On line now at donnamia.net

Thursday, July 30, 2009

One In 20 Italians Lives In Absolute Poverty

Why is it that in Supposedly Civilized Nations (US & Europe) that the Disparity between Rich and Poor is spiraling back to Feudalism..
Why do the Middle Class and Lower Class allow themselves to be distracted and divided by "vacuous" issues, introduced by the Wealthy and Oligarchies, and cause the "Haven't got much" to vote vs their Self Interests, or ALL LOW their Elected Representatives to be bought by the Oligarchy Lobbyists. ????
One In 20 Italians Lives In Absolute Poverty
New York Times; By Reuters; July 30, 2009

ROME (Reuters) - One in seven Italians scrapes by on less than 1,000 euros (£853) a month and roughly one in 20 lives in absolute poverty, unable to maintain a minimum standard of living, the national statistics agency said Thursday.

The proportion of Italians living in relative poverty -- defined as monthly spending of 999.67 euros or less -- rose last year to 13.6 percent of the population or 8.78 million people, the ISTAT agency said.

That was up from 12.8 percent in 2007, with the country's economically depressed south bearing the brunt. Families with more than three children, young bread winners or elderly relatives were among the groups worst affected.

In southern Italy, 26.7 percent of individuals were living in relative poverty. That was more than three times the level in central Italy (8.1 percent), and four times the rate in the north (5.9 percent).

The number of people living in absolute poverty -- not enough to buy even the basic basket of goods required for a minimum standard of living -- rose to 2.9 million or 4.9 percent of the population, up 0.8 percentage point in a year.

The proportion of people living in absolute poverty was far higher in southern Italy: it climbed to 8.1 percent last year from 6.0 percent in 2007.

How to Flirt Like a Pro in Italian

Where was this Info when I really needed it !! :)

Faster Times, Dianne Hales, July 29, 2009

Fare la Civetta (To flirt — but literally, to make like an owl)

Flirting has long been Italians’ favorite pastime. In 1494, the scholar and poet Poliziano used the word "civettare" to describe women who were making like owls (civette), shrewd predators that coo softly to attract birds close enough to grasp them in their claws. About a century later, in 1597, playwright Giovan Maria Cecchi, author of The Horned Owl, referred to a civetta as a "una donna fatua e vanitosa che vuol attirare l’attenzione degli uomini" (a silly, vain woman who wants to attract the attention of men). Other writers extended "civetteria" to anyone deliberately seeking to attract the admiration of others.

In English, everyone and anyone with a seductive smile and a ready wink falls into the generic category of flirt. In his Dizionario dei sinonimi, an encyclopedic narrative dictionary of Italian synonyms published in 1864, Nicolò Tommaseo distinguished between a civettino, a precocious boy flattering a pretty woman; a civettone, a boorish lout doing the same; a civettina, an innocent coquette; and a civettuola, a brazen hussy.

Nowadays, Italian say flirtare (from the English), fare il filo (make a thread), tacchinare (act and play like a turkey), fare la gallina or l’oca (make like a hen or a goose) and corteggiare (court with romantic interest). One of my Italian friends describes the subtle art of corteggiamento as an Olympic sport - if one knows how to corteggiarsi con leggerezza e gioco (woo lightly and playfully).

To be a skilled corteggiatore (suitor), a man must be able to abbordare (chat up or approach) a woman, or else he might actually importunare (annoy) the object of his desire. Then he would seem to be, not an owl, but a pavone (peacock), a galletto (rooster), a tacchino (turkey) or " far, far worse" a maiale or porco (pig).

Flirts often use the same pick-up lines in Italy as anywhere else: "Vuoi bere qualcosa?" (”Would you like a drink?) "Non ci siamo già visti prima?" (”Haven’t we seen each other before?") "Scusa, posso dirti che hai degli occhi stupendi?" ""May I tell you that you have amazing eyes?") But some Italian are more creative. Here’s a straight-from-the-streets example:

HE --“Mi indicheresti la direzione? "Can you tell me the way?")
SHE --Quale direzione? "Which way?")
HE --“Quella per il tuo cuore." "The way to your heart!")

Words and Expressions

fare un filo spietato - openly flirting with someone

Mi piaci di brutto! - I like you way too much!

Sei irresistibile - I can’t resist you

Sei uno spettacolo! - You are spectacular.

Ho perso il mio numero di telefono, potrebbe prestarmi il suo? - I’ve lost my telephone number, could I borrow yours?

Hai da fare per I prossimi cent’anni? - What are you doing for the next hundred years?

Venice Film Festival: Twenty-Three Entries, Sept 2-12, 09

Italy has Four Entries , "Baaria" by Giuseppe Tornatore, Italy; "La doppia ora" (The Double Hour) by Giuseppe Capotondi, Italy; "Lo spazio bianco" (The White Space) by Francesca Comencini, Italy;"Il grande sogno" (The Big Dream) by Michele Placido, Italy.
The USA has Six Entries of the total of Twenty-Three Entries. I'm personally rooting for "Capitalism: A Love Story" by Michael Moore, U.S. :) Moore is an Academy Award-winning American filmmaker, author and liberal political commentator. He is the director and producer of Bowling for Columbine, Fahrenheit 9/11, and Sicko three of the top five highest-grossing documentaries of all time. In September 2008, he released his first free movie on the Internet, Slacker Uprising documenting his personal crusade to encourage more Americans to vote in presidential elections. Time magazine named him one of the world's 100 most influential people.

Line-up of films competing at Venice Film Festival

By The Associated Press (AP) July 30, 2009

ROME ? A list of the films in competition for the Golden Lion at the 66th Venice Film Festival, which will run from Sept. 2-12:

"Baaria" by Giuseppe Tornatore, Italy.

"La doppia ora" (The Double Hour) by Giuseppe Capotondi, Italy.

"Lo spazio bianco" (The White Space) by Francesca Comencini, Italy.

"Il grande sogno" (The Big Dream) by Michele Placido, Italy.

"Capitalism: A Love Story" by Michael Moore, U.S.

"Bad Lieutenant: Port of Call New Orleans" by Werner Herzog, U.S.

"The Road" by John Hillcoat, U.S.

"Survival of the Dead" by George A. Romero, U.S.

"Life During Wartime" by Todd Solondz, U.S.

"A Single Man" by Tom Ford, U.S.

"Persecution" by Patrice Chereau, France.

"White Material" by Claire Denis, France.

"Mr. Nobody" by Jaco van Dormael, France.

