatory for acts wanting a festival booking. “It’s a thread, it’s not a box,” said Ashley Capps, whose company, AC Entertainment, produced Moogfest.

Matmos, an electronic duo whose brilliant set built terse loops into overarching, evolving structures — largely meditative, occasionally wry — confessed that it was using Roland synthesizers. There were also Korgs, Yamahas, Nords and plenty of unassuming laptops, many of them loaded with Moog samples, in a lineup oriented toward the electronic and the experimental.

Mr. Moog’s original 1964 synthesizer — he called it the Abominatron — was bulky, balky and sometimes unpredictable. It was analog, not digital, creating sounds by sending a continuous electronic signal to a speaker, not a stream of numbers through a converter. To analog devotees that continuous signal is intrinsically superior to digital music, which reproduces sound with tens of thousands of samples per second, which means tens of thousands of infinitesimal gaps between them. Analog sound, said Amos Gaynes, Moog Music’s applications engineer, has infinite resolution, “down to the granular level at which reality is perceived.”

The first commercial Moog synthesizers could play only one note at a time, not always in tune. Early synthesizer users had no preset sounds to fall back on: they plugged in patch cords, turned knobs and experimented. A musician could create a sound, but the synthesizer had no memory; once the sound was changed, it was gone, possibly forever. Heat and humidity also affected the instrument. When digital synthesizers arrived, in the 1980s, sales and prices plunged for those primitive analog synthesizers. They seemed destined for obsolescence.

But not so fast. From their sometimes-unstable oscillators, filters and amplifiers, Moogs and other analog synthesizers produced sounds that more reliable digital synthesizers would not: buzzes, swoops, whooshes, scrapes, gurgles, screeches, burps, crackles and countless other onomatopoeia-worthy noises. Interactions among the waveforms that were generated by the oscillators, and modulated by waveforms from other oscillators, or from a noise generator, were often untamed. Turning a knob or wiggling a wheel on the Minimoog could radically change a timbre in mid-note, making it feel more handmade, less synthetic. Analog sounds are a funky corrective to sterile digital tones; colliding waveforms make a beautiful noise.

Moogfest was a festival of strange sounds and monumental beats, of drones and loops, and of synthetic tones that grew to feel natural. For extra oddity a good part of the audience wore Halloween costumes all weekend.

Neon Indian’s wistful pop marches emerged from thickets of staticky synthesizer noise and disappeared back into them. Panda Bear, from Animal Collective, sang high, chantlike melodies over unswerving synthesizer and guitar drones in what came to sound like cries from the heart. Omar Souleyman, from Syria, sang heartily about love and street life over booming 4/4 drumbeats, while his keyboardist simulated traditional Middle Eastern instruments on two synthesizers. Emeralds played one continuous, very gradually unfolding song, with Moog sounds rippling and percolating through it.

From their laptops and mixers, disc jockey-producers dispensed reveries and onslaughts. Saturn Never Sleeps, the duo of King Britt and Rucyl (both working mixers) backed Rucyl’s airy, echoing voice with fits and starts of percussion and a bass undertow. Mimosa played quick-change remixes, switching from verse to verse among harsh drumbeats, quasi-classical strings, even a little ragtime. Ikonika played a magnificently aggressive set of revved-up hyperdub, a blitz of drumbeats.

Moogfest even included unsynthesized music, in two sets of lapidary, elegant pop by Clare and the Reasons, who played Clare Muldaur Manchon’s songs and then backed up the elusive songwriter (and Beach Boys collaborator in the 1960s) Van Dyke Parks.

For younger bands analog synthesizers are a means to summon and twist nostalgia. Moog sounds are inseparable from some of the most influential music of the 1970s: new wave, synth-pop, funk. Gerald Casale of Devo said in an interview that in Devo’s music “we called the Moog a poison gas vapor,” adding, “It was allowed to come in and swirl around and interject rude and random things that didn’t fit a rock ’n’ roll lexicon. We were hoping for that.”

The original Minimoog benefited not only from its portability but also from a design flaw. Bill Hemsath, who was Moog’s chief engineer and the main inventor of the Minimoog, revealed that some specifications for the Minimoog’s filter section were incorrect, overdriving it by about 15 decibels. “Nobody caught it, and it went into production,” Mr. Hemsath said, adding that it gave the Minimoog a ferocious bass sound musicians soon exploited.

The synthesizer bass lines that pumped through 1970s funk — and have been recycled by hip-hop — were spearheaded by the keyboardist Bernie Worrell in Parliament’s 1977 song “Flash Light” using three connected Minimoogs; he has also received a Moog Award. Mr. Worrell performed at Moogfest with Headtronics, a trio with drumbeats and vinyl scratching from DJ Spooky and Freekbass on bass; he poked and teased at the melodies, making his Minimoog cackle and whoosh. “It’s a dinosaur, but you still can’t beat that sound,” he said in an interview.

The comeback of analog synthesis has been accelerated by software that simulates the interactions of the old oscillators, filters and amplifiers. Instead of pampering some aging (and increasingly expensive) equipment, computer users can, if they wish, turn an infinite number of virtual knobs and plug in an infinite number of virtual patch cords — and then, if they wish, output the digitally generated voltage through analog components. Moog Music recently released an iPhone app, Filtatron, that looks like classic Moog modules and creates similar sounds. “This is actually the best time in human history to be into analog synthesis,” said Mr. Gaynes, the applications engineer.

At Moogfest what once seemed primitive was claiming its own future.

This year, under the guidance of AC Entertainment (which also produce Bonnaroo Music and Arts Festival and the Big Ears Festival) Moogfest is shaping up to be an undeniable mix of some of electronic music’s best with scheduled performances by notable artist such as M83, the Flaming Lips, SBTRKT, St. Vincent, Amon Tobin, STS9, Flying Lotus, Toro Y Moi, Twin Shadow, Chromeo, TV on the Radio, Moby, Crystal Castles, James Murphy (of LCD Soundsystem), Tangerine Dream, Neon Indian, Battles and Ghostland Observatory.

Think about midcentury sci-fi and horror flicks. Do you remember those haunting tones that heralded the presence of aliens or ghosts? That sound was made by a theremin, and Bob Moog might have built it. As a teen in the ’50s, he began making and selling his own version of the electromagnetic noisemaker. Then he took what he learned and created the first relatively cheap and commercially available analog synthesizer in 1964. His ever-expanding line of instruments would go on to be used by rockers like the Beatles, electronic music pioneers Kraftwerk, and composers of a slew of classic movie soundtracks (think John Carpenter’s Halloween or Wendy Carlos’ chilling scores for The Shining and A Clockwork Orange). Moog died in 2005, but his eponymous company remains a popular manufacturer of theremins, and its synths are still favorites of acts from the Beastie Boys and Air to Ben Folds and Dr. Dre.

But rather than bringing only the biggest names in electronic music, there was an initiative to include the underground scene following the Moog spirit of innovation and creativity, says Jeff Cuellar, AC Entertainment director of connectivity.

“Even though the lineup is primarily electronic, it's not about limiting the festival to a particular genre, but rather to cherish the daring vision of an artist pushing the boundaries of music,” Cuellar said.

Moogfest got it start in New York City, but last year made the transition to North Carolina. With the move, the festival has been allowed to spread throughout downtown, where it will be held in some of the city’s best clubs, surrounded by the beauty and history of Asheville.

Speaking with GateHouse Media, Cuellar said that in the second year of Moogfest under AC Entertainment, guests and artists should expect great things.

“Last year we had a great time,” he said. “This year, we’re looking to top it and we’ve got a lot planned for those three days.”

Cuellar said that the core of Moogfest has been the community of artists combined with the location of Asheville.

“The downtown is gorgeous, and I think it’s perfect to have the event right there so people can just walk around and see the city while enjoying some of the best music out there now,” he said.

Cuellar said that Moogfest provides an opportunity for artists and fans alike to gather together for a weekend full of collaborations.

“Usually artists just come in for the day they’re playing at a festival, they play and then they leave,” he said. “But here the musicians are excited to perform as well as hang out with other artists, which sometimes leads to some amazing collaborations on stage.”

In addition, Cuellar said, the fact that Moogfest falls on Halloween this year should knock the festival excitement up a few notches.

“We’ll be dishing out treats for the fans and you’ll find more about that as we get closer, but we’re very excited about the atmosphere, the mind bending music and all of the side events we have planned for that weekend,” Cuellar said.

http://www.glidemagazine.com/articles/57651/flaming-lips-passion-pit-tv-on-the-radio-onboard-for-moogfest.html

The Flaming Lips, Moby, Passion Pit, STS9, Tangerine Dream, TV on the Radio, Special Disco Version featuring James Murphy and Pat Mahoney (DFA/LCD Soundsystem), Umphrey’s McGee, Chromeo, Crystal Castles, Amon Tobin: ISAM Live, Flying Lotus, Suicide (playing their legendary first album in its entirety), Ghostland Observatory, Childish Gambino, M83, Neon Indian, St. Vincent, Beak>, Matthew Dear, Tim Hecker, Anika, Toro Y Moi, Zomby, John Maus, CANT, and Oneohtrix Point Never, are just some of the many stellar acts gathering for this year’s Moogfest, the annual festival celebrating the vision of sonic pioneer Bob Moog, happening October 28-30 in Asheville, NC. Also Brian Eno’s extraordinary video installation, 77 Million Paintings, will be exhibited for the first time in the United States outside of the West Coast. Eno will also present his mind-expanding “Illustrated Talk.” The day-by-day breakdown is below. Also, Moogfest 2011 is expanding in a big way. In addition to concerts at the Asheville Civic Center Arena, Thomas Wolfe Auditorium, and the Orange Peel, new venues for the weekend will include the newly renovated Asheville Music Hall (formerly Stella Blue), the beautiful and intimate Diana Wortham Theatre, and news of an outdoor venue will be announced soon. Additionally, details surrounding the fine arts component of Moogfest are ready to be shared. SYNTH: A Group Art Show Inspired by Bob Moog, is a showcase of handmade limited-edition screen prints by some of the top concert poster artists and graphic designers working today. This year’s show will also feature a special limited edition print created by The Flaming Lips’ Wayne Coyne. All proceeds from SYNTH go to support the Bob Moog Foundation. For more information and a list of confirmed artists, visit www.moogfest.com. Of course, there is a ton more in store – information on this year’s workshops, interactive experiences and discussion panels will be announced in the coming weeks. Additionally, this year there will be surprise daytime performances and events all over town on Saturday and Sunday. Single day tickets are now on sale, and weekend passes are still available at www.moogfest.com. Brian Eno’s 77 Million Paintings and Illustrated Talk are separately ticketed events, specially priced for Moogfest attendees. Visit www.moogfest.com for more information. Moogfest 2011 Schedule By Day

77 Million Paintings by Brian Eno – runs throughout weekend

http://www.glidemagazine.com/articles/57651/flaming-lips-passion-pit-tv-on-the-radio-onboard-for-moogfest.html



One promoter taking advantage of changing tastes is Ashley Capps. Later this month he is putting on Moogfest, a three-day music festival dedicated to the synthesizer invented by Bob Moog.

Some 12,000 concertgoers paying as much as $350 are expected to attend each day. And all of this, arguably, was made possible by regulators flexible enough to look for alternatives to blocking Live Nation’s deal.

Lineups
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=Pequeña Orquesta Reincidentes= Pequeña Orquesta Reincidentes is an Argentinian band...

Members

 * Alejo Vintrob – drums, percussions and tuba
 * Guillermo Pesoa – piano, accordion, harmonica and vocals
 * Juan Pablo Fernández – guitar, armonica and vocals
 * Rodrigo Guerra – double bass, tuba, trombone, hand saw and vocals
 * Santiago Pedroncini – guitar, banjo, trumpet and mandolin

Discography

 * Tarde (1994)
 * Nuestros años felices (1996)
 * ¿Qué sois ahora? (1998)
 * Pequeña Orquesta Reincidentes (2000)
 * Mi suerte (2001)
 * Miguita de pan (2003)
 * Traje (OuiOui Records 2005)
 * Capricho (OuiOui Records 2007)

Gli esordi
Romano, figlio di un fabbro ferraio di Ronciglione e nipote di un falegname di via Giulia (in un quartiere del centro di Roma al tempo molto popolare) e quindi "popolano del miglior lignaggio", Petrolini frequentò fin da ragazzo i teatrini romani, improvvisandosi attore per divertimento. L'ambiente dei baracconi di Piazza Pepe, dove Petrolini fece le sue prime esperienze artistiche, è quello descritto più tardi nella sua commedia Il padiglione delle meraviglie (1924): personaggi curiosi e pittoreschi, imbonitori, finti selvaggi e fenomeni di ogni genere.

