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Basta che funzioni
(Whatever works)
di Woody Allen.
USA, Francia 2009

Con Ed Begley jr., Patricia Clarkson, Larry David, Conleth Hill, Michael McKean, Ewan Rachel Wood, Henry Cavill, John Gallagher Jr., Jessica Hetch, Carolyn McCormick.
A year away from Vicky Cristina Barcelona, \u200b\u200bWoody Allen returns to the screen and directed by Whatever Works (Whatever Works) and is always a pleasure for the spectators. Back in New York, with a screenplay by more than 30 years old - so he says - written for the actor Zero Mostel (brilliant interpreter of The Front - The Front of '76), who died in 1977. Guess, however, I think Larry David more suited to the role of alter-egos of Woody Allen, it would have been good but the Zero Mostel.
And this proves once again the skill of the director in the choice of attori, giacché il film poggia, oltre che sul personaggio femminile di Melodie, quasi per intero sulla figura tragicomica di Boris Yellnikoff (perfetta sintesi di Woody Allen-Larry David campioni di umorismo yiddish), docente universitario a riposo riciclatosi come insegnante di scacchi che, con buona dose di cinismo mascherato d’ironia, giudica l’esistenza con lo stile del Woody Allen intellettuale di Manhattan (1979).
Con la differenza che sono passati trent’anni e la vita dell’uomo nel pianeta appare al protagonista l’eterno scacco matto di “una specie fallita” ad opera di un Dio assente o al massimo “arredatore di interni”. Rispetto ad allora, c’è in meno forse la curiosità di vivere, ci sono in più le tematiche care al Woody Allen degli ultimi anni: il ruolo potente del fato, della fortuna e del caso.
In tale contesto, la sceneggiatura sembra meno ispirarsi ad una storia pensata da oltre trent’anni e più vicina al filone inaugurato con Mighty Aphrodite (LA DEA DELL’AMORE del ’95), approfondito magistralmente dieci anni più tardi nei 124 minuti di Match Point, continuato, forse con minore efficacia, nelle tre successive pellicole: Scoop (2006), Vicky Cristina Barcelona (2008) e questo Whatever Works, accomunate tra loro dalla durata minima per un lungometraggio e soprattutto dall’esilità della trama.
C’è tuttavia una differenza in Whatever Works rispetto ai due precedenti lavori. Non solo, infatti, si torna a New York, cioè ad un habitat che il regista ben conosce, si torna anche alla freschezza di Mighty Aphrodite e al teatro greco.

I temi del destino, della fortuna, dell’amore e del caso vengono trasposti in una cornice che nulla lascia all’improvvisazione.
Chi, vedendo la Melodie (Evan Rachel Wood) di Basta che funzioni non pensa subito alla Linda Hash in arte Judy Orgasm (Mira Sorvino) di La dea dell’amore, nella versione italiana l’una e l’altra doppiate con straordinaria efficacia dalla voce di Ilaria Stagni?
Prostituta one o'clock (Judy), naive girl of the southern United States and the other (Melodie), both share a vision of simple and innocent (despite all) of life and intended to collect the prize (or most) of Luck 'love, according to a concept dear to the last Woody Allen: "I do not know why we are the world and even the birth is linked to the case.
Anything that can make it more acceptable to the existence of the person is welcome. Whatever Works. "
In two films, this sort of philosophy of carpe diem, follows a pattern almost identical. Everything is announced in an atmosphere of Greek tragedy to turn into comedy, as if a benevolent puppeteer, an unseen deus ex machina, under certain conditions, undertook to ensure the species "failed" a minimum of happiness.
And if the film of the '95 final in the background looks more like a comedy of Plautus, where the two protagonists meet in a long time - unaware that Larry's daughter Linda is his daughter, Linda unaware that the child bred by Larry is the son who had left - in the final Whatever Works is full of festive masks Plautus with Boris in the role (as he does throughout the film) of him who from time to time separates the actors to spend time with the public with characters that reflect them DISCOUNT appear (like the one that Marx and Jesus are right in principle, but wrong to overlook the man, a kind of worms in the best case, is not good ...) but to hear them, for ' effectiveness and simplicity with which they are called, come to the audience as so many pills of wisdom.
And it is the second part of the new film by Woody Allen, all designed to prepare the final, to limp. Not only because of a decrease in rate and style, but also and especially for the film drawn freely from the obvious baggage and post-modernity, as a tribute to pay to the psychology of so-called worms easy: her father and Melodie's mother that the different circumstances in the province of bigots change from unscrupulous and satisfied users of their freedom, allowing Marietta (Patricia Clarckson) to strip, so to speak, his own photographic talent together enjoying the delights of a ménage à trois, and her husband to uncover happily gay. Ringtones and Boris, for their part, to the intrigues of Marietta and drawing unlikely of Fortune and the case, go back to a normality that suddenly makes them less interesting, but the possibility, if everything works, to cover a greater part of happiness .
Film, however, do not miss work because of one, perhaps the last great masters of cinema.