"36 vues du Pic Saint Loup" ("36 views from the Pic Saint Loup") by Jacques Rivette, France.

"Soul Kitchen" by Fatih Akin, Germany.

"Zanan-e bedun-e mardan" ("Women Without Men") by Shirin Neshat, Germany.

"Yi ngoi" ("Accident") by Pou-Soi Cheang, China-Hong Kong.

"Lei wangzi" ("Prince of Tears") by Yonfan, China-Hong Kong.

"Ahasin Wetei" ("Between Two Worlds") by Vimukhti Jayasundara, Sri Lanka.

"El Mosafer" ("The Traveller") by Ahmed Maher, Egypt.

"Levanon" ("Lebanon") by Samuel Maoz, Israel

"Lourdes" by Jessica Hausner, Austria.

"Tetsuo The Bullet Man" by Shinya Tsukamoto, Japan.

Tuesday, July 21, 2009

Hitlers First Defeat- -75th Anniversary- July 25, 1934 -The Stressa Front - Italy's Triumph - Britain's Failure

On July 25, 1934, Austrian Nazis assassinated Chancellor Engelbert Dollfuss in preparation for a German takeover. Only one of the former World War I allies, Italy, did anything to prevent Hitler's first aggression. The Italians sent four army divisions to the Austrian border and warned Hitler off. Britain and France made no similar show of force. The event captured on the front page of the New York Times on July 26, 1934, but rarely mentioned since.

A Call for Britain to Explain its Early Relations with Hitler

Italic Institute of America, PO Box 818, Floral Park, NY 11002, 516.488.7400, ItalicOne@aol.com; www.italic.org

New York - On July 25, 1934, Austrian Nazis assassinated Chancellor Engelbert Dollfuss in preparation for a German takeover. Only one of the former World War I allies, Italy, did anything to prevent Hitler's first aggression. The Italians sent four army divisions to the Austrian border and warned Hitler off. Britain and France made no similar show of force. The event captured on the front page of the New York Times on July 26, 1934, but rarely mentioned since.

"The British would like to point to Appeasement as the cause of the Second World War," suggests John Mancini, Chairman of the Italic Institute, "they start the clock in 1938 with Munich. It was already four years too late thanks to their appalling judgment and their side deals with Hitler."

At Italy's behest, a meeting of Britain, Italy and France was held in Stresa, Italy in April, 1935. That meeting resolved to present a united front against German expansion, known as the Stresa Front. By June, however, the British, violated Stresa by signing a deal with Hitler allowing Germany to rearm (The Anglo-German Naval Treaty). The British need to publicly reveal their true motives in the early 1930s.

Says Institute Vice Chairman Rosario A. Iaconis, "Apparently, some elements of he British government decided that Italy, as a Mediterranean and African power, posed a greater threat to their Empire than Nazi Germany. The passage to India was their priority. Foreign Minister Anthony Eden, in particular, even believed Hitler to be trustworthier than Benito Mussolini. Fellow Cabinet member, Duff Cooper, knew better."

"Was Neville Chamberlain the fall guy?" asks Alfred Cardone of the Institute's Advisory Council. "Munich was on his watch but it was Eden who had painted Britain into a corner. To deal with the German threat, Eden chose the hollow League of Nations over the Stresa Front. It was a fatal mistake. Ironically, in 1956, that same Eden ignored the United Nations and launched a disastrous war in the Middle East."

"We will never know if the Second World War could have been prevented or localized in 1934 and 1935," admits John Mancini. "But because the war occurred the world suffered tens of millions of deaths, the Holocaust, the spread of Communism, wars in Korea and Vietnam, and the clash civilizations in the Middle East that led to 9/11 and the current wars. Who wouldn't be interested in knowing where we went wrong?

Recommended Books: Old Men Forget by Duff Cooper (Dutton, 1954) Mussolini, A New Life by Nicholas Farrell (Phoenix Paperback, 2003), Mussolini As Diplomat by Richard Lamb (Fromm International)

Sunday, July 19, 2009

Simon Rodia's Watts Towers Need $5 Million in Repairs

The Rodia's Towers was a 34-year voyage of sculptural whimsy created solely with crude tools: a pipe-fitter's wrench, a chisel, and a mixing pail. He worked without machine tools or drills, without scaffolding or bolts. Rodia conceived the site itself as a seafaring vessel, setting what looks like a captain's wheel into the base of the eastern tower, just behind the Ship of Marco Polo.
It was an obsession that consumed Rodia through six presidents, two earthquakes and a world war, until he had single-handedly constructed, in addition to the ship, three tall towers, a gazebo, a fountain, a fish pond, two enclosure walls and various other things--17 sculptures in all. The tallest tower rises more than 10 stories. The entire agglomeration, considered as a single work, is said to be the largest structure ever made by one man alone.In 1955, Rodia handed the deed to the property to a neighbor and walked away.

Los Angeles Times, By Mike Boehm, July 17, 2009


WattsTowers The Watts Towers may be a unique and symbolically rich work of folk art, but it is also a world-class money trap, vulnerable to earthquakes and the elements, and constantly in need of repair.

There's been long-simmering discontent among some of the most intense admirers of Simon Rodia's 100-foot-tall structure who say the city doesn't spend nearly enough on its upkeep and criticize the quality of conservation work carried out by L.A.'s Department of Cultural Affairs.

That criticism led to a two-hour state-of-the-towers meeting Thursday at City Hall, as two city commissions considered what has been done and what might be done to preserve them. By the end, they had resolved to try to ignite the major philanthropic effort it would take to put the towers in prime condition and enhance their value as an educational resource, an object of community pride and a tourist attraction.

The Cultural Affairs Commission, which advises on arts policy, and the Cultural Heritage Commission, which oversees landmarks, voted unanimously to send a letter to Mayor Antonio Villaraigosa, asking him to help recruit donors and activists for a private, nonprofit support group akin to ones that help fund the Los Angeles Zoo and Griffith Park Observatory.

It could take about $5 million to restore Rodia's fantasia of cement and steel to prime condition, according to one "quick and dirty" estimate, said Olga Garay, executive director of the cultural affairs department. But straitened finances recently brought the layoff of three city workers who did the conservation work, along with an office assistant assigned to the project, Garay said. That leaves a curator and one technician devoted to the towers, as annual spending on upkeep drops from about $300,000 to $200,000.