Dopo aver fatto, a tredici anni, la dura esperienza del riformatorio — che ricorda con toni accorati nelle sue memorie — a quindici anni decise di lasciare la casa paterna per dedicarsi alla carriera teatrale. Al seguito di una compagnia di attori ambulanti, fece il suo vero esordio in un teatrino di provincia, a Campagnano, come racconta in Modestia a parte: "Il teatro di Campagnano era un vecchio granaio municipale ove, la sera stessa dell'arrivo, debuttai con la macchietta: Il bell'Arturo. Al refrain, misi un piede sull'estremità di una tavola dell'improvvisato palcoscenico, fatto di tavolacce male inchiodate e che posavano su due cavalletti. Il mio peso fece sollevare una tavola e andai a finire di sotto con una elegantissima lussazione a un piede. Il pubblico, regolarmente, si divertì un mondo e chiese il bis, mentre io piangevo dal dolore e dalla rabbia. Fu l'inizio del mio destino. Mi accorsi che ero veramente votato all'arte comica."

Dopo questo esordio non proprio trionfale, il giovane Ettore - che usava il nome d'arte di Ettore Loris - si esibì a Roma e in provincia, per lo più in teatrini di terz'ordine, ma anche in alcuni caffè-concerto di buon livello, come il Gambrinus e il Morteo di Roma. Petrolini stesso, molti anni dopo, descrisse l'ambiente in cui aveva mosso i primi passi: "Io provengo, e lo dico con orgoglio, da una piazza di pubblici spettacoli: Piazza Guglielmo Pepe, e da lì nei piccoli caffè-concerto, dove in fondo a quei bottegoni c'era sempre un palcoscenico arrangiato alla meglio: poche tavole, molti chiodi, e quattro quinte, fondale di carta, con quasi sempre dipinto il Vesuvio (in eruzione, naturalmente), ed ecco l'elenco artistico: prima esce lei, poi esce lui, poi escono tutti e due insieme, ricomincia lei... e così via di seguito fino a mezzanotte: il tutto intercalato da uno sminfarolo al pianoforte."

- Un po' per celia, un po' per non morire..., 1936

Anche nel libro Bravo!Grazie!! Petrolini si soffermò sugli anni della gavetta artistica: "Fu una vita selvaggia, allegra e guitta, e un'educazione a tutti i trucchi e tutti i funambolismi davanti al pubblico, che magnava le fusaje (i lupini) e poi tirava le cocce (le bucce) sur parcoscenico al lume de certe lampene (lampade) ch' er fumo spargeva da pertutto un odore da bottega de friggitore"

Nell'introduzione allo stesso libro Bravo!Grazie!!, descrisse le difficoltà che riscontrò nel rapporto con il pubblico a causa anche di una congiuntura storico-politico-culturale particolare : "Nel periodo della musoneria italiana in cui un buon attore non era considerato tale se non si prestava alle parti lacrimose, io passai come un buffone distinto. Mi venivano a sentire per esclamare Quant'è scemo!"

Nel 1903, appena diciannovenne, Petrolini incontrò Ines Colapietro, che sarà per molti anni sua compagna di lavoro e di vita, nonché madre dei suoi figli. Ines, che aveva allora solo quindici anni, era stata ingaggiata come cantante dal Gambrinus di Roma, insieme alla sorella Tina. Ettore ed Ines formarono un duetto comico, continuando per qualche anno ad usare il nome d'arte Loris.

Le prime tournée
Nel maggio 1907, a Genova, Ettore Petrolini e Ines Colapietro ottennero una scrittura dall'impresario Charles Séguin per una tournée in Sudamerica. La coppia si esibì in teatri e caffè-concerto in Argentina, Uruguay e Brasile, riscuotendo ovunque grande successo. Mentre Petrolini si trovava a Rio de Janeiro, però, un attacco di appendicite lo costrinse a restare lontano dalle scene per un mese. Dopo un'operazione d'urgenza e un periodo di convalescenza, la sua rentrée fu trionfale: tutti gli artisti del teatro rinunciarono alla paga in suo favore, e in una sola serata Petrolini incassò quattromila lire. Dopo Rio, Petrolini rimase ancora qualche mese in Sud America. Sarebbe ritornato per altre tournée nel 1909 e nel 1911-1912, esibendosi anche in Messico e a Cuba.

Le macchiette
In quegli anni Ettore Petrolini aveva già messo a punto un repertorio di macchiette di provato successo. La creazione della sua parodia di Faust, Oh Margherita!, per esempio, risale alla tournée del 1907, come Petrolini stesso racconta in Modestia a parte. Ma le macchiette di Petrolini trascendevano il genere macchiettistico, e l'artista era consapevole dell'originalità del suo repertorio. In Petrolineide, ne "Il café chantant" del 20 luglio 1914, scriveva: "Ho importato la parodia. Ho abolito le definizioni di "comico nel suo repertorio"; oppure "comico macchiettista" eccetera, e comparvero — per me — i primi aggettivi di "parodista" o di "comico grottesco" e di "originale", "fantastico", "bizzarro" e via di seguito!"

Molti fra i suoi personaggi - Giggi er bullo (parodia di un dramma di Gastone Monaldi), il Sor Capanna (del quale riprese alcune strofe, e che chiamava "il mio maestro", ), i Salamini, Fortunello - sono diventati punti di riferimento per un'idea di comicità che Petrolini riassumeva così: "Imitare non è arte perché se così fosse ci sarebbe arte anche nella scimmia e nel pappagallo. L'arte sta nel deformare."

- Al mio pubblico, scritti postumi, 1937

Alcuni dei caratteristici numeri comici, nati come semplici macchiette, furono rielaborati da Petrolini che diede loro spessore e consistenza di veri personaggi di commedia. È il caso di Gastone, nato da una macchietta, Il bell'Arturo, inserita nella rivista Venite a sentire del 1915 (scritta da Petrolini in collaborazione con G. Carini), tendente a mettere in ridicolo sia le star del declinante mondo del cinema muto sia i cantanti dell'epoca di Gino Franzi, che poi fu ripreso più volte fino ad diventare il tragicomico protagonista della commedia Gastone del 1924. Un altro personaggio partito da una macchietta — l'Antico romano — e sviluppato successivamente dallo stesso Petrolini era Nerone, parodia allo stesso tempo della retorica imperiale e della recitazione enfatica del "grande attore".

I primi successi
Tornato dalla fortunata tournée in Sudamerica, Petrolini fu scritturato nel 1910 da Giuseppe Jovinelli per il suo nuovo, elegante teatro di Piazza Guglielmo Pepe, inaugurato nel 1909 con uno spettacolo di Raffaele Viviani. Ottenne un tale successo che, dopo due stagioni al Teatro Jovinelli, l'impresa della Sala Umberto firmò con l'attore un contratto esclusivo per tre anni pagando a Giuseppe Jovinelli una penale di 8.000 lire. Nel 1915 si costituì la Compagnia dei grandi spettacoli di varietà Petrolini, che mise in scena le prime riviste petroliniane, Venite a sentire e Zero meno zero. Quest'ultima era stata confezionata da Luciano Folgore (sotto lo pseudonimo di Esopino) attorno ad un nucleo di personaggi tipici del repertorio petroliniano, fra i quali il celebre Fortunello, che suscitò l'entusiasmo dei Futuristi, in particolare di Filippo Tommaso Marinetti che definì Fortunello «il più difficilmente analizzabile dei capolavori petroliniani». Petrolini, che pure si era burlato di Marinetti negli Stornelli maltusiani, si lasciò lusingare dall'ammirazione dei Futuristi, partecipò ad alcune delle loro "serate" e interpretò le sintesi di Marinetti, Corra e Settimelli. La collaborazione fra Petrolini e i Futuristi culminò in Radioscopia di un duetto, atto unico definito "simultaneità del teatro di varietà", scritto a quattro mani con Francesco Cangiullo nel 1918. L'anno seguente, Mario Bonnard ne trasse un film dal titolo Mentre il pubblico ride, interpretato da Petrolini e Niny Dinelli. Il repertorio di Petrolini si arricchì, a partire dagli anni venti, con una serie di commedie di autori italiani, scritte appositamente per lui o adattate alla sua comicità. Petrolini adattò a sé commedie di autori come Alfredo Testoni, Renato Simoni, Roberto Bracco, Luigi Antonelli, Ugo Ojetti, Salvator Gotta, Fausto Maria Martini. Nel 1925, portò in scena un suo adattamento da Lumie di Sicilia di Pirandello, intitolato Agro de limone. Agli anni Venti risale anche l'incontro di Petrolini con Elma Criner, che divenne la sua compagna e più tardi sua moglie.

Il cinema
L'avventura cinematografica di Petrolini era iniziata nel 1919 con la trasposizione cinematografica dell'atto unico Radioscopia di un duetto (di Petrolini e Cangiullo), portata sullo schermo da Mario Bonnard col film Mentre il pubblico ride. Negli anni trenta, con l'avvento del sonoro, Petrolini tornò al cinema. Nel 1930 fu il protagonista di Nerone di Alessandro Blasetti, un lungometraggio che, oltre a presentare alcune delle sue interpretazioni più note — Gastone, Nerone, Pulcinella — mostrava l'attore nel suo camerino. Nello stesso anno interpretò Cortile di Carlo Campogalliani, tratto dalla commedia di Fausto Maria Martini, con Paola Dria protagonista femminile. L'anno seguente fu la volta de Il Medico per forza, sempre per la regia di Campogalliani, con Tilde Mercandalli e Letizia Quaranta.

Gli anni Trenta
Oltre ad aver interpretato come attore le commedie di molti autori italiani, Petrolini firmò molte riduzioni di opere teatrali, da lui portate a nuova vita sulle scene italiane degli anni Venti e Trenta. La produzione del Petrolini commediografo si fece negli anni più ricca e complessa: dalle macchiette alle prime riviste, ai fortunati atti unici come Amori de notte e Romani de Roma, alle commedie degli ultimi anni: Gastone, Il padiglione delle meraviglie, Benedetto fra le donne, Chicchignola. Proprio in questi ultimi due testi, la drammaturgia petroliniana completa la sua evoluzione, e la comicità irriverente lascia il passo ad una riflessione più matura, allo stesso tempo amara e compassionevole, sulle debolezze umane.

Ormai affermato, Petrolini partì per una serie di tournée all'estero, in Egitto e nelle colonie italiane di Cirenaica e Tripolitania. Con la sua compagnia girò poi le principali città europee. A Parigi, ottenne quello che considera il più alto riconoscimento: venne invitato a recitare Il medico per forza alla Comédie Française, tempio di Molière. Si esibì anche a Londra, al Little Theatre; a Berlino, al Kurfüstendamm Theater; a Vienna, al Komödie Theater.

La morte prematura
Costretto ad abbandonare definitivamente le scene nel 1935 perché sofferente di una grave forma di angina pectoris, Ettore Petrolini morì all'età di 52 anni, il 29 giugno 1936.

La salma, vestita con il frac del suo notissimo Gastone fu tumulata presso il Cimitero del Verano. Il 19 luglio 1943, nel corso del primo bombardamento di Roma, un ordigno colpì la sua tomba, una cappella rettangolare, spezzando il busto di marmo e danneggiando gravemente la cassa contenente i resti dell'attore.

Le canzoni
Per completare il ritratto dell'artista Petrolini, non si può tralasciare la musica, che è parte integrante del suo teatro. Molti fra i suoi personaggi cantano canzoni e filastrocche, o recitano su un sottofondo musicale. La musica è presente in molte sue commedie e riviste.

Petrolini fu spesso interprete, e a volte anche autore, di canzoni di successo, molte delle quali furono incise su disco. Un grande successo musicale del 1926, in Italia, fu Una gita a li castelli (nota anche con il titolo Nannì), scritta da Franco Silvestri ma incisa da Petrolini. Ma la sua canzone più nota è senza dubbio Tanto pe' cantà, il cui testo è stato scritto da Alberto Simeoni, che Petrolini incise nel 1932 e che subito divenne il simbolo di un certo modo di essere romano, al punto che fu ripresa negli anni successivi da quasi tutti gli artisti più rappresentativi della capitale: per citarne solo alcuni, Alvaro Amici, Gigi Proietti, Gabriella Ferri e soprattutto Nino Manfredi, che con questa canzone otterrà un notevole successo di vendita.

I versi maltusiani
Seguendo la moda futurista dei versi maltusiani ne compose alcuni tra i quali quello che lo definisce:

Petrolini è quella cosa che ti burla in ton garbato, poi ti dice: ti à piaciato? se ti offendi se ne freg. Erroneamente alcuni scrivono ti ha piaciato. Ma il titolo dell'opera è effettivamente Ti à piaciato?

Teatrografia
Fonte: Archivio Petrolini presso Biblioteca e Museo teatrale del Burcardo, Roma.