Sergio Magaldi (dal blog: http://zibaldone-sergio.blogspot.com/)

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LUNGA VITA AI FESTIVAL

The approach of spring begins to enrich the calendar of tango events. From March to August is a series of marathons, parties and festivals in our country and especially in the rest of Europe.

This leads me to reflect on this time of the tango scene in particular in Italy. These gains are still many events or to better put the question, people still want big festivals? My answer, betrayed by a deep love towards the meeting of considerable size, is yes. After participating in the Mantua Festival in December, an event that is moving towards the tenth edition, and having seen the nights filled with people, crowded classes, Once again I realize that people have a great desire to learn, to enjoy the performances, dancing with live music dl.

The phenomenon of globalization, tam tam Internet users who create Masonic appointments for the chosen few, the show unintentionally ironic tango next door, and other ephemeral social phenomena, leaving the time they find. That time can not erase a concert Alberto Podesta, the performance of the Sexteto Milonguero, Hyperion Ensemble or Orchestra Silencio. Internet in this sense is a real boon.

Become a whirling encyclopedia remember where to find the performance and Chicho Juana, to thrill to a waltz by Julio and Corina, rub his eyes to the virtuosity of Sebastian and Mariana, feel the uncontrollable desire to dance a milonga as Pablo and Noelia.

When I hear someone say that festivals are exceeded me laugh. I've seen and heard so much since 1997, the year that I approached this universe. I admit that it is increasingly difficult for the organizers build events of this magnitude, and always makes me more angry ignorance of people who do not know how much effort and money behind a success.

Maybe people come in and milonga is not aware of what it costs to service with a qualified lighting and equipment, unless you want to do the milonghetta the birthday of eighth grade. How much are the locations? But you want to put the indescribable sensation of dance in Syracuse Castle Maniace or Capri, the atmosphere of the Mediterranean, and enjoy the sunrise reflected on the sea?

I know that it costs less to organize the milonga in the garage ... and even then I did not want to see a plethora of dancers who do not submit monotonous emotions, according to a program cloned from blender Moulinex. 1/3 di volcadas, 1/3 di colgadas, 1/3 di canaro, 1/3 di donato…

Ma quando scovo negli occhi lucidi della gente la voglia di tango, nell’istante in cui è appena terminata l’esibizione di grandi coppie di artisti allora comprendo che c’è futuro per questo ballo sociale. Torino, Firenze, Mantova, Siracusa, Roma, Venezia, … lunga vita al tango.

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Giuliano Palma, star del Carnevale di Venezia

Una delle migliori voci della scena italiana in concerto gratuito a Venezia.

The opening concert of this year's Carnival will go down on stage in Piazza San Marco , Saturday, February 26, 2011, at 21:00 Giuliano Palma & The Bluebeaters.

A band that has achieved fame in a short time arranging successful, key ska and rock steady, reggae hits and little known songs, rock and pop of the past. The group name is in fact a clear homage to Jamaican music of the sixties, the blue beat, and thanks to the histrionic quality of leader Giuliano Palma, former frontman of Casino Royale, another historic national indie band, are classic comeback in a new light and unusual.