The Committee for Simon Rodia's Towers in Watts, which helped save the towers from the wrecking ball in the late 1950s, has long been frustrated by the city's efforts. The citizens' group argues that what maintenance the city does provide suffers from improper methods and materials that distort or damage some of Rodia's ornamental flourishes. The group's concerns went global in April, when an 11-point list of its complaints, titled "Damage in Progress," was discussed at an international scholarly conference in Genoa, Italy, "Art and Immigration: Sabato (Simon) Rodia and the Watts Towers of Los Angeles.” The title of the cultural affairs department's own conference presentation, by curator Virginia Kazor, suggested what L.A. is up against: "Triage: the Challenge of Conserving the Watts Towers."

Rodia, an uneducated Italian immigrant stonemason, labored on the towers alone for more than 30 years, starting in 1921, creating a triple-spired skeleton of steel and wire, fleshing it out with concrete and adorning its surfaces with colorful bits of glass, pottery, tile and seashells. It adds up to a national landmark that is, for many, an inspirational example of what one committed person can achieve.

"I had in mind to do something big, and I did," Rodia said -- as extensive a public explanation as he ever gave.

"The Watts Towers is a symbol of how one can be thought of as being nothing, and be able to do something," towers activist Rudy Barbee told commissioners. It needs to be preserved, he said, as an object lesson to young Angelenos that "you can do the same."

One man may have made the towers, but stopping nature from unmaking it could depend on mustering a cooperative effort to fund its future. The Towers in Watts committee, which donated it to the city in 1975, has been at frequent loggerheads with officials over the last nine years. The state of California has owned the towers since 1978, taking ownership as a result of legal wrangling between the city and the citizens group. The city continues to maintain the towers and run guided tours on a lease extending to 2028.

In defense of what her department has done, Garay noted that consultants hired by the state parks department to study the towers' condition and conservation techniques gave the city passing grades three years ago, finding that its work was "consistent with generally accepted standards."

But she acknowledged that of 10 recommendations made by the consultants, Architectural Resources Group, just one has been fully implemented, another has been partly accomplished and the rest have gone unaddressed due to budget restrictions — including testing new materials to see whether they might be more effective in mending cracks than the epoxy that's being used.

Garay said she has been in contact with the Getty Conservation Institute, a branch of the J. Paul Getty Trust that funds and lends expertise to art conservation projects around the world, and the Los Angeles County Museum of Art, whose director, Michael Govan, prizes the towers.

"We're very early in the exploratory stages, but my hope is that civic pride will lead ... these two gigantic entities to join forces with the city," Garay said.

Overall, she said, $6.2 million has been spent on the towers' upkeep since 1991 -- about $3 million each from the city and the state, and $155,000 in grants from private foundations.

Ronald Jackson, who said he grew up near the towers, and Edward Landler, who made "I Build the Tower," a documentary film on Rodia and his creation, both linked a history of underfunding Watts Towers maintenance to a general shortchanging of the neighborhood. The economic downturn shouldn't be used as an excuse now, Jackson said, because "when money was flowing through L.A., Watts was being neglected. Pay attention, and just put more effort into what's going on."

"We have to start thinking out of the box, because this is a huge undertaking," said Oz Scott, a cultural heritage commissioner.

Given that the towers' exposure to the elements is the problem, cultural commissioner Lee Ramer wondered, "Has it ever been considered to treat it like art, and put it under glass?"

"That's funereal. It would cut it off from the people," said another cultural commission member, actor-playwright Richard Montoya. "It's a wonderful, beautiful, irrational piece of artwork to begin with. We may not be able to have a logical approach."

Related stories:

Watts Towers draw scholarly attention -- at a conference in Italy

Towers of Power

Photos: Watts Towers. Credits: Robert Lachman / Los Angeles Times (top); Perry C. Riddle / Los Angeles Times

http://latimesblogs.latimes.com/culturemonster/2009/07/watts-towers-fix-could-cost-5-million-the-city-doesnt-have.html

Rooting up Ancient Rome

You can't repair a water main, break ground for a parking garage or dig up a potato in Rome without finding a treasure, but now, preservation and public presentation are favored over excavation.

Rooting up Ancient Rome

Dig almost anywhere, and you're likely to find remnants of the city's glorious past. But now, preservation and public presentation are favored over excavation.

Los Angeles Times, By Susan Spano, July 17, 2009

It is often said that you can't repair a water main, break ground for a parking garage or dig up a potato in Rome without finding a treasure.

The roots of the Eternal City, which just celebrated its 2,762nd birthday, go deep and are still being unearthed. When first plumbed in the 16th century, the layer cake underneath the city yielded classical artifacts that helped inform the Renaissance.

Almost as inevitably as yellow mimosas bloom in the spring, archaeologists keep coming here, wrangling excavation permits and opening trenches. Passersby see red-and-white-striped plastic tape and piles of dirt, but rarely learn what is being sought in the rubble, because when a dig yields an important find, it takes years of negotiation, fundraising, preservation, public-access construction and scholarly interpretation to open a site to visitors.

As a resident, I often pass excavation sites and wonder what is going on. I got a chance to find out last fall when I visited a dig in Aqueduct Park, on the southeastern side of the city, where an ancient water conduit makes a broad bend on its way into the capital. Since 2006, when the American Institute for Roman Culture began an archaeological dig, the park has yielded treasures: intricately worked mosaics, the head of a god thought to be Zeus and structural evidence of a 1st or 2nd century bathing complex larger and more sophisticated than any yet found in the area immediately surrounding Rome.

Records identify it as the site of the Villa delle Vignacce, owned during Imperial Roman times by brick manufacturer Quintus Servilius Pudens.

It is unclear whether the multistory bathhouse, with its intact Roman saunas, was part of a private villa or a public complex.

In either case, the site calls into question long-held concepts about the configuration of Imperial Rome.

"To find an urban-style bathhouse in suburban Rome is striking," said Darius Arya, the institute's director.

Lacking funds to preserve the dig last winter, Arya summoned an earth mover to cover it, obscuring the hard evidence of the discovery.

Before doing so, however, he enlisted Gabriele Guidi, an associate professor at Milan Polytechnic, to document the site. Using advanced laser technology, they assembled a virtually enhanced plan of the bathing complex.

That's good news for scholars, but of scant interest to tourists. Arya said that shoring up the site, encircling it with a semi-permanent fence and building roof structures to protect it from the elements during the digging off-season, which usually lasts from October to April, would have cost more than $500,000.

In 2006 and 2007, excavation work at Villa delle Vignacce was underwritten first by the American Express Foundation, then by private donors. Last fall, Arya hoped for support from Rome to keep the site open, but city money did not materialize, and private funding has dwindled in the wake of the global economic meltdown.