Macchiette e parodie

 * L'Amante dei fiori
 * Amleto [con Libero Bovio]
 * L'antico romano
 * Archimede
 * Baciami, baciami
 * Il bell'Arturo
 * La Caccavella
 * Canzone guappa
 * Cirano
 * Il conte d'Acquafresca
 * Il Cuoco
 * Il Danzadero
 * Divorzio al parmiggiano
 * La Domatrice
 * Faust (Oh Margherita!)
 * Fortunello
 * Giggi er bullo
 * Isabella e Beniamino
 * Ma l'amor mio non muore
 * Maria Stuarda
 * Napoleone
 * Paggio Fernando
 * I piedi
 * Il poeta
 * Il prestigiatore
 * I Salamini
 * Er Sor Capanna
 * Stornelli maltusiani
 * Ti à piaciato?
 * Il Turco

Riviste

 * 1915: Venite a sentire con G. Carini
 * 1915: Zero meno zero con Luciano Folgore
 * 1916: Dove andremo a finire? con G. Carini
 * 1916: Acqua salata (o Senza sugo) con T. Masini
 * 1916: Favorischino

Commedie

 * 1917: Nerone
 * 1917: Romani de Roma
 * 1917: Amori de notte
 * 1918: Radioscopia con Francesco Cangiullo
 * 1918: Cento de 'sti giorni con Checco Durante
 * 1918: 47 morto che parla
 * 192.: Donnaiuolo
 * 1923: Farsa di Pulcinella
 * 1924: Gastone - Bologna, 14 aprile 1924
 * 1924: Il padiglione delle meraviglie
 * 1927: Benedetto fra le donne
 * 1931: Chicchignola
 * 1934-1935: Il metropolitano - mai rappresentata

Riduzioni ed opere di altri autori

 * Agro di limone da Lumie di Sicilia di Luigi Pirandello
 * L'amante legittimo di Cipriano Giachetti
 * Ambasciatori di Lucio D'Ambra
 * L'avvocato Bonafede da Congedo di Renato Simoni
 * Il barone di Corbò di Luigi Antonelli
 * Il cantastorie di Ferrante Alvaro De Torres e Alberto Simeoni
 * Il castigamatti di Giulio Svetoni
 * Cometa di Yambo
 * La coppa incantata da La coupe enchantée di Jean de la Fontaine, traduzione di E. Corradi
 * Coraggio di Augusto Novelli
 * Cortile di Fausto Maria Martini
 * È arrivato l'accordatore di Paola Riccora
 * Elogio del furto di D. Signorini
 * Il fondo d'oro di Galeazzo Ciano
 * La fortuna di Cecè di Athos Setti
 * I fratelli Castiglioni di Alberto Colantuoni
 * Garofano di Ugo Ojetti
 * Ghetanaccio di Augusto Jandolo
 * Giovacchino Belli di Augusto Jandolo
 * Giovanni Arce da Le esperienze di Giovanni Arce filosofo di Pier Maria Rosso di San Secondo
 * Un guasto nell'ascensore di André Mouezy-Eon
 * L'Illusionista da L'Illusioniste di Sacha Guitry
 * Io non sono io di Toddi
 * La regina ha mangiato la foglia di Gildo Passini
 * Ma non lo nominare di Arnaldo Fraccaroli
 * Maritiamo la suocera di Colorno
 * Il medico per forza da Le médecin malgré lui di Molière
 * Mezzo milione di Alfredo Testoni
 * Mi uccido di Paola Riccora
 * Mille lire di Salvator Gotta
 * Mustafà di Armando Discepolo e Rafael J. De Rosa
 * Ottobrata di Giovanni Cesare Pascucci e Augusto Topai
 * I pantaloncini di G. Nancy
 * Patalocco di Ugo Romagnoli
 * Peppe er pollo di Augusto Novelli
 * Per la porta di Felyne Ossip
 * Pinelli di Ettore Veo
 * Rifiuto... io di Corrado D'Errico
 * Scarfarotto di Gino Rocca
 * Lo sfratto di Enrico Serretta
 * Teodoro è stanco di Max Nel
 * Toccalafrusta di Ugo Chiarelli
 * I tre di Dino Falconi
 * La trovata di Paolino di Renzo Martinelli
 * Tutti in cantina di Eugène Labiche
 * Tutto si accomoda di Enrico Serretta
 * Uno degli onesti di Roberto Bracco
 * Un uomo onesto di Piero Ottolini
 * Zeffirino di Gian Capo
 * Zio prete di Giovanni Tonelli

Attore

 * Petrolini disperato per eccesso di buonumore (1913)
 * Mentre il pubblico ride, regia di Mario Bonnard. Interpreti principali: Ettore Petrolini, Nini Dinelli (1919)
 * Nerone, regia e sceneggiatura di Alessandro Blasetti, soggetto di Ettore Petrolini. Interpreti principali: Ettore Petrolini, Elma Criner, Grazia Del Rio, Mercedes Brignone, Mario Mazza, Alfredo Martinelli (1930)
 * Cortile, regia di Carlo Campogalliani, sceneggiatura di Fausto Maria Martini ed Ettore Petrolini. Interpreti principali: Ettore Petrolini, Paola Dria, Augusto Contardi (1930)
 * Il medico per forza, regia di Carlo Campogalliani, sceneggiatura di Carlo Campogalliani ed Ettore Petrolini da Molière. Interpreti principali: Ettore Petrolini, Letizia Quaranta, Tilde Mercandalli, Augusto Contardi, Sergio Rovida (1931)

Film di montaggio

 * Petrolineide (1949)
 * Petrolini (1952)
 * Carosello del varietà (1954)

Bibliografia
Fonte: Archivio Petrolini presso Biblioteca e Museo teatrale del Burcardo, Roma.

Opere di Ettore Petrolini

 * Nerone. Roma, Stabilimenti Cines, 1931
 * Gastone : due atti e tre quadri. Bologna, Cappelli, 1932
 * Petrolini nelle sue nuovissime interpretazioni: Benedetto fra le donne, Una gita pe' li Castelli Romani, Nannì, Chicchignola, Peppe er Pollo, Er gastigamatt. [Roma], Tip. Rinaldini, [193.?]
 * Ti à piaciato?!. Sesto San Giovanni, Barion, 1923 e 1933
 * Benedetto fra le donne : tre atti e diversi finali. Bologna, Cappelli, 1934
 * Chicchignola : commedia in tre atti. Bologna, Cappelli, 1934
 * Nerone ; Romani de Roma ; prefazione di Anton Giulio Bragaglia. [s.l., s.n.], 1945
 * Teatro : i personaggi, Romani de Roma, L'ottobrata, Nerone, miscellanea. Milano, Garzanti, 1961
 * Teatro ; a cura di Annamaria Calò. Venezia, Edizioni del Ruzante, 1977
 * Il teatro ; a cura di Giovanni Antonucci. Roma, Newton Compton, 1993
 * Ti à piaciato ; con uno scritto di Rino Mele. Salerno, Rispostes, [1993]
 * Macchiette, lazzi, colmi e parodie ; a cura di Giovanni Antonucci. Roma, TEN, 1994
 * Bravo! Grazie!! : antologia petroliniana ; a cura di Vincenzo Cerami. Roma, Editori Riuniti, 1997
 * Teatro di Varietà ; a cura di Nicola Fano con la collaborazione di Annamaria Calò. Torino, Einaudi, 2004

Scritti non teatrali

 * Modestia a parte. Bologna, Cappelli, 1931; ora introduzione di Nicola Fano. Roma, L'Unità, 1993
 * Un po' per celia, un po' per non morir... Roma, Signorelli, 1936
 * Al mio pubblico : scritti postumi. Milano, Ceschina, 1937 (raccolta di scritti pubblicata postuma dal figlio Oreste)
 * Memorie ; a cura di Annamaria Calò. Venezia, Edizioni del Ruzante, 1977
 * Facezie, autobiografie e memorie ; a cura di Giovanni Antonucci. Roma, Newton Compton, 1993

Audio e video

 * Alessandro Blasetti, Carlo Campogalliani. Antologia di Petrolini. Milano : Mondadori video, 1990 (video VHS, montaggio di spezzoni dai film Nerone e Il medico per forza)
 * [Ettore Petrolini et al.]. I sempreverdi. [Roma], A. Curcio, c1991 (CD con fascicolo allegato, n. 34 del Dizionario della canzone italiana a cura di Renzo Arbore)
 * Il primo disco di Petrolini. [s.l.], Nuova Fonit Cetra, [1995] (CD audio contenente alcune registrazioni di interpretazioni di Petrolini)

Scritti su Ettore Petrolini

 * Mario Dessy. Petrolini. Milano, Modernissima, 1921
 * Ettore Romagnoli. Petrolini il grande in La Platea, sere III. Bologna, Zanichelli, 1924
 * Eugenio Bertuetti. Petrolini acteur novécentiste in '900, 3, Cahier de Printemps, 1927
 * Silvio D'Amico. Petrolini in Comoedia, X, 2, 1928
 * Emilio Settimelli. Petrolini ne Gli odi e gli amori. Roma, Pinciana, 1928
 * Silvio D'Amico. Petrolini in Tramonto del grande attore. Milano, Mondadori, 1929
 * Antonio Aniante. Petrolini, manica larga in Venere Cipriana. Roma, Tiber, 1929
 * Umberto Onorato. Nuovo per queste scene. Bologna, Cappelli, 1931
 * Ugo Ojetti. Lettera a Petrolini in lode ai romani in Pegaso, 1932
 * Anton Giulio Bragaglia. Il segreto di Tabarrino. Firenze, Vallecchi, 1933
 * Lucio Ridenti. Filosofia di Petrolini ne Il dramma, XII, 239, 1936
 * Eugenio Bertuetti. Ricordo di Petrolini ne Il dramma, XII, 238
 * Renato Simoni. Teatro di ieri. Milano, Treves, 1938
 * Augusto Jandolo, Le memorie di un antiquario. Milano, Ceschina, 1938
 * Catalogo della biblioteca teatrale appartenente al celebre attore Ettore Petrolini : libri antichi, moderni, stampe ed autografi d'interesse teatrale e vali altri libri di arte, curiosità e dialetto romanesco... ; a cura di Luigi Lubrano. Roma, Casa di vendite Guglielmi, 1938
 * Arturo Lancellotti. I signori del riso. Roma, Maglione, 1938
 * Francesco Cangiullo. Le novelle del varietà. Napoli, Richter, 1938
 * Lucio Ridenti. L'attore Petrolini ne Il dramma, XVI, 1940
 * Rodolfo De Angelis. Caffè concerto : Memorie di un canzonettista. Milano, SACSE, 1940
 * Silvio D'Amico. Maschera di Petrolini, in Rivista italiana del teatro, VI, I, 1942
 * Mario Corsi. Vita di Petrolini. Milano, Mondadori, 1944
 * Rodolfo De Angelis. Storia del café-chantant.  Milano, Il Balcone, 1946
 * Anton Giulio Bragaglia. Le maschere romane. Roma, Colombo, 1947
 * Mario Verdone. Petrolini e il cinema in Sipario, IV, 39, 1949
 * Mario Verdone. Un avversario dei divi : Petrolini ne Gli intellettuali e il cinema. Roma, Bianco e Nero, 1952
 * S.G. Biamonte. La parte di Petrolini in Cinema, 102, 31 gennaio 1953
 * Ghigo De Chiara. Ettore Petrolini. Bologna, Cappelli, 1959
 * Anton Giulio Bragaglia. Petrolini grande attore comico. Roma, Staderini, 1961
 * Mario Verdone. Teatro del tempo futurista. Roma, Lerici, 1969
 * Mario Verdone. Spettacolo romano. Roma, Golem, 1970
 * Mario Dell'Arco. Café Chantant di Roma. Milano, Martello, 1970
 * Mario Verdone. Petrolini e i futuristi ne La strenna dei romanisti. Roma, Staderini, 1972
 * Giovanni Antonucci. Lo spettacolo futurista in Italia. Roma, Studium, 1974
 * Giorgio Bertero. Petrolini l'uomo che deride. Milano, Bompiani, 1974
 * Giovanni Antonucci. Cronache del teatro futurista. Roma, Abete, 1975
 * Giovanni Antonucci. L'assassino del chiaro di luna ne Il dramma, 10, 1975
 * Franca Angelini. Il teatro del Novecento : da Pirandello a Fo. Roma-Bari, Laterza, 1976
 * Café-chantant ; a cura di M.T. Contini, M. Vannucci, P. Paganini. Firenze, Bonechi, 1977
 * Stefano De Matteis, Ettore Petrolini in Enciclopedia del teatro del Novecento. Milano : Feltrinelli, 1980
 * Giovanni Lista. Petrolini e i futuristi. Salerno, Taide, 1981
 * Petrolini. Catalogo della mostra, Roma, Palazzo Braschi, 12 ottobre-28 novembre 1982; a cura dell'Associazione Culturale Witz. Roma, De Luca, 1982
 * Petrolini : la maschera e la storia ; a cura di Franca Angelini. Bari : Laterza, 1984
 * Annamaria Calò. Ettore Petrolini ; con un intervento di Franca Angelini. Firenze, La Nuova Italia, 1989
 * ... Un po' per non morir : Ettore Petrolini a sessant'anni dalla scomparsa ; a cura di roberto Alemanno e Angelo Lombardi. Roma, Bulzoni, 1997
 * Petrolini : dalle macchiette a Molière : il percorso di un "comico" ; a cura di Maria Teresa Iovinelli. Roma, SIAE, 2003 (CD multimediale pubblicato in occasione della mostra)
 * Simone Soriani, Petrolini drammaturgo, in <<Forum Italicum>>, Vol 44, No 2 (2010), pp. 301-342; Ognuno discende dalle scale di casa sua. Petrolini e la commedia dell'arte, in "Atti&Sipari", 8, 2011.