Among his hits "My whole city" Equipe 84, "Mexico and the Clouds" by Paolo Conte and workhorse of Whittaker, "Per una lira" by Lucio Battisti, "What c 'is "by Gino Paoli. Loved plots by the general public both in radio broadcasting in performances that live up to the last single, "Pink Clouds", which boasts an unprecedented collaboration of the prestigious Melanie Fiona, Queen of the charts in 2009 with the single "Give it to me right ", a duet-style Motown.

Info: http://www.carnevale.venezia.it/

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L'Ultimo treno della Notte. Rape & revenge by Aldo Lado

One of the most disturbing films of the 70s cinema that always remains Unom favorite of Tarantino and founder of many slasher movies, directed by an Extraordinary master of photography, Aldo Lado. The Last Night of the train, supported by a tight script and suspenseful, the action focuses on pure violence perpetuated by two thugs Flavio Bucci, Gianfranco De Grassi, who rape and then killing two unsuspecting teenagers interpreted by Dalila Di Lazzaro and Irene Miracle on a train from Germany to Verona. After fleeing the murder and find themselves a twist of fate in the house of the father of one victim, a professor played by a great Enrico Maria Salerno. It will be the end of their trail of violence.

conveys the full atmosphere of the '70s and heavy mephitic fact of violence, restlessness and itching sesseuali, brutality free. Even today, the claustrophobic atmosphere that emerges, thanks to the ingenious gimmick turn most of the scenes on a wagon, makes this film one of the hardest to digest at the time. Thanks also to the characterization of Flavio Bucci that makes his character of a villain more unbearable cinematography b - Italian movies.

In the transformation of the safety professor, a ruthless tyrant is there a catharsis complacent, especially in an era tainted by news reports tremendous, and often saw the look in cinema spectator styles and models where you can pour out his desire for revenge.

be reviewed absolutely!

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Stalker, viaggio dentro le illusioni dell'anima

Stalker Who and what drives him to wander into the area? The desire to know oneself, one's soul or unconscious, or the desire to see fulfilled their desires pi ù unmentionable?

With this film, Andrei Tarkovsky, the great metaphor of building a great man and his pursuit of happiness. The plot seems almost an excuse to build a philosophy of life. A forbidden zone becomes hunting ground for stalkers, mysterious outlaw guides who accompany you curious or scientists searching for secrets. One of these accompanies a writer in search of fame and a scholar who wants to deepen the research on this mysterious place. After passing blocks and controls penetrano nel territorio e raggiungono anche la mitica Stanza del Desiderio al cui cospetto però, nessuno vuole entrare. I tre sfiancati dal lungo cammino tornano indietro, rinfacciandosi ognuno delle accuse di viltà. Se i due visitatori sono tacciati di lucido raziocinio, lo stalker è imputato di speculare sulle aspirazioni e sui desideri altrui. Quando quest’ultimo torna a casa si addormenta, e la pellicola si chiude con una scena che ha fatto scuola: la sua bambina con il solo sguardo sposta gli oggetti e fa cadere un bicchiere.

Una delle chiuse più suggestive mi lancia una riflessione ancora una volta sulla straordinaria arte This Russian film that is often considered the most cerebral although one of the few like Bergman and Bresson to be able to fully frescoed the human soul. Only in appearance Stalker may seem a science fiction film, gender is deconstructed to make room for reflection on the dichotomy between spirit and matter, a dualism that Russia in the 70s had to be very current. The protagonist, through this area simulates his imagination, his universe, creating it, involving visitors as pawns of his dream journey. The audience will be after seeing the room to wonder if there really is or not.

Ritengo che per Tarkovskij ciò sia marginale, un pretesto per parlare delle debolezze dell’uomo. Come dice egli stesso “ Questo mondo non è un luogo dove vivere felici. Non è stato creato per la felicità dell’uomo, anche se sono in molti a pensare che sia questa la ragione dell’esistenza. Penso che siamo su questa terra per combattere affinchè dentro di noi lottino il Bene e il Male, perché il bene vinca e noi ci si arricchisca spiritualmente.