Umberto Broccoli, the city's superintendent for cultural heritage, has begun to reevaluate such work in the Italian capital, pressing archaeologists to find money not just for excavation but for site preservation as well.

Broccoli likened archaeological sites to children. "It takes a great deal to maintain them," he said. "If we can't properly look after them, do we need more children?"

The emphasis on preservation includes rethinking the way the city's scant funds are being allocated at high-profile sites such as Circus Maximus, a chariot racecourse just south of the Roman Forum, known to have been used until 549. Tourists can visit the site, but it has suffered from poor drainage, and layers of earth have obscured the original track.

The city has found $2.85 million to restore the site, but only a fraction will go toward excavation. The rest is earmarked for creating a park-like space so that visitors will be able to stroll in the footsteps of charioteers.

"Conservation is now coming to the fore in a systematic way," said Giorgio Buccellati, professor emeritus at UCLA's Cotsen Institute of Archaeology. "But it costs money, which is hard enough to find for excavation."

An alarming failure to preserve archaeological discoveries occurred at Herculaneum, a Bay of Naples town that was buried, along with Pompeii, by the eruption of Mt. Vesuvius in AD 79.

Excavation there in the 1980s left the low-lying site an eyesore and endangered extremely perishable findings made of wood, cloth and papyrus.

The town's imperiled condition prompted David W. Packard, president of the Los Altos, Calif.-based Packard Humanities Institute, to pledge $100 million to the Herculaneum Conservation Project, which is trying to fend off further degradation, implement long-term conservation strategies and fully document the site.

Almost as important as conservation is the process of preparing sites for public visitation. This entails providing safe access and clear explanations for guidebook-toting sightseers.

Despite diminishing public funds -- a 30% cut in the budget of the Italian culture ministry is expected in the next three years -- there have been several important public openings of archaeological sites in Rome, including the 2007 debut of the Museum of the Imperial Forums. One of a 15-member chain of museums overseen by the city's cultural heritage department, it occupies the stunningly restored ruins of Trajan's Market near the Piazza Venezia.

And last spring, the Italian government opened a series of frescoed chambers in the home of Emperor Augustus on the Palatine Hill.

The fabled Palatine, a precinct of palaces overlooking the Forum, is where the city's mythological founder Romulus was born, and thus, Rome's ground zero. Last year, archaeologists announced the discovery of a sanctuary there that is thought to enshrine the tomb of Romulus.

The find is considered noteworthy enough to justify continued digging. But it could be decades before visitors get to see the Romulus sanctuary. Unusually heavy rain in December felled trees, flooded sewers and left massive puddles on the Palatine, endangering archaeological treasures.

Back at Aqueduct Park, the reburied ruins of the Villa delle Vignacce bathhouse were unaffected by the weather. As Arya said, the best way to preserve an archaeological site from the elements and public degradation is to cover it up.

Be that as it may, the organization raised enough funds to reopen the dig this summer, though in a different section of the site.

And so, whenever I go walking in Rome, I keep my eyes glued to the pavement, wondering what's down there.

It's maddening not to know, but an inescapable part of the Rome experience. susan.spano@latimes.com

http://travel.latimes.com/articles/la-trw-newdiggingrome19-2009jul19

Thursday, July 16, 2009

Italian Media and British Tabloids in War of Words

The London Guardian started out blasting Berlusconi as a host of the G-8. and suggested that there was pressure to expel Italy from G-8.
A front page editorial published by Italian, Berlusconi-owned newspaper Il Giornale claiming that Italy has beaten the UK on the world stage in the fields of the economy, politics, industry, crime, fashion, football and tourism.
British newspaper the London Times in return published a satirical article entitled Cool Italia: we salute you. The Times amended the list to include jibes directed at Italians on organised crime, corruption, bottom-pinching, fashion and sense of humour.
It appears as if, None of the G8 members have anything to propose, and hide that behind an attack on Italy.

The general public doesn't even know what the G-8 are doing or why they are even bothering to spend the travel money, and the press has already clearly told everyone that the G8 is a gas house of 'senior' politicians who promise lots in front of cameras and then don't deliver. So there is no public support.

Berlusconi has decided to place all these pious politicians in a spot where real urgency and potential for human disaster can be felt through their feet and into their stomachs. Not a bad idea at all!!.Turning on Berlusconi is simply political opportunism of the lowest kind that we rarely see out in the open.

Makes you sorry that the Roman Empire (almost a thousand years) ever bothered to Civilize the Pagan Brits, who now forget that the short lived British Empire [From Waterloo in 1815 until WWII...125 years] .... is now a mere American lap dog. :) :) Get Real !!!!

Italian and British Media Exchange Insults

The Roman Forum, By Caroline Prosser, Wednesday, July 15th, 2009

British newspaper the Times today published a satirical article entitled Cool Italia: we salute you a response to a front page editorial published by Italian, Berlusconi-owned newspaper Il Giornale claiming that Italy has beaten the UK on the world stage in the fields of the economy, politics, industry, crime, fashion, football and tourism.

The Times amended the list to include jibes directed at Italians on organised crime, corruption, bottom-pinching, fashion and sense of humour.

Italian feathers were initially ruffled by a report in British newspaper The Guardian critical of the PM’s performance as host during G8.

The newspaper cited senior Western officials saying the G8 summit preparations were chaotic and that there was pressure to expel Italy from the group, a report dismissed by the PM as ‘colossal error by a small newspaper’.

Giacomo Medici, Italian Antiquities Looter Loses Appeal, to Appeal to Highest Court

Giacomo Medici, 71, a key conduit for looted ancient art that landed in museums, such as the Getty and New York's Met, faces 8 years in prison and a $14-million fine, after his 2004 conviction was upheld today by an appeal court in Rome. Medici plans to further appeal. This is the first time in Italy that this type of crime has been given such a high punishment.


Dealer who Sold Antiquities to Getty Loses Looting Appeal

Los Angeles Times, By Mike Boehm and Jason Felch, July 15, 2009

Giacomo Medici, who Italian authorities say was a key conduit for looted ancient art that landed in museums, such as the Getty and New York's Met, still faces prison and a $14-million fine after his 2004 conviction was upheld today by an appeals court in Rome. His sentence, however, was reduced from 10 years to eight.

Bloomberg News reported that Medici, 71, remains free as he plans an appeal to Italy's highest court. "Mickey Mouse can't compete with the state" that has prosecuted him, Medici said.