Collegamenti esterni
L'Archivio Petrolini, comprendente tutta la documentazione raccolta da Ettore Petrolini durante la sua vita (recensioni, fotografie, ritratti, caricature, lettere, copioni, appunti, costumi e oggetti di scena) è stato donato dagli eredi alla Biblioteca e Museo teatrale del Burcardo di Roma.
 * Petrolini dalle macchiette a Molière: il percorso di un comico mostra dedicata ad Ettore Petrolini, Roma, 2003
 * Gastone di Ettore Petrolini (1925)
 * Un sito dedicato all'artista
 * Il testo di Fortunello
 * Il fenomeno Petrolini (su italiamemoria.info)
 * Sentimental: archivio delle canzoni italiane degli anni '20 '30 e '40 con file audio

Ettore Petrolini Ettore Petrolini -->

<hr style="margin: 7em 25%">

=Albert Plà=


 * Albert Plà
 * es.wikipedia...Albert Pla
 * it.wikipedia...Albert Plà

Discography

 * Ho sento molt (PDI 1989)
 * Aquí s'acaba el que es donava (PDI 1990)
 * Una MM... lligada amb un cordill (2 CD - PDI 1991)
 * No sólo de rumba vive el hombre (BMG Ariola 1992)
 * Supone Fonollosa (BMG Ariola 1995)
 * Veintegenarios en Alburquerque (BMG Ariola 1997)
 * Anem al llit (BMG Ariola 2002)
 * Cançons d'amor i droga (2 CD - BMG Ariola 2003)
 * Vida y milagros (CD + DVD en directo - BMG Ariola 2006)
 * La diferencia (El Volcán Música 2008)

Biography
Antonio Porta, <!--TODO......................è stato tra i fondatori del Gruppo 63; ha partecipato ad esperienze di "poesia visiva" (Padova, Milano, Roma e Londra) e nel 1961 ha contribuito alla formazione dell'antologia "I novissimi".

Dal 1958 al 1961 è stato redattore della rivista "Il Verri" e, dal 1963 al 1967, redattore della rivista "Malebolge".

Nel 1958 è entrato a far parte della  redazione della rivista letteraria Il Verri sotto la direzione di Luciano Anceschi. E' in quegli anni che nasce l'ormai storica antologia di poesia "I novissimi", curata da Alfredo Giuliani, cui Porta contribuisce con alcuni suoi testi, insieme con Elio Pagliarani, Edoardo Sanguineti, lo stesso Alfredo Giuliani e Nanni Balestrini. La data di pubblicazione è il marzo 1961. Come allargamento dell'esperienza de "I novissimi", è fondato poco dopo il Gruppo '63 che raduna intorno a sé tutte le forze della Neoavanguardia o nuova avanguardia italiana. Ai lavori del "Gruppo '63" Porta partecipa durante i congressi di Palermo, di Reggio Emilia, di La Spezia e di Fano.

Dal 1963 al 1967 prende parte alla redazione della rivista di punta della nuova avanguardia Malebolge. In quegli stessi anni Porta si dedica alla poesia visiva, partecipando ad alcune mostre  a Padova, Milano, Roma, Londra. La sua opera più strettamente legata a questa esperienza è "Zero", pubblicata  in edizione numerata nel 1963.

È stato critico letterario de Il Corriere della Sera e de Il Giorno; ha collaborato con Tuttolibri, Panorama, e L'Europeo ed è stato direttore responsabile e attivo redattore dei mensili Alfabeta e La Gola.

Dal 1982 al 1983 ha insegnato alla Facoltà di Lettere moderne nell'Università di Chieti; nel 1983 è stato professore all'Università di Yale, New Haven, Connecticut (USA); nel 1984 ha insegnato Storia della lingua italiana all'Università di Pavia; nel 1985 ha tenuto corsi di aggiornamento per insegnanti di italiano all'estero alla Facoltà di Lettere e filosofia dell'Università degli Studi di Roma "La Sapienza" e, nel 1988, ha insegnato Estetica nella Facoltà di Lettere e filosofia all'Università di Bologna.

Dal l956 al l967 ha lavorato per la casa editrice Rusconi e Paolazzi  s.p.a., Milano, nel settore periodici (Gioia, Gente, Rakam)  e nel settore libri (per le edizioni de "il verri") con compiti di coordinamento anche per quel che riguarda la produzione industriale. Sempre per lo stesso gruppo editoriale si è occupato in prima persona  della gestione del quotidiano sportivo romano "Corriere dello Sport - Stadio" per circa tre anni.

Nel 1968 è stato assunto dalla casa editrice Bompiani, Milano, in qualità  di direttore amministrativo e assistente di Valentino Bompiani.

Nel 1972 è diventato direttore generale delle case editrici Bompiani, Sonzogno, Etas libri, per assumere poi la direzione editoriale  della sola Bompiani.

Nel 1977 è passato alla casa editrice Feltrinelli in qualità  di dirigente, a fianco del consigliere delegato e direttore  generale.

Ha lasciato la carica di dirigente nel 1981 per dedicarsi soprattutto al lavoro  di scrittore, pur continuando a svolgere lavoro di tipo  culturale presso la Cooperativa Intrapresa e la Cooperativa  Alfabeta, nel cui ambito ha partecipato all'organizzazione  dei convegni: "Il senso della letteratura", Palermo, novembre 1984, "Stabat Nuda Aestas. D'Annunzio e la poesia oggi", Viareggio,  ottobre 1985, "Ricercatori & Co.", Viareggio, febbraio  1987 e le manifestazioni di "Milanopoesia" 1984, 1985, 1986  e 1988.

Ha lavorato per la RAI nel gennaio-marzo 1987 e nell'ottobre-dicembre dello stesso anno come  autore e conduttore del settimanale "Settantaminuti" in onda  il sabato mattina su Radiodue.

Nel 1988 ha curato la presentazione del settimanale "Prima di cena, tra  speranza e nostalgia", in onda su Radiodue.

È stato membro del Consiglio di Amministrazione della "Fonit Cetra S.p.A." dal 23 luglio 1985.

È stato poi confermato consigliere per la Nuova Fonit Cetra S.p.A. il 27 luglio 1987. ................END TODO-->

Songs
The opening track, "The Power Is Yours", was previously released in February 1986 as the sixth Redskins single; while the final single from the album was remixed and released in May along with a promo video of the band busking at a James Brown performance. In total, 5 of the album's 11 tracks were released as singles.

Reception

 * WP:ALBUM/REVSIT

Track listing
Side A: Neither Washington...
 * Standard edition
 * 1) "The Power Is Yours..." (Chris Dean, Martin Hewes, Paul Hookham) – 2:10
 * 2) "Kick Over the Statues!" (Chris Dean, Martin Hewes, Nick King) – 2:29
 * 3) "Go Get Organized!" (Chris Dean, Martin Hewes, Nick King) – 3:58
 * 4) "It Can Be Done!" (Martin Hewes, Nick King) – 3:46
 * 5) "Keep on Keepin' On!" (Chris Dean, Martin Hewes, Nick King) – 3:51
 * 6) "(Burn It Up) Bring It Down! (This Insane Thing)" (Chris Dean, Martin Hewes, Nick King) – 4:35

Side B: Nor Moscow...
 * 1) "Hold On!" (Chris Dean, Martin Hewes, Nick King) – 2:51
 * 2) "Turnin' Loose (These Furious Flames)" (Chris Dean, Martin Hewes, Nick King) – 3:43
 * 3) "The Crack" – 2:38
 * 4) "Take No Heroes!" (Chris Dean, Martin Hewes, Nick King) – 5:05
 * 5) "Let's Make It Work!" (Chris Dean, Martin Hewes, Paul Hookham) – 3:26
 * 6) "Lean on Me!" (Chris Dean, Martin Hewes) – 5:15
 * 7) "The Return of the Modern Soul Classic" – 1:31


 * 1996 Remastered CD
 * 1) "The Power Is Yours" – 2:09
 * 2) "Kick Over the Statues!" – 2:28
 * 3) "Go Get Organized!" – 3:57
 * 4) "It Can Be Done!" – 3:45
 * 5) "Keep on Keepin' On!" – 3:51
 * 6) "Bring It Down!" – 4:32
 * 7) "Hold On!" – 2:51
 * 8) "Turnin' Loose" – 3:44
 * 9) "Take No Heroes!" – 5:00
 * 10) "Let's Make It Work!" – 3:25
 * 11) "Lean on Me!" – 5:15
 * 12) "Keep on Keepin' On!" (Ted de Bono 12" Mix)" – 3:51
 * 13) "16 Tons" (Merle Travis) – 5:14
 * 14) "Reds Strike the Blues" – 5:06
 * 15) "99 and a Half Won't Do" (Steve Cropper, Eddie Floyd, Wilson Pickett) – 3:26

Personnel

 * Redskins
 * Chris Dean - vocals, guitar, and keyboards
 * Martin Hewes – bass guitar, backing vocals, and keyboards
 * Nick King – drums


 * The Redskins Brass
 * Ray Carless – baritone sax, tenor sax, alto sax and soprano sax
 * Kevin Robinson – trumpet and flugelhorn
 * Trevor Edwards – trombone and quarter bottle


 * Guest musicians
 * Chris Silagyi – keyboards
 * Bobby de Niro – additional wocals on "Let's Make It Work!"
 * Gorman Mitriole – additional drums on "Go Get Organized!"


 * Production
 * Chris Silagyi and Pat Foley – producers
 * Rogers & Hallesy – engineering
 * Steve Street – mixing on "The Power Is Yours..." and "Hold On!"
 * Mark Dodson – mixing on "Go Get Organized!", "It Can Be Done!", "Take No Heroes!", and "Lean on Me!"


 * Mike Thorne – Producer
 * Roger Wake – Digital Remastering
 * Pat Foley – Producer
 * Paul Hookham – Composer
 * Merle Travis – Composer

Release history

 * 1986 Neither Washington nor Moscow United Kingdom Vinyl LP Decca FLP1
 * 1986 Neither Washington Nor Moscow (LP, Album) London Records FLP 1 UK 1986
 * 1986 Neither Washington Nor Moscow (LP, Album) London Records 828 009-1 Germany 1986
 * 1986 Neither Washington Nor Moscow (LP, Album) Decca, London Records FLP 1, 42282 80091 1986
 * 1997 Neither Washington ... Nor Moscow (CD, Album, RM) London Records 828864-2 UK 1997
 * 1997 Neither Washington Nor Moscow... [Bonus Tracks], [Remastered] United Kingdom CD London 828864-2

<hr style="margin: 7em 25%">

=Rondine al nido=

Selected recordings
Albums with Complete Performances of the Work Title Date


 * Luciano Pavarotti in Concert 1987
 * Carreras, Domingo and Pavarotti in Concert 1990
 * Carreras, Domingo, Pavarotti in Concert 1990
 * Carreras Domingo Pavarotti En Concierto 1990
 * The Three Tenors in Concert 1990
 * Popular Songs 1990
 * Luciano Pavarotti in Concert 1991
 * Live in Modena 1985 1993
 * Pavarotti in Central Park 1993
 * Pavarotti in Central Park [DVD Video] 1993
 * Pavarotti: London Records Great Studio Recordings of his Central Park Program 1993
 * Serenade: Lieder-Arien Recital 1993
 * O Sole Mio: Greatest Hits 1994
 * Gigli in Song 1995
 * Beniamino Gigli: The Complete Victor Recordings, Vol. 2: 1926-28 1996
 * Beniamino Gigli: In Opera And Song 1997
 * Canzoni Italiane 1998
 * Beniamino Gigli Interpreta...(Archivio della Romana da Salotto Italiana), Vol. 2 1999
 * The Ultimate Opera Album 1999
 * A Portrait of Pavarotti 2001
 * Pavarotti Edition: Italian Popular Songs 2001
 * Pavarotti Edition [Box Set] 2001
 * Neapolitan Café 2001
 * 6 Decades of Immortal Performances 2001
 * Tenor's Favourite Songs 2001
 * Neapolitan Café 2001
 * Amore: Essential Romantic Collection 2001
 * Camden and New York Recordings, 1926-27 2004
 * Pavarotti: The Three Concerts [DVD Video] [Box Set] 2007
 * Torna a Surriento: Neapolitan & Italian Songs 2004
 * Italy: Greatest Hits 2005
 * Favourite Flavours 2005
 * Große Tenöre der Musikgeschichte, Vol. 2 2006
 * Treasured Songs of Italy and Germany 2007
 * The Original Three Tenors Concert [DVD Video] 2007
 * Mamma 2007
 * Pavarotti: The Studio Albums [Box Set] 2007
 * In Concert 2007
 * Luciano Pavarotti: In Memoriam [Box Set] 2007