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Il suicidio delle convenzioni...Faust'O

È passato un trentennio da Suicidio, il folgorante esordio di Faust’O, alias Fausto Rossi, il più geniale dandy decadente del pop colto italiano. Ricco di suggestioni “alte” da David Bowie ai primi straordinari Ultravox, è un album che d’incanto ci riporta alla trilogia berlinese del Duca Bianco, e nel contempo ci fa riflettere su come anche in Italia in quel periodo si produceva musica di grande qualità. Il pentagramma su cui Faust’O costruisce il suo capolavoro è intessuto di incubi esistenziali, nevrosi tipicamente new wave, inquietitudine elettronica alla Kraftwerk.

Ma ciò che a distanza di tempo mi provoca un brivido è il fatto che Suicidio is incredibly forward in time, at least twenty years if you read the lyrics or belief, reflecting on the parable of artistic Faust'O his sneer at a its participation in Sanremo. Welcome in the trash, Little Lord Fauntleroy, Godi, the gems are a voice that anxious and impatient as a meteor passes through our musical consciousness.

Frost paralyzes me the memory on a cold day in February, must also be guilty of ... Faust'O

Message To Welcome Newborns

La classe barocca dei Colosseum

Listening again to the Colosseum after a long time I can only confirm what is liable to the English hard rock band of the great drummer Jon Hiseman. A common destiny with that of other large groups at the turn of the '60s and '70s touched the Colosseum: oblivion, sometimes swept away by some new music wise. Already heard the first album , Those Who Are About To Die You Health, it appears that their antics, a jazz rock blues contaminated, this time looking for new ways to avoid trite cliché. Listening to tracks like Rope Ladder To The Moon Theme For and An Imaginary Western arrogance emerge with the ghosts of the best Cream, and some classical themes, such Bring Out Your Dead make even the pale Procol Harum .

apex of their art, Valentyne Suite arranged by jazz composer Neil Ardley, whose title track is an amazing kaleidoscope of musical styles, combining a spectacular virtuosity to intimate reflections. Prog, avant la lettre, shaken in a personal way, jazz, classical, blues, offering a suite in its wonderful baroque extreme. Unfortunately, shortly thereafter, with Daughter of Time, the Colosseum disbanded, continuing with each of the dark decent careers. But do not let these gems in a sad oblivion.

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Open hearts
(Esker you forever) Danimarca 2002 di Susanne Bier.
Con Sonja Richter, Nikolaj Lie Kaas, Mads Mikkelsen, Paprika stehen, Stine Bjerregaard, Niels Olsen, Ulf Pilgaard, Ronnie Hiort Lorenzen, Pelle Bang Sorensen.

dramma in dogma
Susanne Bier prende le Mosse valley Dogma95 di Von Trier e Vinterberg; cosa ne Resta Dieci anni dopo la sua stesura? Il manifesto Danese (riprese valley true, no sets, hand-held camera, no sound playing, natural light, 35 mm), which was born as a provocation against the phrasebook embalmed Film Food - impose the rules "absurd" to show that there are no rules - it was reduced gradually, step by step, to a sterile question of principle extremist and self-congratulatory (and the subsequent inconclusive circumnavigation of Kidman in Dogville, with 360-degree camera on his shoulder, tells the long topic), is not without its charms but aesthetically pleased Bankruptcy (unintentional parody of DANCER IN THE DARK). In
Ms. Bier, therefore we can not relay specific hopes, and yet ... aggirando la strada parabolico/morale, il film si accontenta (per così dire) di raccontare, facendo dell’intreccio stesso la sua chiave di volta senza secondo fine; nella delicata scelta della materia drammatica (con un’eco da LE ONDE DEL DESTINO) OPEN HEARTS riesce a non esagerare, districandosi in equilibrio su quel filo sottile che lo mantiene credibile e compatto sino in fondo.
Coniugando uno sguardo chirurgico (riflesso nello sfondo ospedaliero) alla virata calda e passionale (i diversi incontri amorosi), e presentando questo elementare contrasto allo spettatore senza filtro – quindi particolarmente toccante -, è un’opera viva e pulsante tanto da farsi perdonare le evidenti imperfezioni; la Bier sbaglia at least one character (the daughter of Niels around the speck) and builds a handful of joints risaputi (of all: mother-scenes full of deletions and suspensions at risk schematic) in the dating game certainly does not draw from one basin to the original but then revives him with a personal taste and extreme, the hatch is not afraid of a "strange" romantic rivalry (the handsome doctor and the paralytic).
The technical, perhaps of most interest, is also the most surprising, with the camera lingering on hand and body expressions of the characters, digging in their pathological features, the Bier brings a sense of the body of Dogma and offers a personal view (despite qualche gratuità), fino ad estrarre almeno una sequenza d’impatto commovente (l’abbraccio “posticcio” tra Joachim e Cecille).