Although the court trimmed two years from Medici's prison sentence, prosecutor Paolo Ferri told The Times that Medici still faces a "very hard sentence. This is the first time in Italy that this type of crime has been given such a high punishment."

Medici's legal troubles go back to 1995, when investigators raided his warehouse in Geneva and found thousands of neatly cataloged photos that became evidence against not only him, but also the Getty's former antiquities curator, Marion True, whose slow-moving trial in Rome began late in 2005 and remains open.

Earlier that year, following Medici's trial and conviction, True was indicted for allegedly having conspired to buy looted art from him and another dealer, Robert Hecht, and she eventually resigned from the Getty. Ferri said he expects to finish presenting the evidence against True and Hecht in the next scheduled trial proceeding in late October. The prosecutor acknowledged that technical challenges related to Italy's statute of limitations could be an obstacle: "I can't say for sure that there will be a conviction of True and Hecht," he said.

True's attorneys have said she may have bought looted works for the Getty, but that she acted in good faith, not knowing they had been dug and exported in violation of Italian laws safeguarding ancient artifacts discovered after 1939.

Harry Stang, a Los Angeles-based attorney who represents True, told The Times on Wednesday that her team of Italian lawyers plans to mount "a complete defense" when her turn comes to present evidence. He said the most recent hearing, on June 19, ended with the True team's cross-examination of an archaeologist for the Italian government.

The Getty struck an agreement in 2007 to return 40 objects from its collection to Italy. Prosecutions and other pressure from Italian and Greek authorities have helped drive the Getty, the Met and other museums and private collectors to reverse a history of buying prized objects without insisting on firm evidence that their provenance -- a record of their origins and ownership -- was legitimate. Moving forward from that embarrassment, the Getty adopted an antiquities acquisition policy that anti-looting activists have praised as a model for other museums.

http://latimesblogs.latimes.com/culturemonster/2009/07/dealer-in-looted-antiquities-loses-appeal-has-links-to-embattled-exgetty-curator.html

Related stories:

The puzzle of Marion True

Getty Had Signs It Was Acquiring Possibly Looted Art, Documents Show

Murky World of Antiquities Trade

Getty's antiquities policy gets kudos vs. the Met

Bruno Bozzetto's Depiction of Uniqueness of Italy

Italians are unlike any other people in the world and they are certainly not like the rest of Europe. There is a uniquely Italian way of living.
Bruno Bozzetto's depictions are hilarious.

Italian Living Hilariously Depicted by the Talented Bruno Bozzetto
Italian Living Examiner -Serenella Leoni -July 16, 2009 ·

This column is dedicated on sharing the philosophy and behavior of the passionate, beautiful, sensual Italian lifestyle in all it many facets and moods. Italians are unlike any other people in the world and they are certainly not like the rest of Europe. There is a uniquely Italian way of living which some people might find very peculiar.

Italian humor and creativity and the ability to poke fun at oneself are embodied in the work of the very talented Bruno Bozzetto who has been entertaining fans of all ages since 1958 when he created his first animated short "Tapum, the Weapons’ History" at the age of 20. Since then, his animations have been featured around the world.

Below is Bruno Bozzetto’s view of how Italians are different from all other Europeans. The piece depicts Italian driving, parking, government, coffee habits, social behavior and more. As in all good humor, these scenes are firmly based on Italian reality.

http://www.youtube.com/watch?v=ZAJNFoHuLno&feature=related

[If you can not connect. Google " YouTube Bruno Bozzetto " and see other Bozzetto shorts]

Bozzetto’s first animated short "Tapum, the weapons’ history" sparked interest at the Cannes Festival and led to his collaboration with Norman McLaren, a Canadian master of animation and John Halas, a British film producer. In 1960 the Bruno Bozzetto Film Company was created in Milan. The company included film production, advertising and television and included team of young drawers, animators and script-writers.

One of Bozzetto’s most famous creations was a funny character known as "Mr Rossi" who starred in many animated short films and three feature films destined to both TV and cinema. In 1965, Bruno Bozzetto created and produced, "West and Soda" followed by "Vip my brother superman" (1968) and by "Allegro non Troppo" (1976), an Italian response to "Fantasia" by Walt Disney. This film was appreciated by American critics long before it was even released in Italy or Europe.

You will find more information on the quirky aspects of Italian living depicted in Bozzetto’s short feature in these past articles:

10 ways to order espresso. Italians demand the best!
Observations on traveling or living in Italy
Observations on traveling or living in Italy – behaving and misbehaving…
Observations on traveling or living in Italy – on food, habits and the good life.

Serenella Leoni is an Examiner from the National Edition. You can see Serenella's articles at: http://www.Examiner.com/x-854-Italian-Living-Examiner

Friday, July 10, 2009

L'Aquila Sarcastically Says "Yes We Camp" to G-8 Meeting

Prime Minister Silvio Berlusconi moved the meeting of world leaders to L'Aquila, the capital of the Abruzzo region, as a sign of solidarity with quake victims. But residents say they don't want symbolism, but homes, schools and jobs.
Upended by the magnitude 6.3 Earthquake three months ago, about 25,000 people still live miserably in tent cities in the region, and an even greater number remain in campsites.
"Yes we camp," protesters spelled out in big, white letters on a hillside this week, riffing on Obama's campaign slogan, "Yes we can."


Beneath the G-8 summit, a Valley of Misery for Italy Quake Victims
Prime Minister Silvio Berlusconi moved the meeting of world leaders to L'Aquila as a sign of solidarity with quake victims. But residents say they don't want symbolism, but homes, schools and jobs.
Los Angeles Times; By Henry Chu; July 10, 2009

Reporting from L'Aquila, Italy — If the earthquake that killed 300 people here in April was the injury, then the Group of 8 summit underway in this ravaged town is surely the insult -- at least in the eyes of plenty of its inhabitants.

While builders scrambled to get suitable facilities ready for the onslaught of world leaders and journalists, thousands of residents made homeless by the temblor continue to live miserably in tent camps.

While workers opened a new airport in record time for the visiting VIPs, quake victims still have no idea when L'Aquila's historic city center might be repaired and life can creep back into what has become a virtual ghost town.

And while the likes of President Obama and Italian Prime Minister Silvio Berlusconi chew on weighty issues of climate change and the political crisis in Iran, residents like Federica Tomassoni wonder about such basics as their homes, jobs and schools.