 * Leoncavallo, Curtis, Bixio and others
 * His Greatest Hits on Radio
 * Beniamino Gigli-Recital al Teatro Gran Rex di Buenos Aires
 * Famous Italian Songs
 * Gigli in Song
 * 3 Historic Tenors in Concert
 * L'Arte del Bel Canto
 * Mamma
 * Enzo De Muro Lomanto and his wife Toti Dal Monte
 * Beniamino Gigli: Gigli Edition
 * Lebendige Vergangenheit: Giuseppe Valdengo
 * Greatest Hits
 * Pavarotti Forever [DVD Video]
 * Pavarotti a Modena


 * GIGLI, Beniamino: Gigli Edition, Vol. 4: Camden and New York Recordings (1926–1927)
 * GIGLI, Beniamino: Gigli Edition, Vol. 15: Carnegie Hall Farewell Recitals (1955)
 * Vocal Concert: Gigli, Beniamino - TOSELLI, E. / CRESCENZO, V. de / DONAUDY, S. (Archivio della Romanza da Salotto Italiana, Vol. 2) (1926–1947)

<hr style="margin: 7em 25%">

=Gianni Sassi=

Gianni Sassi (1938–1993) was an Italian....

Chrous: “To October”

 * Text by Alexander Bezymensky

Мы шли, мы просили работы и хлеба, Сердца были сжаты тисками тоски. Заводские трубы тянулися к небу, Как руки, бессильные сжать кулаки. Страшно было имя наших тенет: Молчанье, страданье, гнет.
 * Russian

Но громче орудий ворвались в молчанье Слова нашей скорби, слова наших мук. О Ленин! Ты выковал волю страданья, Ты выковал волю мозолистых рук. Мы поняли, Ленин, что наша судьба Носит имя: борьба.

Борьба! Ты вела нас к последнему бою. Борьба! Ты дала нам победу Труда. И этой победы над гнетом и тьмою Никто не отнимет у нас никогда. Пусть каждый в борьбе будет молод и храбр: Ведь имя победы – Октябрь!

Октябрь! – это солнца желанного вестник. Октябрь! – это воля восставших веков. Октябрь! – это труд, это радость и песня. Октябрь! – это счастье полей и станков. Вот знамя, вот имя живых поколений: Октябрь, Коммуна и Ленин.

We marched, we asked for work and bread. Our hearts were gripped in a vice of anguish. Factory chimneys towered up towards the sky Like hands, powerless to clench a fist. Terrible were the names of our shackles: Silence, suffering, oppression.
 * English translation

But louder than gunfire there burst into the silence Words of our torment, words of our suffering. Oh, Lenin! You forged freedom through suffering, You forged freedom from our toil-hardened hands. We knew, Lenin, that our fate Bears a name: Struggle.

Struggle! You led us to the final battle. Struggle! You gave us the victory of Labour. And this victory over oppression and darkness None can ever take away from us! Let all in the struggle be young and bold: The name of this victory is October!

October! The messenger of the awaited dawn. October! The freedom of rebellious ages. October! Labour, joy and song. October! Happiness in the fields and at the work benches, This is the slogan and this is the name of living generations: October, the Commune and Lenin.

Мы шли, мы просили работы и хлеба, Сердца были сжаты тисками тоски. Заводские трубы тянулися к небу, Как руки, бессильные сжать кулаки.
 * Russian

Страшно было имя наших тенет: Молчанье, страданье, гнет.

Но громче орудий ворвались в молчанье Слова нашей скорби, слова наших мук. О Ленин! Ты выковал волю страданья, Ты выковал волю мозолистых рук.

Мы поняли, Ленин, что наша судьба Носит имя: борьба.

Борьба! Ты вела нас к последнему бою. Борьба! Ты дала нам победу Труда. И этой победы над гнетом и тьмою Никто не отнимет у нас никогда.

Пусть каждый в борьбе будет молод и храбр: Ведь имя победы — Октябрь!

Октябрь! — это солнца желанного вестник. Октябрь! — это воля восставших веков. Октябрь! — это труд, это радость и песня. Октябрь! — это счастье полей и станков.

Вот знамя, вот имя живых поколений: Октябрь, Коммуна и Ленин.

We marched, we asked for work and bread. Our hearts were gripped in a vice of anguish. Factory chimneys towered up towards the sky Like hands, powerless to clench a fist.
 * English translation

Terrible were the names of our shackles: Silence, suffering, oppression.

But louder than gunfire there burst into the silence Words of our torment, words of our suffering. Oh, Lenin! You forged freedom through suffering, You forged freedom from our toil-hardened hands.

We knew, Lenin, that our fate Bears a name: Struggle.

Struggle! You led us to the final battle. Struggle! You gave us the victory of Labour. And this victory over oppression and darkness None can ever take away from us!

Let all in the struggle be young and bold: The name of this victory is October!

October! The messenger of the awaited dawn. October! The freedom of rebellious ages. October! Labour, joy and song. October! Happiness in the fields and at the work benches,

This is the slogan and this is the name of living generations: October, the Commune and Lenin.

We marched, we demanded work and bread. Our hearts were heavy with sorrow. The factory chimneys stretched up into the sky, Like hands too weak to clench their fists.

Terrifying for us were the names of our hardships: Silence, fear, oppression.

But our sorrows, like weapons, broke the silence, The words of our grief, the words of our torment, Oh, Lenin! You forged the spirit of our suffering, The strength of our work-handed hands.

And we understood, Lenin, that our destiny would be: Fight!

Fight! You led us onto the battlefield. Fight! You told us of the trial we would face, And that our triumph over oppression and darkness Would be never taken away from us!

Would that everyone might be young and strong in the fight. Our victory is called October.

October! This is the blazing ray of the sun! October! This is the will of centuries of revolt! October! This is work, this is joy and song! October! This is eternal happiness!

There is the banner! There is the symbol of our living generations! October! Communism! And Lenin!

--google translator-- We walked, we asked for bread and work, Hearts were compressed vice anguish. Factory chimneys stretched to the sky As the hands, impotent fists.

It was terrible to name our snares 9 Silence, Suffering, oppression.

But the loudest guns broke into the silence Express our sorrow, the words of our suffering. About Lenin! You forged the will of the suffering, You forged the will of calloused hands.

We realized, Lenin, that our fate Bears the name: the fight.

Fight! You led us to the final battle. Fight! You gave us the victory of Labour. And the victory over oppression and darkness No one will take away from us than ever before.

Let everyone in the fight to be young and brave: After all, the name of victory - October!

October! - The sun is desired messenger. October! - It will rebel centuries. October! - This work is a joy and song. October! - Happiness is a field and machine tools.

That banner, that's the name of the living generations: October, the Commune and Lenin.

...

Live performances
Performing live, along with his collection of vinyl records, is among his greatest passions. His live performances vary greatly. Sometimes he is accompanied by an orchestra and many guest collaborators. Other times, he offers the more frequent minimalistic sessions, usually accompanied only by a drummer/bassist and a guitarist, with Tiersen switching seamlessly between piano, accordion, and violin for his lighter songs, and electric guitar for his louder pieces (where his Avant-Garde music meet some rock sonorities). Lately, however, he has almost banished piano, accordion, and violin, and focused more on his electric guitar and synthesizer instead. Tiersen started his live career by playing guitar for several local post-punk-influenced bands, then he toured Brittany performing alone and playing many instruments. This gave him the reputation of a one-man show, and lead him to perform at the 1996's Avignon Festival.

His third studio album, Le Phare, propelled Tiersen to national acclaim, and this changed the quantity, the quality, and the number of artists involved in his concerts.

On 2 December 1998, Tiersen, accompanied by many guests, was the opening act for the Rencontres Trans Musicales in Rennes. The concert was broadcasted on France Inter for the C'est Lenoir show, producing his first live album, Black Session: Yann Tiersen.

Le Phare (The Lighthouse) .... "Sur le fil" has become a live favourite, normally only the violin section performed with great intensity, sometimes even breaking many hairs on the bow.

As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more rock-oriented album Tout Est Calme.

In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet – a set-up captured on 2002’s electrifying live album C'etait ici.

Throughout 2001 and 2002, Tiersen embarked on his most ambitious tours of France and the U.K. to date; this tour was chronicled in 2003's live album C'Était Ici. He also toured frequently, releasing a live album in 2006. Tiersen began a world tour in New York to support the album, and took a brief respite before jumping back into the studio.

In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet. On 15, 16, and 17 February 2002, Tiersen with many of the collaborators who participated in the recording sessions for L'Absente plus Claire Pichet, violinists Nicholas Stevens and Renaud Lhoest, bassist Jean-François Assy, viola player Olivier Tilkin, and uilleann pipes, bagpipes, and low whistle player Ronan Le Bars, performed live at the Cité de la Musique (City of Music) in Paris. Part of these three concerts went on to form Tiersen's second live album C'était ici (It Was Here), which was released through EMI France on 30 September 2002.

The subsequent world tour of 2006 replaced the multi-instrumental ensemble with electric guitars and an ondes Martenot, and produced his third live album, On Tour, which was released together with a DVD, directed by Aurélie du Boys, about the tour, in November 2006.

The record was promoted in a tour beginning in October 2010, starting in New York.

On 18 February 2012, Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, at La Route du Rock music festival in Saint-Malo. It was about an hour of krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards with the first three pieces of the set list taken from Dust Lane and the remaining five from Skyline. Tiersen was also chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival on March 2012 in Minehead, England. Skyline was released in North America via ANTI- Records on 17 April 2012, and it was followed by the Skyline Tour with dates in the United States, Canada, Iceland, Spain, Portugal, France, Slovak Republic, Austria, Finland, and the United Kingdom.

As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more rock-oriented album Tout Est Calme.

Throughout 2001 and 2002, Tiersen embarked on his most ambitious tours of France and the U.K. to date; this tour was chronicled in 2003's live album C'Était Ici. He also toured frequently, releasing a live album in 2006. Tiersen began a world tour in New York to support the album, and took a brief respite before jumping back into the studio.

The live concert with Claire Pichet, Dominique A, Neil Hannon, Bertrand Cantat, Françoiz Breut, The Married Monk, Têtes Raides, the Quatuor à cordes, Olivier Mellano, and Mathieu Boogaerts, on 2 December 1998 at the Théâtre National de Bretagne in Rennes as the opening act of the Rencontres Trans Musicales, marked a change of direction for Tiersen and the one-man show gives way to more artistic collaborations, experimentations, fusion and exchange of different musical genres. His compositions and orchestrations, as well as his live concerts, now involve several other musical instruments and from two to dozens of musicians.

Tiersen favors the piano, violin, and accordion but is also known for his experimentation and use of obscure and found instruments like the ondes martenot and the typewriter.

electric guitar, a cheap mixing desk, an 8-track reel-to-reel audio tape recording, and started recording music solo with a synthesizer, a sampler, and a drum machine.