La migliore intuizione della regista si incarna però nelle repentine svolte oniriche che suggellano il narrato, preziose perché quasi impercettibili, che per un attimo annullano il colmo di dolore e, dopo la tragedia, consentono ad una mano paralizzata di librarsi nell’aria, ancora.
Non ci sono parole per Sonja Richter, diamante in un cast di solidità inusitata.
Un film irrinunciabile per sapere che la Danimarca oggi non è solo Lars Von Trier. Per fortuna.
Emanuele Di Nicola – spietati.it

Dogma 95 (Dogme 95) è il nome di un movimento cinematografico creato e fondato su precise regole espresse in un manifesto pubblicato nel 1995 (da cui il nome) dai registi danesi Lars von Trier, Thomas Vinterberg, quindi corrente non nata ed evoluta spontaneamente come nella maggior parte dei casi nella storia del cinema.
Il decalogo, al quale aderirono subito anche Søren Kragh-Jacobsen e Kristian Levring, è spesso definito anche con il significativo nome di Voto di Castità, che lascia intendere lo spirito del movimento, ed è stato stilato e firmato ufficialmente a Copenaghen, lunedì 13 marzo 1995.
L'obiettivo, ambizioso, era quello di "purificare" il cinema dalla "cancrena" degli effetti speciali e dagli investimenti miliardari. Niente luci, no scenery, no soundtrack, rejection of any device outside the chamber by hand ... The rules to follow to achieve this have been expressed in a manifesto written.
It must be said that since the first film, the rules have been violated, and every director, some more than others, resorted to gimmicks (music, lighting, sets) prohibited in their films.
As mentioned on the official website, in fact, every director can interpret the Ten Commandments in his way.

On March 20, 2005, in Copenhagen, the directors have signed the document, ten years later, marked the end of the pact.
The ten years of experience of the Dogma 95 led to the production of about 40 films. Spesso questi erano riferiti solamente con un numero (Dogma 1, Dogma 2, ecc.) anziché con il titolo vero e proprio.

Da Wikipedia, l'enciclopedia libera.


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LA ZONA

Spagna, Messico 2007
di Rodrigo Plà .

Con Daniel Giménez Cacho, Maribel Verdù, Carlos Bardem, Daniel Tovar, Alan Chàvez, Mario Zaragoza, Marina de Tavira, Andrès Montiel, Blanca Guerra, Enrique Arreola, Gerardo Taracena.

Rodrigo Plá's work, presented to the Days of the Festival of Venice, appears as a political fiction film with implications refined and sustained. Even with some echo of the climate of persecution of 1984 and the horrific situations - a metaphor for the film Romero, the area presents itself as completely realistic and believable, and then instill in the viewer the uncomfortable feeling of seeing a slow fall to the moral degradation of the whole company. The young protagonist, the son of one of the inhabitants of the area, will face to face with what is the microcosm for his bogey at the same time the scapegoats: one of the robbers, the youngest and only escaped the fury of its neighbors. It will be a comparison between his morality and that of his parents, including his knowledge of the world and his personal sense of compassion and understanding.