"I don't think there'll be time at the G-8 to talk about any of this," Tomassoni, 25, said Thursday, her voice dripping with sarcasm.

The anger she and many others in this scenic, hilly region of central Italy feel wasn't part of the script for the confab of the Group of 8 industrialized nations, which kicked off Wednesday and concludes today.

What Berlusconi had expected was gratitude, a sense of appreciation of his decision to move the meeting to L'Aquila from its original venue in Sardinia in a show of solidarity with quake victims.

But many of those victims say they could use a bit less symbolic solidarity and a lot more direct action in righting their lives and the communities upended by the magnitude 6.3 temblor. Three months later, about 25,000 people still live in tent cities in the region, and an even greater number remain in campsites and hotels on the Adriatic Sea coast.

"Yes we camp," protesters spelled out in big, white letters on a hillside this week, riffing on Obama's campaign slogan, "Yes we can." The message was plainly visible in the Mediterranean sunshine to the leaders and journalists converging on L'Aquila for the G-8 summit.

"People live under the impression that the reconstruction is going well and that most of us already live in houses. This is not true," said Mattia Lolli, a member of 3.32, a new residents association whose name commemorates the time the earthquake struck.

"We are not against the G-8, but we want people to know, to be informed about this," Lolli said. "Our houses look exactly the same as the day after the earthquake. The only works done in record time were for the G-8. . . . Our problems are much bigger."

Tomassoni says the G-8 actually brought more headaches for residents, with the beefed-up security and increased traffic that have clogged the town over the last month.

Dozens of women chanted their anger Thursday as First Lady Michelle Obama, French First Lady Carla Bruni and other leaders' spouses toured quake-hit areas. Actor George Clooney, who owns a house on Italy's Lake Como, also showed up for a look-see.

"Michelle, Carla, come into the tents! The women from Abruzzo are waiting in underpants!" demonstrators shouted, emphasizing their sense of deprivation. L'Aquila is the capital of the Abruzzo region.

President Obama was given a tour of the town by Berlusconi on Wednesday.

The Italian news agency Ansa reported that Germany has pledged to rebuild a church destroyed in the hard-hit village of Onna, and Canada is to fund construction of a student center in L'Aquila.

None of that means much to Costin Marius Ionut, 27, who has been living in a tent with four other men since April.

Temperatures soar to sauna-like heights inside the tarp-like enclosure in the summer heat. The displaced are not allowed to cook for themselves, because of the fire hazard; all must take government-provided meals in a mess hall. The only toilets are communal ones, and water comes from a public tap.

Tempers have frayed and fights have broken out among camp residents.

"It's chaos for everybody. . . . We need another earthquake to knock this down," he said, gesturing at the tent.

Saying he's outraged that the government seems to think promises are enough, Marco Sebastiani, 27, wears his protest on his chest. Playing on a common description of the people of L'Aquila as "strong and nice," his yellow T-shirt reads: "Strong and nice, yes. Stupid, no."

"I'll keep wearing it until L'Aquila is rebuilt," Sebastiani said of the shirt.

But he's no optimist. He owns four of them.

henry.chu@latimes.com

Times staff writer Maria de Cristofaro in Rome contributed to this report.

Fellini's "8 1/2" turned into "Nine" the Broadway Musical, becomes "NINE" the Film

As most know Fellini arrived at the title "8 1/2" for the 9 productions he was involved with, but deducted a 1/2 because he only co directed one production. The title "Nine" was arrived at by taking 8 1/2 and adding 1/2 for the Musical addition.

"NINE" is a musical that follows the life of world famous fictional film director Guido Contini (Daniel Day-Lewis), (but considered autobiographical of Federico Fellini ) as he reaches a creative and personal crisis of epic proportion, while balancing the numerous women in his life including his wife (Marion Cotillard), his mistress (Penelope Cruz), his film star muse (Nicole Kidman), his confidant and costume designer (Judi Dench), an American fashion journalist (Kate Hudson, Academy Award nominee), the whore from his youth (Fergie, Grammy nominated singer ) and his mother (Sophia Loren). The film is directed by Rob Marshall (CHICAGO). The original 1982 Broadway production of "NINE", won five Tony Awards including Best Musical.


8 1/2 is a 1963 film directed by Italian director Federico Fellini. Co-scripted by Fellini, Tullio Pinelli, Ennio Flaiano, and Brunello Rondi, it stars Marcello Mastroianni as Guido Anselmi, a famous Italian film director. Shot in black-and-white by cinematographer Gianni di Venanzo,

The movie's title refers to the total number of films Fellini had previously directed. These included six features, two short segments, and a collaboration with another director, Alberto Lattuada. The latter production accounted for a "half" film.

8 1/2 won two Academy Awards for Best Foreign Language Film and Best Costume Design (black-and-white). Acknowledged as a highly influential classic[, it was ranked 3rd best film of all time in a 2002 poll of film directors conducted by the British Film Institute.

----------------------------

Nine is a musical based on an Italian play by Mario Fratti inspired by Federico Fellini's autobiographical film 81/2 . It focuses on film director Guido Contini, savoring his most recent (and greatest) success but facing his fortieth birthday and a midlife crisis blocking his creative impulses and entangling him in a web of romantic difficulties in early-1960s Venice.

The original Broadway production opened in 1982 and ran for 729 performances, starring Raul Julia. The musical won five Tony Awards, including best musical, and has enjoyed a number of revivals

---------------------------
Plot

Guido Contini, famous italian film director, has turned forty and faces a double crises: he has to shoot a film for which he can't write the script, and his wife of twenty years, the film star Luisa del Forno, may be about to leave him if he can't pay more attention to the marriage. As it turns out, it is the same crisis.

Luisa's efforts to talk to him seem to be drowned out by voices in his head: voices of women in his life, speaking through the walls of his memory, insistent, flirtatious, irresistable, potent. Women speaking beyond words (Overture delle Donne). And these are the women Guido has loved, and from whom he has derived the entire vitality of a creative life, now as stalled as his marriage.

In an attempt to find some peace and save the marriage, they go to a spa near Venice (Spa Music), where they are immediately hunted down by the press with intrusive questions about the marriage and -- something Guido had not told Luisa about -- his imminent film project (Not Since Chaplin).