 * La Valse des monstres – piano, violin, clavecin, accordion, toy piano, melodica, carillon, tubular bells
 * Rue des cascades – violin, accordion, mandolin, bells, harpsichord, piano, old typewriter, strings, banjo, guitar, marmites, melodica, handclaps, toy piano, small pipe, music box
 * Le Phare – violins, accordion, piano, mandolins, guitar, typewriter, small and big saucepans, cooking pot, tam-tam, banjo, harpsichord, oud, acoustic guitar, 12 stringed guitar, toy piano, vibraphone, cello, melodica, chimes, bowed mandolins, bicycles, bontempi, vocals
 * Tout est calme – vocals, guitar, mandolin, violin, viola, cello, banjo, piano, toy piano, organ, bass, melodica, vibraphone, bells, percussion, Leslie speaker
 * Amélie – piano, toy piano, carillon, banjo, mandolin, guitar, harpsichord, vibraphone, accordion, bass, melodica – Yann Tiersen
 * L'Absente – vibraphone, mandolin, accordion, banjo, chime, harpsichord, toy piano, guitar, piano, bass, bells, vocals, Bontempi, typewriter, pot, Elliot's car and music box, viola, tom, cello
 * C'était ici – accordion, piano, violin, melodica, vibraphone, bass, guitar, toy piano
 * Good Bye Lenin! – piano, melodica, violin, and vibraphone
 * Yann Tiersen & Shannon Wright – bass, violin, viola, piano, vibraphone, organ, cello, acoustic guitar, guitar, accordion, horns, marimba, electric piano
 * Les Retrouvailles – accordion, alto saxophone, banjo, bass, Bontempi, carillon, cello, clavecin, double bass, drums, ebow, Fender Rhodes, guitar, Korg synthesizer, mandolin, marimba, melodica, organ, percussion, piano, toy piano, vibraphone, violone
 * On Tour – vocals, guitar, violin, toy piano
 * Tabarly – piano, violin, electric guitar, acoustic guitar, slide guitar, bass, marimba, electric piano, viola, cello, cymbal, drums, ukulele, accordion, tubular bells, vibraphone, clarinet, bass clarinet, bassoon, oboe, flute, melodica, toy piano, carillon
 * Dust Lane – vocals, guitar, keyboards, toy piano, strings, bass, effects, chairs
 * Skyline – toy piano, bass, guitar, synthesizer, vocals, drums, mellotron, accordion, piano, strings, glockenspiel, vibraphone, bouzouki, mandolin, marimba

Le Phare (The Lighthouse) .... Typical of Tiersen's work: violin, mandolin, accordion and piano feature heavily, as well as some more unusual instrumentation including a bicycle wheel, typewriters and saucepans.

One year later, in April 1996, he released Rue des cascades, a collection of short pieces recorded with toy piano, harpsichord, violin, accordion, and mandolin.

confirming Tiersen's status as one of the most pioneering and original artists of his generation and commencing a run of successful albums.

The recordings started out as simple song based tracks with Tiersen playing acoustic guitar, mandolin and bouzouki. New layers were added to the recordings creating a more complex sound. Then an array of vintage synthesisers and electric guitars were added to create further textures.

Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards.

Tiersen is considered a sought-after composer, not only for his soundtrack work, but in his own right.

Borrowing from French folk music, chanson, musette waltz, and street music, as well as rock, avant-garde, and classical and minimalist influences

Tiersen's true musical heritage is American and British punk and post-punk - he is more influenced by Joy Division, Michael Nyman and Penguin Café Orchestra than by French chanson. "The same with the accordion. I couldn't play a brass instrument - I tried but I was really bad - I couldn't play the flute, and the accordion was a keyboard so it was easy," he says modestly. "I didn't know French musette music at all. Even people like Jacques Brel - I discovered Brel through Scott Walker. My parents listened to Brel, of course, but when you're a teenager you're not interested. So it was only when I heard Scott Walker's versions that I thought 'this is fucking good', you know. The only French singer I listened to was Serge Gainsbourg." Tiersen would go on to invite Gainsbourg's muse Jane Birkin to guest on Les retrouvailles.

(2003) and Tabarly (2008), a documentary about the French sailor Éric Tabarly, who ate his final meal on Ouessant Island before he meeting a watery end in the Irish sea.

2008 saw his return After a five years absence as a composer of film scores when he provided the background music for Tabarly, a Pierre Marcel's documentary film about the French sailor, two-time champion of the Single-Handed Trans-Atlantic Race, and father of French yachting Éric Tabarly. The documentary was released on June 2008 exactly ten years after his death. Éric Tabarly was lost at Irish Sea when struck by a gaff of his Pen Duick during heavy swell and knocked overboard from his yacht near Wales while on his way to the Fife Regatta in Scotland. His body was recovered five weeks later off the coast of Ireland by a French fishing trawler. The documentary narrator is Tabarly himself while he was eating his last meal in Ushant.

The Paris-based composer became popular outside his native country for his score to Jean-Pierre Jeunet's Amélie, but like most seemingly overnight successes, he had been working for years before the film's success brought him international acclaim.

At the same time, Tiersen was also composing soundtracks for short films and accompaniment for plays. Several of these pieces ended up on his first album, Valse des Monstres.

As Tiersen's acclaim grew, so did the scope of his records. Tiersen was preparing his next album when he was contacted by Jean-Pierre Jeunet, who wanted Tiersen to score his next movie, Amélie. Jeunet had heard Tiersen's music while driving and had been so taken with it that he bought all of Tiersen's albums. Previously, the composer had contributed music to films such as Alice et Martin and La Vie Revee des Angess, but this was his most prominent film work yet. His Amélie score featured new and old compositions, and the film's success spun off to Tiersen's music; the soundtrack sold over 200,000 copies in his homeland.

Later that year, Tiersen's score for Good Bye Lenin! arrived. Tiersen spent the rest of the 2000s alternating between film and pop music, issuing the score to Les Retrouvailles.

In that period Tiersen provided a new arrangement and played strings, vibraphone, bell, mandolin, electric guitar, and bass guitar for the song "A ton étoile" by on their 1997 compilation album One Trip / One Noise.

recorded Bästard ~ Yann Tiersen, a 3-track extended play released in 1997 in collaboration with French electronic rock band Bästard,

Black Session: Yann Tiersen is the first live album of French avant-garde musician and composer Yann Tiersen. The live album was recorded by France International on 2 December 1998 as the opening act of the Rencontres Trans Musicales in the Salle Serreau at the Théâtre National de Bretagne in Rennes, for the C'est Lenoir show broadcasted on the French public radio station France Inter. It was subsequently mastered by Radio France, and released in CD format one year later on 2 November 1999. The album features Tiersen with Claire Pichet, Dominique A, Northern Irish singer, songwriter, and frontman of the chamber pop group The Divine Comedy Neil Hannon, singer and songwriter Bertrand Cantat of Noir Désir, singer and illustrator Françoiz Breut, anglophone French rock band The Married Monk (Christian Quermalet, Philippe Lebruman, Etienne Jaumet, Nicolas Courret), French folk rock group Têtes Raides (Christian Olivier, Grègoire Simon, Pascal Olivier, Anne-Gaëlle Bisquay, Serge Bégout, Jean-Luc Millot, and Edith Bégou), the string quartet Quatuor à cordes, guitarist and composer Olivier Mellano, and author Mathieu Boogaerts.

As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more rock-oriented album Tout Est Calme.

In 1999, Tiersen released in collaboration with The Married Monk, Claire Pichet, and Olivier Mellano his fourth studio/first collaboration??? album, Tout est calme. The 26 minutes, 10 tracks mini album also saw the participation of the Vienna Symphony Orchestra, American singer, songwriter and multi-instrumentalist Lisa Germano, Neil Hannon, Françoiz Breut, Têtes Raides, Sacha Toorop, the actress Natacha Regnier???, Christian Quermalet, Marc Sens, Christine Ott, the Quatuor à cordes, and Dominique A.

Tiersen is also featured on The Divine Comedy's single "Gin Soaked Boy" released on that same year, and on three tracks for Françoiz Breut's album Vingt à Trente Mille Jours, released in 2000.

His next proper album, 2001's Absente, featured collaborations with Lisa Germano, as well as longtime contributors Hannon and Dominique A. Throughout 2001 and 2002, Tiersen embarked on his most ambitious tours of France and the U.K. to date; this tour was chronicled in 2003's live album C'Était Ici. Les Retrouvailles and the collaboration Yann Tiersen & Shannon Wright in 2005. He also toured frequently, releasing a live album in 2006. Dust Lane, an album focusing on mortality, arrived in 2010. Tiersen began a world tour in New York to support the album, and took a brief respite before jumping back into the studio. The single "Monuments" was released in July of 2011 as an enticement for his next full-length album, Skyline, which was released in Europe on October 17, 2011 and in the United States a week later.

Tiersen's list of collaborators continues to grow album after album. While composing his fifth album, L'Absente, Tiersen lent his *Yann Tiersen – vibraphone, mandolin, accordion, banjo, chime, harpsichord, toy piano, guitar, piano, bass, bells, vocals, Bontempi, typewriter, pot, Elliot's car and music box, viola, tom, cello
 * Christine Ott - ondes Martenot on "À quai", "La Parade", "Bagatelle", "Les Jours tristes", "L'Échec", and "Le Méridien"
 * Ensemble Orchestral Synaxis are featured on "À quai", "La Parade", "Bagatelle", and "Le Méridien"
 * Lisa Germano - vocals on "La Parade" and "Le Méridien"
 * Anne-Gaëlle Bisquay - cello on "La Parade", "L'Échec", and "Le Concert"
 * Bertrand Lambert - viola on "La Parade" and "L'Échec"
 * Yann Bisquay - violin on "La Parade" and "L'Échec"
 * Natacha Régnier - vocals on "L'Échec" and "Le Concert"
 * Dominique A - vocals on "Bagatelle", guitar on "Le Méridien"
 * Christian Quermalet - Rhodes piano on "Bagatelle", drums on "Les Jours tristes", and piano on "Le Concert"
 * Les Têtes Raides are featured on "Le Jour d'avant" and "La Lettre d'explication"
 * Neil Hannon - vocals on "Les Jours tristes"
 * Marc Sens - guitar on "Le Concert"
 * Sophie Naboulay - violin on "La Parade" and "L'Échec"
 * Sacha Toorop - drums on "Bagatelle" and "Le Méridien"
 * Grégoire Simon - saxophone on "Le Concert"

musical talent to Françoiz Breut and Les Têtes Raides for their own albums. Yann Tiersen & Shannon Wright, a collaboration album with American singer-songwriter Shannon Wright, was released in October 2004, and his 2005 album, Les Retrouvailles, featured vocals from Stuart Staples of Tindersticks, Jane Birkin, and Elizabeth Fraser, formerly of Cocteau Twins. Tiersen also played piano on Staples' solo album, Lucky Dog Recordings 03-04.

While he was writing the film score for Amélie Tiersen was also preparing his fifth studio album L'Absente. The album was characterized by several contributions including 35-member Ensemble Orchestral Synaxis conducted by Guillaume Bourgogne, viola player Bertrand Lambert, violinists Yann Bisquay and Sophie Naboulay, Natacha Régnier, and saxophonist Grégoire Simon, and long-time collaborators Dominique A, Christine Ott, Lisa Germano, Neil Hannon, Têtes Raides, Christian Quermalet, Marc Sens, and Sacha Toorop. The album, which was released on 5 June 2001 through EMI France, was preceded by two promotional singles for "A quai" and "Bagatelle" respectively. Tiersen provided strings and vibraphone to two tracks, "Roma Amor" and "Holidays", featured on The Married Monk's compilation album of the same name.

In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet. On 15, 16, and 17 February 2002, Tiersen with many of the collaborators who participated in the recording sessions for L'Absente plus Claire Pichet, violinists Nicholas Stevens and Renaud Lhoest, bassist Jean-François Assy, viola player Olivier Tilkin, and uilleann pipes, bagpipes, and low whistle player Ronan Le Bars, performed live at the Cité de la Musique (City of Music) in Paris. Part of these three concerts went on to form Tiersen's second live album C'était ici (It Was Here), which was released through EMI France on 30 September 2002.

On 15 November 2003, Tiersen with Stuart A. Staples, the lead singer of indie band Tindersticks, actress and singer Jane Birkin, singer and vocalist for Cocteau Twins Elizabeth Fraser, singer and songwriter Christophe Miossec, and Dominique A released 3 titres inédits au profit de la FIDH (3 New Tracks for the Benefit of FIDH), a 3-track CD that was part of the On Aime, On Aide benefit collection for raising funds for the International Federation for Human Rights (FIDH).

Tiersen's list of collaborators continues to grow album after album and in October 2004 released Yann Tiersen & Shannon Wright, a collaboration album with American singer-songwriter Shannon Wright, was released in October 2004, and in the same year he is featured on The Divine Comedy's album Absent Friends.

In 2005, Tiersen released his fifth studio album Les Retrouvailles. The album features several collaborators including the Orchestre National de Paris, singers Elizabeth Fraser, Jane Birkin, Stuart A. Staples, Dominique A, and Miossec, strings players Jean-François Assy, Frederic Dessus, Guillaume Fontanarosa, Bertrand Causse, Anne Causse Biragnet, Armelle Legoff, Frédéric Haffner, flute player Elliott, drummer Ludovic Morillon, and ondes Martenot player Christine Ott. Les Retrouvailles also includes a DVD short film entitled La Traversée, directed by Aurélie du Boys, which documents the making of the album in Ushant, and incorporates an animated video for the non-album track, "Le Train", and also live versions of a handful of songs. The album produced a single, "Kala", sung by Elizabeth Fraser, and Tiersen also played piano on Staples' solo debut album, Lucky Dog Recordings 03-04.

Before the end of the decade, Tiersen contributed to Christine Ott's debut solo album Solitude Nomade, and to Miossec's seventh studio album Finistériens.