Behind him, the adults, the conflict between humanity and defend their privileges. As in The village is not the escape from the violence that saves those who think beyond good and evil, because what is inherent in man does not come only from breaches in the walls, but also emerges from the cracks present in the soul of men. The film shows in every frame, as a robust, balanced and elegantly reasoned, not ends in banal thriller, or the fiction of the complaint. Centered perfectly on target without being rhetorical, thanks to some choices that are directed without ever touching play false. Although unfortunately, it seems that the company is destined for PLA to total moral defeat. The narrative cues are many, and solved in the most coherent and cohesive. The themes of the world of the rich, which is based on hypocrisy, arrogance and violence (almost a sense of omnipotence), the damage suffered by teenagers, brought up with moral values \u200b\u200band partial inhuman and

the desperation of the poor, humiliated up annihilation, they find a plot that does not disappoint and a great final, a far cry from the ease with which one could turn a normal action movie with streaks of social protest, leaving the viewer with a real emptiness in my heart , before the stark awareness of the total collapse of civilization in the bourgeois world. But leave the area with a spark, like a light, which allows us to challenge our idea of \u200b\u200b justice. In a case like this (rare, but possible), the cinema becomes art that allows you to explore the world.

Henry Ruffato – nonsolocinema.com

La zona è un film che non fa sconti a nessuno.

Sembrerebbe raccontare una minuta ed immaginaria porzione del Messico, e viceversa salta completamente i confini geografici, puntando il dito contro il mondo occidentale nel suo complesso e nella sua complessità. Con un’opera prima che sorprende per rigore ed intensità, al punto da guadagnarsi Il Leone Del Futuro, il premio che a Venezia marca il regista più promettente, Rodrigo Plà firma un lavoro di fantascienza sociale – se così possiamo qualificare quell’insieme di film che ispezionano, rielaborano, radicalizzano e poi esibiscono alcune inquietanti tendenze presenti all’interno delle società. In questa categoria reperiamo film come Dogville , di Von Trier, o L’invasione degli ultracorpi , di Siegel, o Fahrenheit 451 , di Truffaut. Film apertamente apocalittici, incubi ad occhi aperti, a metà tra tragedia ed horror, che rivelano cosa potrebbero diventare le società se confermassero e più tardi estremizzassero alcuni aspetti non particolarmente democratici. Ovviamente, questi film mettono in scena un futuro prossimo, o un lontano past, and rather than play with the realism, preferred to approach the forms of allegory or metaphor, showing, all in fantastic - so much so that the film eventually resemble a warning: an image easy to trace memory, suitable to guide us if something were to present itself.

Plà But happily veers towards the forms of realism, and builds a story that is rooted in the present. Without even so much work of imagination, the director captures the

Area , a neighborhood nice and clean, dramatically immacolato, del tutto fuori luogo rispetto ad una Città del Messico disegnata come un girone dell’inferno: nera, tristissima, con mozziconi di case impilate in un tetris inestricabile che s’irradia ovunque. La Zona esiste perché un muro divide il quartiere dal resto della città ed una pattuglia di vigilanti sorveglia il confine attraverso gli occhi delle telecamere. Solo che il giorno in cui tre giovanissimi si introducono per rapinare, l’altissima borghesia che abita la Zona, senza ricorrere alla legge, decide di farsi giustizia da sola, uccidendo due ragazzi e processandone il terzo, in un finale nerissimo come il sangue che si secca e non va più via.

Girato hand, livid color of ashes, the area is a harsh indictment of the way we live and perceive others. The film reveals that the myth of Western man: the market opened and closed society, where travel distances are only goods and financial flows, while the borders impenetrable, cut away from bliss, pushing the masses of desperate people.

Plà And the film has this ferocious: that is next to a science fiction come true. And the sense of proximity arises from the use of film language wise: the contiguity between the shots and moves from documentary images of aseptic surveillance cameras make the idea everything that is happening now, before our eyes. Eyes that, after the credits, they lost their innocence, they have seen what will be, what in the present, a world of walls and blood.

Joseph Zucco - sentireascoltare.com

Review Modern Times

Ikusa Otome Suvia 4 Screen

Il Salone Margherita, quando il tango, è uno stato dell'animo

I never thought of dancing in a place so full of charm and history.