As Guido struggles to find a story for his film, he becomes increasingly preoccupied -- his interior world sometimes becoming indistinguishable from the objective world (Guido's Song). His mistress Carla arrives in Venice, calling him from her lonely hotel room (A Call from the Vatican), his producer Liliane La Fleur, former vedette of the Folies Bergeres, insists he make a musical, an idea which itself veers off into a feminine fantasy of extraordinary vividness (The Script/Folies Bergeres). And all the while, Luisa watches, the resilience of her love being consummed by anxiety for him and a gathering dismay for their lives together (My Husband Makes Movies / Only With You).

Guido's fugitive imagination, clutching at women like straws, eventually plunges through the floor of the present and into his own past where he encounters his mother, bathing a nine year old boy -- the young Guido himself (Nine). The vision leads him to re-encounter a glorious moment on a beach with Saraghina, the prostitute and outcast to whom he went as a curious child , creeping out of his Catholic boarding school St. Sebastian, to ask her to tell him about love. Her answer, be yourself (Ti Voglio Bene / Be Italian), and the dance she taught him on the sand echoes down to the forty-year old Guido as a talisman and a terrible reminder of the consequences of that night -- punishment by the nuns and rejection by his appalled mother (The Bells of St. Sebatian). Unable to bear the incomprehensible dread of the adults, the little boy runs back to the beach to find nothing but the sand and the wind -- an image of the vanishing nature of love, and the cause of Guido Contini's artistry and unanchored peril: a fugitive heart.

Back into the present, Guido is on a beach once more. With him, Claudia Nardi, a film star, muse of his greatest successes, who has flown in from Paris because he needs her. But this time she doesn't want the role. He cannot fathom the rejection. He is enraged. He fails to understand that Claudia loves him too, but wants him to love her as a woman 'not a spirit' -- and he realizes too late that this was the real reason she came -- in order to know. And now she does. He can't love her that way. And she is in some way released to love him for what he is, and never to hope for him again. Wryly she calls him "My charming Casanova!" thereby involuntarily giving Guido the very inspiration he needs and has always looked to her for. As Claudia lets him go with "Unusual Way", Guido grasps the last straw of all -- a desperate, inspired movie -- a 'spectacular in the vernacular' -- set on "The Grand Canal" and cast with every woman in his life.

The improvised movie is a spectacular collision between his real life and his creative one -- a film that is as self-lacerating as it is cruel, during which Carla races onto the set to announce her divorce and her delight that they can be married only to be brutally rejected by Guido in his desperate fixation with the next set-up, and which climaxes with Luisa, appalled and moved by his use of their intimacy -- and even her words -- as a source for the film, finally detonating with sadness and rage. Guido keeps the cameras rolling, capturing a scene of utter desolation -- the women he loves, and Luisa who he loves above all, littered like smashed porcelain across the frame of his hopelessly beautiful failure of a film. "Cut. Print!"

The film is dead. The cast leaves. They all leave. Carla, with "Simple" -- words from the articulate broken heart, Claudia with a letter from Paris to say she has married, and Luisa in a shattering exit from a marriage that has, as she says, been 'all of me' (Be On Your Own).

Guido is alone. "I Can't Make This Movie" ascends into the scream of "Guido out in space with no direction,' and he contemplates suicide. But, as the gun is at his head, there is a final life-saving interruption -- from his nine year old self (Getting Tall), in which the young Guido points out it is time to move on. To grow up. And Guido surrenders the gun. As the women return in a reprise of the Overture (Reprises), but this time to let him go, only one is absent. Luisa. And Guido feels the aching void left by the only woman he will ever love. In the 2003 Broadway production, as the boy led the women off into his own future to the strains of "Be Italian", Luisa stepped into the room on the final note, and Guido turned towards her -- this time ready to listen.

Wednesday, July 8, 2009

I-A Nemesis Prof Ward Churchill, Faux Indian Gets Comeuppance

Ward Churchill's Win, Turns into Huge Loss.
Churchill had previously sued the University of Colorado and won a verdict for violating his Free Speech Rights.
In the Jury Trial to award Damages, the Jury decided to award him $1. Yes, One Dollar !!!!!!
The Judge then decreed that Churchill was NOT entitled to return to his $96,392-per-year job. A HUGE Loss !!!!!
The Issues were never really about his Free Speech Rights, although that is what Churchill tried to allege .
It was actually about three University Faculty committees concluded that Churchill had committed plagiarism, fabrication and research misconduct in writings on American Indian history, he was fired.
Yes this is the same Churchill who falsely claimed he was of Indian ancestry to secure his professorship, and while claiming his rights of free Speech, annually disrupts the Denver Italian American Columbus Day Parade.
KARMA ???


Judge upholds ouster of professor in 'little Eichmann' scandal
Ethnic studies professor Ward Churchill had won a lawsuit but only $1 from a jury that said the University of Colorado retaliated against him for exercising free speech.
Los Angeles Times; By DeeDee Correll; July 8, 2009
Reporting from Boulder, Colo. -- The University of Colorado professor who was fired after likening victims of the Sept. 11 terrorist attacks to a Nazi leader cannot return to the classroom, a state judge decided Tuesday.

Ethnic studies professor Ward L. Churchill had won a lawsuit in April alleging that the university had retaliated against him for exercising his free-speech rights -- not for the academic misconduct of which he was subsequently accused.

Yet the jury also awarded him only $1 in damages. Chief Denver Judge Larry Naves cited that in ruling that Churchill would not return to his $96,392-per-year job nor be entitled to a financial settlement: "I am bound by the jury's implicit finding that Professor Churchill has suffered no actual damages as a result of the constitutional violation."

Naves also agreed that Churchill's return would weaken the school's ability to hold students and faculty accountable for misconduct.

Churchill criticized the decision. "What he's saying, in essence, is they were not prepared to treat me as any other faculty member would be treated, which was all I ever required."

He said he would appeal. "I will continue to deal with it until the day I drop," he said.

The university fired Churchill in 2007 -- two years after a firestorm over an essay he penned soon after the Sept. 11, 2001, terrorist attacks, which killed nearly 3,000 people.

The essay, "Some People Push Back: On the Justice of Roosting Chickens," blamed the attacks on U.S. foreign policy and called World Trade Center victims "little Eichmanns" -- a reference to Nazi Adolf Eichmann.

The essay didn't become widely known until 2005, when a newspaper at Hamilton College in upstate New York wrote about it before Churchill was scheduled to speak there. Fury ensued, and then-Colorado Gov. Bill Owens, among others, called for Churchill's ouster.

University officials concluded that free-speech protections precluded firing him for the essay. But complaints about his academic work also surfaced. After three committees concluded that he had committed plagiarism, fabrication and research misconduct in writings on American Indian history, he was fired.