October 2010 saw the release of Tiersen’s sixth studio album titled Dust Lane. The album was two years in the making and was largely recorded in Ushant, France. Further parts were recorded in the Philippines. The album is preoccupied with mortality; during the recording sessions Tiersen lost his mother and a close friend. The recordings started out as simple song based tracks with Tiersen playing acoustic guitar, mandolin and bouzouki. New layers were added to the recordings creating a more complex sound. Then an array of vintage synthesisers and electric guitars were added to create further textures. The album was released by Mute Records in Europe and ANTI- Records in the US. The record was promoted in a tour beginning in October 2010, starting in New York. Dust Lane was preceded by the release of the vinyl EP PALESTINE and by the single for "Ashes". In 2010, Tiersen also contributed to the tribute album to cross-genre, experimental music group Coil The Dark Age of Love by This Immortal Coil, a one-off tribute formation, and to Li(f)e, the fourth solo studio album by hip-hop artist Sage Francis.

October 2011 saw the European release of his seventh studio album, Skyline. The nine-track album, a follow on from his Dark Lane, was once again recorded at Tiersen's home on the island of Ushant in the south-western end of the English Channel, with further parts recorded in Paris, San Francisco, Berlin, and Nashville. It was subsequently mixed by producer Ken Thomas in Leeds, and mastered by Ray Staff in London. The album produced the singles for "Monuments" and "I'm Gonna Live Anyhow". On 18 February 2012, Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, at La Route du Rock music festival in Saint-Malo. It was about an hour of krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards with the first three pieces of the set list taken from Dust Lane and the remaining five from Skyline. Tiersen was also chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival on March 2012 in Minehead, England. Skyline was released in North America via ANTI- Records on 17 April 2012, and it was followed by the Skyline Tour with dates in the United States, Canada, Iceland, Spain, Portugal, France, Slovak Republic, Austria, Finland, and the United Kingdom.

As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more rock-oriented album Tout Est Calme.

His next proper album, 2001's Absente, featured collaborations with Lisa Germano, as well as longtime contributors Hannon and Dominique A., and also benefited from Amélie's success, selling 100,000 copies in France. Throughout 2001 and 2002, Tiersen embarked on his most ambitious tours of France and the U.K. to date; this tour was chronicled in 2003's live album C'Était Ici. Later that year, Tiersen's score for Good Bye Lenin! arrived. Tiersen spent the rest of the 2000s alternating between film and pop music, issuing the score to Les Retrouvailles and the collaboration Yann Tiersen & Shannon Wright in 2005. He also toured frequently, releasing a live album in 2006 and the Tabarly score in 2008. Dust Lane, an album focusing on mortality, arrived in 2010. Tiersen began a world tour in New York to support the album, and took a brief respite before jumping back into the studio. The single "Monuments" was released in July of 2011 as an enticement for his next full-length album, Skyline, which was released in Europe on October 17, 2011 and in the United States a week later.

Genres Stage & Screen Pop/Rock Classical

Styles French Pop Classical Crossover Soundtracks Original Score

Moods Bleak Brooding Volatile Bittersweet Intense Melancholy Playful Reflective Theatrical Wistful Witty Ambitious Dramatic Somber Yearning

Other Entries Classical Music Entry Movie Entry

LVDM+RDC Genre: Pop Style: Modern Classical

LP Genre: Classical, Pop Style: Abstract, Modern Classical, Minimal

TEC+BS Genre: Pop, Rock Style: Chanson, Pop Rock, Indie Rock

Amelie Genre: Classical, Pop, Stage & Screen Style: Soundtrack, Chanson, Neo-Classical

L'Absente Genre: Pop, Rock Style: Chanson, Pop Rock, Indie Rock

C'Était Ici Genre: Pop, Rock, Folk, World, & Country Style: Chanson, Pop Rock, Indie Rock, Folk

Good Bye Lenin! Genre: Stage & Screen Style: Soundtrack

Yann Tiersen & Shannon Wright Genre: Rock Style: Indie Rock

Les Retrouvailles Genre: Pop, Rock Style: Pop Rock, Indie Rock

On Tour Genre: Rock Style: Post Rock, Indie Rock

Tabarly Genre: Classical, Folk, World, & Country, Stage & Screen Style: Soundtrack

Dust Lane Genre: Rock Style: Indie Rock

Skyline Genre: Rock Style: Folk Rock, Acoustic, Indie Rock

=Skyline (Yann Tiersen album)=

Songs
Skyline is the seventh studio album by Yann Tiersen and follows on from its darker sister Dust Lane. If Dust Lane was a transition, then Skyline really marks Tiersen and his band’s arrival in this musical world he is beginning to inhabit so comfortably. Tiersen would argue he’s been there all along, and it’s only now everyone else is catching up. On stage, or tucked away in his Paris basement studio you would be hard pressed to find him behind the wall of vintage synths (his first passion) and electric guitars. The album came together over a year of touring only punctuated with endless hours spent on the tour bus surrounded by his second passion – vinyl. Bands like Neu!, Kraftwerk and Can are particular influences. Tiersen has always loved to collaborate and Skyline is no exception – guest appearances come from Efterklang, Peter Broderick, Syd Matters and Matt Elliot.

Skyline goes further down the path forged by his previous album, Dust Lane, moving toward a post-rock-tinged sound. ... most of Skyline evokes comparisons to other artists. While Tiersen tries on different approaches for size on each of Skyline's songs, his nimble melodic sense and unfailing skill at evoking the right mood at the right time are unmistakable. While Skyline isn't as obviously dark as Dust Lane was, melancholy pervades the entire album.

In his own bio he describes his vision as "a musical anarchy," and that may be apt, but what his latest offering, Skyline, brings to the ear is worlds away from the nose-thumbing of Never Mind the Bollocks.Instead, it's a collection of nine soundscapes. Each track is as much of a composition (in the classical sense) as it is a song. There are lyrics on most, but rather than imparting a narrative, the language serves as another texture on a canvas that bristles with itchy, tactile viscidity. Maybe this is the anarchy: The way Tiersen crafts lush, beautiful music and then radically alters the diatonic system. He interjects atonality, mechanical clatter and dissonant buzz. And he makes you, the listener, like it. Taken in fractions, Skyline could be filed as ambient, as psychedelic, as melodic electronica, as hardline electronica, as drone and as prog. But there's always something else, another thread running through like a beam of light or the filament of a fast-fading dream. Tiersen layers instruments (including synthesizers) with an orchestral ear. There's method and patience at work here, but also a rock band soul that breathes in the kinetic space of each song. And there's a dark poetry in the mix, marrying desolation and hope, spirituality and agnosticism, chanting repeated phrases like prayers into a sparkling abyss. Skyline is not, according to Tiersen a departure from his previous style, influenced and recorded in the same way he has always made music; however this statement does appear to be slightly disingenuous. Whilst his early work tended to prominently feature a lot of pianos, organs and strings, now only the latter remains at the forefront of his music. Instead, more traditional rock instrumentation is given centre stage – admittedly a natural-sounding progression from previous album Dust Lane – with electric and acoustic guitars featuring heavily alongside a deep, swelling whirlpool of synths. The sound remains distinctly European, but whereas once Tiersen’s work was reminiscent of traditional French music, here it is imbued with the rei of the likes of Kraftwerk and Tangerine Dream. Particularly impressive about Skyline is the way the album is varied and yet cohesive. There is a definite and deliberate effort to juxtapose louder, more dense songs such as highlight ‘The Gutter’ or opener ‘Another Shore’ with quieter, acoustic guitar-led tracks. Often such contrasts can lead to a sprawling and diverse album, which can be good (Tom Waits’ Rain Dogs, The Stones’ Exile on Main St.) or bad (Radiohead’s Hail to the Thief, Pink Floyd’s The Wall), however here Tiersen avoids such a potential pitfall by uniting the songs with a common underlying atmosphere of dark euphoria. There’s more than a hint of Sigur Rós here, and talk on shoegazy single ‘Monuments’ of “floating in space” echoes Spiritualized’s 1997 masterpiece.

Only once on Skyline does Tiersen take a misstep, when on ‘Exit 25 Block 20’ we hear a guttural bark, yapping away in the background of a shimmering acoustic piece. Whilst you can admire the intent on experimentation and willingness to embrace difficult sounds, the coarseness of the vocals is so at odds with the glittering music, sounding like fireworks doing a ballet over a lake, that they sound like an intrusive counterpoint where none was needed.

The Frenchman’s new album Skyline finds him in a très existential state of mind, and its tracks are beautiful storms for restless times (“Another Shore,” “The Gutter”). Sigur Rós producer Ken Thomas’ mixing works magic with Tiersen’s dense aural layering, making every song like a journey through a forest of emotions.

And while the tone of the lyrics gets darker, the music becomes more cheerful. Who'd have thought it? Like the master painter, Tiersen gets it spot on in this latest offering - a piece de resistance which makes any talk of Audrey Tautou's music-to-be-charming-to redundant. Whether sultry woodwind or jumping, over-plucked guitar, Tiersen's experimentation with timbre is thorough and fruitful.

Skyline is stronger for it, showcasing Tiersen at the current height of his abilities. It’s a very distinct, very engaging piece of art that holds up as it plays out and never tires.

The opening track, "Another Shore", is an instrumental piece. Dave Collingwood provided the drums, and Stéphane Bouvier played the bass clarinet. The bursts of instant-gratification guitars on "Another Shore" could come just as easily from Smashing Pumpkins' "Today" or from Mogwai, while twinkly.

more dense songs such as highlight ‘The Gutter’ or opener ‘Another Shore’ with quieter, acoustic guitar-led tracks.

its tracks are beautiful storms for restless times (“Another Shore,” “The Gutter”).

Another Shore is a window into Tiersen's frighteningly beautiful construction. Bustling bells shuffle under an almost Interpol-esque minimalism to the acoustic guitar, before a stadium-worthy wall of noise rises from the machinery. It develops through a fantastic variations-on-a-theme structure, with each reimagining slightly more epic and upbeat than the last. Bass clarinet slinks around somewhere near the bottom, before a firework of extraterrestrial whistling launches into the next iteration.

The album begins with “Another Shore”, which comes off sounding like the best of Explosions in the Sky, provided they granted themselves a broader instrument palette. Remember those familiar peaks and valleys that were used so effectively on The Earth is Not A Cold Dead Place? Tiersen manages to reach similar heights here. If he would’ve hit the ground running with this style for Skyline, there’s no doubt in my mind Tiersen could create another instrumental masterpiece. Instead, he proves too restless to confine himself to the limitations of one genre, pushing himself into new spaces throughout the course of the album while still remaining distinctly himself, injecting each of the subsequent eight tracks with his familiar identity.

Second track "I'm Gonna Live Anyhow" (second single)

...bittersweet tunes like "I'm Gonna Live Anyhow" and "The Trial" call to mind Múm or Morr Music acts such as Borko.

Where "I'm Gonna Live Anyhow" bounces in a magnetic field of electrical charge.

Tiersen explains new single I'm Gonna Live Anyhow as celebrating the simple pleasures in a life which you haven't chosen to live. Deep merde, indeed. And yes, there is a cheery optimism afloat as vocal harmonies wash over a scratchy undercurrent of chattering synths. Not the obvious single choice, that's for sure.

After Skyline‘s powerful start comes the pairing of “I’m Gonna Live Anyhow” and “Monuments”. The former contains hushed and distorted vocal passages and the near-continuous run of what sounds like a trumpet-emulating synthesizer. Then “Monuments”, once again, brings Explosions in the Sky to mind, only this time focusing in one the softer side of things and featuring very complementary vocals. “Monuments” becomes one of the albums strongest moments by virtue of beings its most unassuming, casting a gentle kind of magic that pulls the listener in and keeps them rapt throughout.

Third track, "Monuments" (first single) The first single, Monuments has Tiersen’s trademark lyrical repetition, which muses our place in the world and the traces of ourselves we leave behind – “all monuments of men, they’re sinking in vain”. Wrapped in a chorus of vocals and shimming guitars the message isn’t so dark, it’s full of hope.
 * Dave Collingwood – drums

the static buzz of "Monuments" is smoother, more of a comfort. Here, warm layers of sound build, organic at the foundation and rising to electrical and mechanical notes over which Tiersen's voice warbles through heavy effects. Here, also, we're given a clue: "Tiny moments of mine, they're floating in space," is the lyric. Indeed, Skyline reads as a series of tiny moments - not major life events but instead the beautiful, insignificant ephemera that falls away in the wake of life's progress.

There’s more than a hint of Sigur Rós here, and talk on shoegazy single ‘Monuments’ of “floating in space” echoes Spiritualized’s 1997 masterpiece.

A more predictable one was Monuments, with a more obvious vocal structure to it. Oh, and this video by Ivan Rusev. Each sound is added one at a time, building the tower bit by bit. It's a nice touch to stratify the hectic melee of musical layers before weaving them all together. When they're all up and running, it's difficult to tell just how complex the fabric is, such is the skill of the composition.

