субота, 20. децембар 2008.
My gift is my song
My gift is my song
and this one's for you
And you can tell everybody that this is your song
It may be quite simple but now that it's done...
I hope you don't mind,
I hope you don't mind...
that I put down in words...
How wonderful life is now you're in the world.
Sat on the roof and I kicked off the moss
Well, some of these verses, well they,
they got me quite cross
But the sun's been kind
while I wrote this song
It's for people like you that keep it turned on
So excuse me forgetting
but these things I do
You see I've forgotten if they're green or they're blue
Anyway the thing is, what I really mean...
Yours are the sweetest eyes I've ever seen.
And you can tell everybody that this is your song
It may be quite simple but now that it's done
Hope you don't mind,
I hope you don't mind
that I put down in words
How wonderful life is now you're in the world
Hope you don't mind,
I hope you don't mind
that I put down in words,
how wonderful life is now you're in the world!
среда, 17. децембар 2008.
Celentano
Celentano, Adriano
b. 6 January 1938, MilanSinger, actor and film director
Italy’s most famous and most enduring rock’n’roll singer, Celentano was born in Milan of southern parents. While working at various jobs, including as a plumber and a watchmaker, he began doing imitations of Jerry Lewis and Bill Haley at the Santa Tecla Club. In May 1957, backed by the Rock Boys—a group that included, amongst others, Giorgio Gaber and Enzo Jannacci—he sang at the first National Festival of Rock’n’Roll at the Palazzo di Ghiaccio (Ice Palace) in Milan. He proved to be an overwhelming success and was immediately offered a recording contract. His singing career on the rise—and by now becoming notorious as ‘il molleggiato’ (the sprung one) because of the way he moved his body—he performed at the second Italian National Rock’n’Roll
Festival in 1958 and was soon also appearing in films, including being featured in a segment of Fellini’s La dolce vita (1960). In 1961 he was inducted into military service but was nevertheless able to continue his singing career, competing in the Sanremo festival that year to perform his now legendary ‘24,000 baci’ (24,000 Kisses). He scandalized the judges by turning his back on the audience and so failed to win, but his song immediately leapt to the top of the hit parade and sold over a million copies, making him the most popular rock’n’roll artist in Italy.
In the following years, having founded his own recording company, the Clan Celentano, he continued to produce a long string of hits in Italy, and performed in rock festivals abroad, thereby acquiring an international reputation. By the mid-1970s, having already appeared in films by Lattuada and Dario Argento, he also began writing, directing and acting in several of his own films. During the next decade, as well as touring intensely both in Italy and abroad, he also appeared in over fifteen films as well as directing himself in Joan Lui (1985), a film in which he played Jesus Christ returning to the earth for the second time.
In 1987 he was invited to host a season of the RAI’s long-running and extremely popular Saturday evening variety programme Fantastico (see Canzonissima) where he caused a furore (as well as increasing the ratings) with his assorted, improvised and often contradictory opinions on everything from consumerism and television advertising to hunting and environmental issues.
Regarded as something of a dinosaur by the younger generation in the 1990s, he nevertheless manages to maintain considerable popularity amongst a more mature audience by regularly releasing new albums, the most recent being a CD recorded in collaboration with another classic rock star, Mina, and an album of new songs written with the lyricist Mogol (see Lucio Battisti) in 1999.
On the Semiotic Mechanism of Culture
COLLECTORS
If twentieth-century collectors of photographs are just
recently becoming well known, then those of the previous
period were mostly unknown. A very few studies
have been conducted in the domain of 19th century collectors
and photographic market. This gap can also be
explained by the fact that the idea of a large disinterest
for old photography, which marked the fi rst half of the
20th century, and has been extended to the second part
of the 19th century. However, everything indicates that
many people during this period were able to distinguish
between photographic prints of a work of art, a document,
an industrial production or a scientifi c archive.
If twentieth-century collectors of photographs are just
recently becoming well known, then those of the previous
period were mostly unknown. A very few studies
have been conducted in the domain of 19th century collectors
and photographic market. This gap can also be
explained by the fact that the idea of a large disinterest
for old photography, which marked the fi rst half of the
20th century, and has been extended to the second part
of the 19th century. However, everything indicates that
many people during this period were able to distinguish
between photographic prints of a work of art, a document,
an industrial production or a scientifi c archive.
уторак, 9. децембар 2008.
четвртак, 23. октобар 2008.
Beskrajni, plavi krug. U njemu, zvezda
" Jeste li pronašli obećanu zemlju ?"
" Jesmo. Dolinu pored reke. Pet kilometara udaljenu od mora. Sve ono što nam treba. I lepu . . . Planine iznad nje . . . Planinski lanac za planinskim lancem, sve viši i viši, viši od oblaka, belji . . . Ne možeš da veruješ koliko visoko mora da se gleda kako bi se video najviši šiljak planine."
Ursula K. Leguin - The Eye of the Heron
" Jesmo. Dolinu pored reke. Pet kilometara udaljenu od mora. Sve ono što nam treba. I lepu . . . Planine iznad nje . . . Planinski lanac za planinskim lancem, sve viši i viši, viši od oblaka, belji . . . Ne možeš da veruješ koliko visoko mora da se gleda kako bi se video najviši šiljak planine."
Ursula K. Leguin - The Eye of the Heron
недеља, 5. октобар 2008.
Imaginarni gradovi
BESANI GRAD nalazi se u severnoj Nigeriji. Njegovi stanovnici imaju jedinstvenu naviku da nikad ne spavaju, i stoga nemaju predstavu šta je to san,
Ovaj grad je posebno opasno mesto za strance. Ukoliko se nekom putniku dogodi da prenebregne lokalne noćne navike i zaspi - kao što to verovatno ima običaj da radi noću - domoroci će, verujući da je on umro, krenuti da kopaju veliki grob, a onda ga uz veliku ceremoniju odmah sahraniti.
(A.Dž.N Trimern, Kuća praznoverja i običaja, London 1913.)
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