In the belly of the Galleria Umberto in Naples opens an extraordinary world. It is one of the Salone Margherita, perhaps simplistic to call it simply milonga. This is a temple of tango. The sweet notes of Di Sarli, De Angelis of the violins, the compassion of D'Arienzo, the majesty of Varela and wrap around the lap at the first cafe-chantant ever opened in Italy.

We must strive to go back a century, the Belle Epoque, a carefree and sophisticated world that still had to be raped by the world wars. With a burden so challenging was almost a duty to organize large events. And that obligation Pasquale Barbaro is doing it with excellence, I would say as excellent sound quality, incredibly dedicated hi-fi that is spreading in the living room.

All the best of the "Neapolitan", forgive a neologism, we meet in the evening activities at this location: charming hospitality, artists of great quality and a great desire to dance in the spirit of tango. Or how to social dance is open to everyone, all ages, at any level .

This melange is an important contribution by other leading figures in the tango scene and Naples Italy. First consignee Sergio y Alejandra Arrue, among the most popular teachers, teachers with great teaching and above all advisers dell'esprit de milonga. When I entered the Salone Margherita, came early as usual to sound check, I saw a class premilonga packed, with people happy to learn the secrets of this dance, comforted by Sergio and Alejandra who generously reveal all the secrets to solving a figure, or simply if you can find it easy to explain a seemingly trivial walk that is the basis of the tango.

E Peppe and Adelma, a couple of friends among the most passionate tango Italian, tireless researchers. Peppe is a visionary explorer in search of the Holy Grail of Tango ... one of the few people that are worth discussing in world of the tango is often clouded by myths and ephemeral trends.

I am happy to be back in distance after the Neapolis Tango Marathon to play in the Salone Margherita, so maybe every now and then I also I need the tango of emotions. Those same emotions that gave me this incredible place. Those same emotions and feelings that gave me the extraordinary event guest artists, directors Mario y Anabella Diaz Hojiman.

Assisi long Olympus tango offered an extraordinary performance, combining a distinctive personality with a mastery of technique that has pochi eguali. Su tutto una fluidità nella dinamica che viene sciorinata non fine a se stessa ma come tela alla Jackson Pollock dove dipingere di volta in volta con l’involontarietà del talento un tema di Pugliese, il compas di D’Arienzo, un classico Di Sarli.

Quando è finita la serata, ed ho abbandonato il Salone Margherita, uscendo a riveder le stelle… ho incontrato una Napoli notturna avvolta nel silenzio. Mi pareva di essermi destato da un lungo sonno. Dalla melodia sotterranea del tango alla quiete della superficie. Ed allora ho compreso che forse il Salone Margherita è come il tango, uno stato dell’anima, perhaps to enjoy the intimacy, but to share in pairs.

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LCD Soundsystem, citazionismo o mancanza di idee, o formula di successo? E Repetita iuvant?

Repetita iuvant? A question for the LCD Soundsystem continue with the same successful formula to churn out albums in photocopy.

This Is Not Happening, which is exempt from Moroder and Bowie's Heroes, the most decadent Moby and Talking Heads during brain is a triumph of citations. But the lack of originality è un difetto, oppure un pregio , o meglio un punto di forza di chi ha scoperchiato la lampada di Aladino e scoperta una formula magica? È indubbio che questo disco è sicuramente quello che nell’anno appena trascorso spingerà critici ed aficionados a riflessioni su questi temi benché il grande pubblico ne abbia già sancito il trionfo, sollevati a furor di popolo da danze spaziali e robotiche alla New Order.

James Murphy sicuramente la sa lunga, come se avesse abbassato la leva di una slot machine che confeziona ad ogni giro dei potenziali hit.

Ed allora mentre scrivo questo post mi viene in mente una bellissima puntata di Rai Stereo Notte ascoltata ieri alle ore 3.15 mentre ritorno da Bassano del Grappa dopo aver musicalizzato. Il tema era, i gruppi dei seventies erano più originali delle rock band attuali, malgrado forse una tecnica inferiore?

Bisognerebbe forse portare James Murphy ed i suoi LCD Soundsystem in confessionale!