After Skyline‘s powerful start comes the pairing of “I’m Gonna Live Anyhow” and “Monuments”. The former contains hushed and distorted vocal passages and the near-continuous run of what sounds like a trumpet-emulating synthesizer. Then “Monuments”, once again, brings Explosions in the Sky to mind, only this time focusing in one the softer side of things and featuring very complementary vocals. “Monuments” becomes one of the albums strongest moments by virtue of beings its most unassuming, casting a gentle kind of magic that pulls the listener in and keeps them rapt throughout.

Fourth "The Gutter" (Che Guevara's speech, ONU General Assembly, New York 11 December 1964) still elsewhere, the lush romanticism of "The Gutter"'s dream pop recalls Saturdays=Youth-era M83.
 * Dave Collingwood – drums
 * Gaëlle Kerrien – vocals

Where "The Gutter" returns to mellow basking in planetarium-like twinkling, the shimmer of cymbals and Tiersen's own softly-sung falsetto (really, what could this song have to do with a gutter? Except that the repeated line, "try to reach the sea" calls to mind the epic journeys of so many flushed goldfish).

more dense songs such as highlight ‘The Gutter’ or opener ‘Another Shore’ with quieter, acoustic guitar-led tracks.

its tracks are beautiful storms for restless times (“Another Shore,” “The Gutter”).

When Tiersen dives into someone else's patch, he gives them a run for their money. The Gutter was produced by Ken Thomas, who worked with Sigur Rós on their album, and there's something highly reminiscent of Jonsi himself in the beautiful earnestness with which Tiersen warbles about trying to "reach the sea," soaring over racing cymbal crashes.

“The Gutter” restores some of the magic present in “Another Shore”, Skyline‘s huge opening track, while not succumbing to that tracks bombast—instead subtly expanding on a driving bassline until it becomes its own kind of indirect crescendo. It’s a gripping moment which proves how effective Tiersen can be expanding on minimalist themes. When he plays it relatively straight, he’s at his most captivating, which “The Gutter” helps make more apparent than usual.

Fifth track "Exit 25 Block 20" the odd mix of screaming, toy piano, and glockenspiel on "Exit 25 Block 20" seems like something Fuck Buttons would attempt.
 * Dave Collingwood – drums
 * Matt Elliott – vocals

"Exit 25 Block 20," follows directly with a series of barks, yips and guttural howls. Here, half-man and half-wolf, given to too much moonlight, the composer loosens his primal scream in the sonic domain of radio signals, Theremin whines and (nearly buried in the fracas) a crescendoing melody line.

Only once on Skyline does Tiersen take a misstep, when on ‘Exit 25 Block 20’ we hear a guttural bark, yapping away in the background of a shimmering acoustic piece. Whilst you can admire the intent on experimentation and willingness to embrace difficult sounds, the coarseness of the vocals is so at odds with the glittering music, sounding like fireworks doing a ballet over a lake, that they sound like an intrusive counterpoint where none was needed.

At times it threatens to get a little too much for one sitting. Exit 25 Block 20's twee melody over disconcerting barking sounds is pushing the limits of how bizarre the listener might be prepared to go, but the arrival of the bass and a more structured keyboard harmony lifts the tone drastically.

Punctuating that fact is the decision to follow “The Gutter” with “Exit 25 Block 20”, Skyline‘s most experimental track, and one of its shortest. There are no instruments featured until its halfway point, but even then, he struggles to reach the heights of a song like “Another Shore”, rendering it a slight misstep that temporarily derails the album’s momentum.

Sixth track "Hesitation Wound"

... welling to the surface on "Hesitation Wound," where Tiersen's frail voice drifts farther and farther away from the listener and into a galaxy of strafing synths.

There is philosophy in the composition. The metaphor of 'Hesitation Wound' - the pain of a something more sudden strung out during an extended period of uncertainty - is itself worthy of some kind of prize.

After the pleasant ambient washes that are prominent in “Hesitation Wound”, again complemented by airy dream-like vocals that float over the instruments and play on Tiersen’s aesthetic remarkably well.

Seventh track "Forgive Me" the galloping rhythms and swift melody of "Forgive Me" are most like the works that won Tiersen a legion of film buff fans.
 * Dave Collingwood – drums

Yet even the most easily-disturbed listener couldn't stay that way for long. Forgive Me offers a 6-minute-long romp of a pick-me-up, with a busy little line in percussion.

Skyline ends with a trio of tracks leaving no doubt to his skills as a composer. “Forgive Me”, “The Trial”, and “Vanishing Point” all play up both Tiersen’s strengths in an exhilarating fashion that really makes Skyline feel like a complete work.

Eighth track "The Trial" ...bittersweet tunes like "I'm Gonna Live Anyhow" and "The Trial" call to mind Múm or Morr Music acts such as Borko.
 * Dave Collingwood – drums
 * Syd Matters – vocals
 * Lionel Laquerrière – vocals
 * Neil Turpin – vocals
 * Robin Allender – vocals
 * Stéphane Bouvier – vocals
 * Ólavur Jákupsson – vocals

Somewhere around the halfway mark of "The Trail," a flute utters a few low notes into the wash of harmony and discord. It's a small gesture, but no sound in Tiersen's work is inconsequential. From that sweetly sentimental instance, the music changes, its disparate parts finding equanimity and gravity around the chorus of "Someday my girl, in your mirror." What that means is hard to say, but it has weight. On Skyline, Tiersen plays with words as much as with sounds, finding combinations that allude to more than their apparent sums. Words with purpose and intent, if not obvious context. This is the musician who, on Dust Lane, turned the words "fuck me" into an existential reverie - maybe that's the anarchy. The apostasy. The complete abandonment, where by shedding everything Tiersen embraces everything.

The Trial brings a quiet optimism on the xylophone, massaged with a cautious swell of strings. All this before breaking out into a purposeful slapped guitar and a stark juxtaposition of lyrical pessimism ("someday my girl, in your mirror / darling, you will face the trial") over musical assuredness.

Skyline ends with a trio of tracks leaving no doubt to his skills as a composer. “Forgive Me”, “The Trial”, and “Vanishing Point” all play up both Tiersen’s strengths in an exhilarating fashion that really makes Skyline feel like a complete work.

Last track "Vanishing Point"
 * Daniel James – vocals
 * Efterklang – vocals
 * Heather Woods – vocals
 * Peter Broderick – vocals

The album wraps with "Vanishing Point," mostly warm, mostly soft, ebbing and flowing through space. Here, electronics hum and a man-beast barks, but there's a lightness and groove to the track. When it slows to a needle-dragging finish, the silence is all too jarring and all too soon.

Skyline ends with a trio of tracks leaving no doubt to his skills as a composer. “Forgive Me”, “The Trial”, and “Vanishing Point” all play up both Tiersen’s strengths in an exhilarating fashion that really makes Skyline feel like a complete work.

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=U2=

Most wanted U2 songs

 * Moved to User:Miss Bono/My Future Work

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=Peter Van Wood=

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= Weather Report =

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= WR Discography =

Unofficial releases

 * xxxx: Live at The Agora, Cleveland, October 17, 1972
 * xxxx: Live at the Hill Auditorium, Ann Arbor, Usa, January 4, 1976
 * xxxx: Live at the Tower Theatre Philadelphia, November 10, 1978
 * xxxx: Live in Chateauvallon, France, August 24, 1973
 * xxxx: Live in Westport, USA, February 27, 1974

<pre style="width: 96%; overflow:auto"> CHARTS

Billboard Album Year Album Chart Peak 1971 Weather Report Jazz Albums 7 1971 Weather Report The Billboard 200 191 1972 I Sing The Body Electric The Billboard 200 147 1973 Sweetnighter Jazz Albums 2 1973 Sweetnighter R&B Albums 41 1973 Sweetnighter The Billboard 200 85 1974 Mysterious Traveller Jazz Albums 2 1974 Mysterious Traveller R&B Albums 31 1974 Mysterious Traveller The Billboard 200 46 1975 Tale Spinnin' Jazz Albums 3 1975 Tale Spinnin' R&B Albums 12 1975 Tale Spinnin' The Billboard 200 31 1976 Black Market Jazz Albums 2 1976 Black Market R&B Albums 20 1976 Black Market The Billboard 200 42 1977 Heavy Weather Jazz Albums 1 1977 Heavy Weather R&B Albums 33 1977 Heavy Weather The Billboard 200 30 1978 Mr. Gone Jazz Albums 1 1978 Mr. Gone The Billboard 200 52 1979 8:30 Jazz Albums 3 1979 8:30 The Billboard 200 47 1981 Night Passage Jazz Albums 2 1981 Night Passage The Billboard 200 57 1982 Weather Report Jazz Albums 5 1982 Weather Report The Billboard 200 68 1984 Domino Theory The Billboard 200 136 1984 Domino Theory Top Jazz Albums 5 1985 Sportin' Life The Billboard 200 191 1985 Sportin' Life Top Jazz Albums 13 1986 This Is This! The Billboard 200 195 1986 This Is This! Top Jazz Albums 13 2002 Live and Unreleased Top Contemporary Jazz Albums 21 2006 Forecast: Tomorrow Top Jazz Albums 18 Chart information courtesy of Billboard.com © 2006 VNU eMedia, Inc. All rights reserved.

GRAMMY Awards www.grammy.com Year Album/Track Award 1979 A 8:30 Best Jazz Fusion Performance S indicates a Song award A indicates an Album award GRAMMY ® information courtesy of The National Academy of Recording Arts & Sciences © 2009. For complete GRAMMY informtion, visit www.GRAMMY.com

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= Bands' Templates =

<!- | groupY = Singles

| listY = 1977: "White Riot" / "1977" "Remote Control" / "London's Burning" (live)  "Complete Control" / "City of the Dead" 1978: "Clash City Rockers" / "Jail Guitar Doors" "(White Man) In Hammersmith Palais" / "The Prisoner" "Tommy Gun" / "1-2 Crush on You" 1979: "English Civil War" / "Pressure Drop" "I Fought the Law" / "(White Man) In Hammersmith Palais" "Groovy Times" / "Gates of the West" "London Calling" / "Armagideon Time" / "Clampdown" (from US promo 12") / "The Card Cheat" (from US promo 12") / "Lost in the Supermarket" (from US promo 12") / "Justice Tonight" (from UK 12") / "Kick It Over" (from UK 12")  "Clampdown" / "The Guns of Brixton" 1980: "Train in Vain (Stand By Me)" / "London Calling" "Bankrobber" / "Rockers Galore" / "Rudie Can't Fail" (from Dutch 7") / "Train in Vain" (from Spanish 7")  "The Call Up" / "Stop the World" 1981: "Hitsville UK" / "Radio One" / "Police on My Back" (from US 7") / "Somebody Got Murdered" (from Spanish 7")  "The Magnificent Seven" / "The Magnificent Dance" / "Lightning Strikes (Not Once But Twice)" (from US promo 12") / "One More Time" (from US promo 12") / "One More Dub" (from US promo 12") / "The Cool Out" (from US 12")  "This Is Radio Clash" / "Radio Clash" / "Outside Broadcast" (from UK 12") / "Radio Five" (from UK 12") 1982: "Know Your Rights" / "First Night Back in London" "Should I Stay or Should I Go" / "Inoculated City" (from US 7") / "Cool Confusion" (from US 7")  "Rock the Casbah" / "Long Time Jerk" / "Mustapha Dance" (from UK 12") / "Red Angel Dragnet" (from Canadian 7") / "Overpowered by Funk" (from Argentine promo 7")  "Straight To Hell" / "Should I Stay or Should I Go" 1985: "This Is England" / "Do It Now" / "Sex Mad Roar" (from UK 12") 1988: "London Calling" (re-release) / "Brand New Cadillac" / "Rudie Can't Fail" "I Fought the Law" / "City of the Dead" / "1977" 1990: "Return to Brixton" (remix of "The Guns of Brixton") 1991: "Should I Stay or Should I Go" (re-release) / "Rush" (Big Audio Dynamite II) / Protex Blue "Rock the Casbah" (re-release) / "Mustapha Dance" / "The Magnificent Dance" "London Calling" (second re-release) / "Lightning Strikes (Not Once But Twice)" "Train in Vain (Stand by Me)" (re-release) / "Brand New Cadillac" / "The Right Profile" --->


 * WPClash: Template:WPClash/sandbox | WikiProject The Clash/to do2 | User WPClash‎ | WikiProject The Clash Invite‎ | WikiProject The Clash Welcome‎ |

Bands' Timeline
This is the timeline of the English rock band Name of the band. <div class="NavHead" style="background: #708090; color: white; font-weight: bold; font-size: 0.9em; text-align: center; width: 270px; padding: 3px">Name of the band Timeline

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=References=