Churchill said Tuesday that he had never sought money -- only to return to the campus where he had worked for 30 years. Millions couldn't compensate him for the damage the university had wrought, he said.

His attorney, David Lane, said jurors awarded Churchill the sum of $1 because they expected him to get his job back.

"America has to be scratching its head, saying, 'Do we actually have a 1st Amendment in this country?' " he said.

But University of Colorado Chancellor Phil DiStefano hailed the ruling as a "victory for faculty governance."

"I don't think this was ever about free speech," DiStefano said. "This whole case was about academic integrity."

None of the faculty members with whom he has spoken supported Churchill's return, DiStefano said. But at a hearing last week, the chairwoman of the ethnic studies department, Emma Perez, testified that she was eager for Churchill to come back. She could not be reached for comment Tuesday.

Churchill said he did not regret the essay, maintaining: "What I said needed to be said."

Some people have told him there are consequences to free speech. They don't understand the concept, he said: "If there are consequences, it's not free."

Correll writes for The Times.

U2's Bono writes Love Letter to Italy

It is Amazing the depth of WARM feeling about Italy that Bono expresses.

A Love Letter to Italy


La Stampa
July 5, 2009
BONO
In the back of my head from childhood, was the notion that singing was born of Italy. As a kid in Dublin, I grew up listening to my father’s record collection: La Traviata, Tosca, the Barber of Seville. Outside the house, rock and roll was my addiction, but it was ‘operatic’ rock and roll that I was drawn to. Roy Orbison’s voice. David Bowie’s voice.

Opera, like rock and roll, is about vowel sounds more than it is about constanants. To hit high notes, As and Bs, or even top Cs you need those wide open words like Amore, like Love. In a lyrical sense, ‘Pride, In the Name of Love’, one of U2’s songs began as Opera.

I guess you could say I was in love with Italy even before I knew there was an Italy. I knew it as soon as we arrived. Our version of soul music did not have to be explained the way it did in Northern Europe. It was immediately understood. U2 never bought into the Northern European version of cool -- which was just another word for cold. We were Italians who didn’t know how to dress. Ours was a Latin temperament, furious at injustice, loving being alive. Loving The Life, food, drink, friendship, family. We too had an unusual relationship with the concept of religion. Annoyed often by its conservatism, and buoyed often by its fundamentals, of faith, hope, and love. We marveled at Italian genius, from da Vinci to Marconi, from Fellini films to futurism, from Ferrari and Fiat to Armani and Diesel.

I teach my children to take mental snapshots that they can play back later. Me too. These are my snapshots of Italy: the shows " my voice being drowned out. by the crowd's bel canto " escorted by armoured car through a riot outside one of our shows in the early eighties and noticing how no one was hurt , how it was more of a dance. Up early in the morning to discover the ghosts and relics of Turin and see the shop fronts being dressed in Milan "The treat of a Bellini in the Villa San Michele on my 40th birthday in Florence" In Rome, soaking up the light in the dark room compositions of Caravaggio " Understanding why the poet Keats would choose to die there" and trying not to understand why he chose as his epitaph: "Here lies a man whose words were written on water". Visiting also Shelley and observing his epitaph: "Seize the day."

And that’s it right there, that’s the Italian energy: seize the day. ".now cut to 1999, in Castel Gandolfo with Bob Geldof, Quincy Jones and the world reknowned economist Jeff Sachs. The Pope puts my glasses on as we talk about debt cancellation" 2001, in the tense tear-gassed streets of the Genoa G8, marching with the great Jovanotti for debt cancellation and greater resources for the poorest countries.

Fast forward to now and 34 million more children are going to school in Africa because people got out on the streets around the world. Three million people in Africa are on life-saving medication since the Global Fund to fight AIDS, TB and Malaria was created that year in Genoa. This is all good news.

But the good news makes the bad news worse. Overall, the fanfare and parade promises made by the G8 to the poorest of the poor have not been kept. What does it mean to break a promise to the most vulnerable?

At a fundamental level, it calls into question the moral underpinnings of the Judeo Christian? Enlightenment? value system of the West. On a practical level, it threatens to erode existing good will towards us based on past support we have shown. On a political level, it undermines the credibility of gatherings such as the G8, about to take place in L’Aquila.

The hosts, Italy, have fallen behind more than any of the other G8 countries, promising to increase aid to Africa, but the brutal fact is that this aid has been slashed. So we find ourselves here loving Italy as much as ever, but agitating once again. This agitation on the subject of extreme poverty comes mainly from mothers, school teachers, students, churchgoers. When it comes from spoiled rotten rich rock stars it gets more attention, but it’s much harder to take -- particularly when those rock stars are Irish. We know that’s an absurdity. But so is a child dying of a tiny mosquito bite in the 21st century.

I remember Il Professori, Prime Minister Prodi, up all night at a G8 meeting, having to listen to Bob Geldof and myself berate him on Italian aid. His grace and patience and determination I can never forget.

And now, in recession and tough times, Mr Berlusconi has to listen to the same exhortation and exclamations as his G8 comes around. Who would want to be a politician in these times? Now more than ever we need leaders who have an ability to leap forward in time to a world differently envisioned, then spring back and make the changes required to realize it. What will we see of that this week, here in this dynamic country whose generosity of spirit infects everyone who visits?

Values are as important if not more important, than value in the markets. If we can stop hardship and deprivation by relatively cheap and easy interventions such as malaria nets, AIDS drugs, or a handful of seeds and fertilizer, then we have no other choice. Because we can we must.

Love thy neighbour is not advice -- it’s a command. There seems to be a contradiction. The biggest heart in Europe, Italy, with its head on the wrong way for now - suffering amnesia. But I can't think about that for now.

As I prepare for the privilege of performing in San Siro later this week, opera once again fills my head. Memories of Pavarotti "his microphone at the end of his bed in Modena. His putting off singing Miss Sarejevo with me until he ate, slept and, from the look on his face, made out with Nicoletta! His volcano of a voice, spitting fire, erupting. A volcano that blew a hole in the sky, and in my heart -- in the heart of anyone who ever heard him sing. Serious interpretive talent" next to charmer, performer, lover, husband, father, friend, child and man. Paradox always. Like his country.

Saturday, July 4, 2009

Book: "Roman Passions"; Ancient Rome is Exaggerated to Extreme


The popular image of ancient Rome, decadent orgiastic patricians, a well-beloved myth burnished by Cecil B. DeMille and right-wing pundits comparing the current moral climate to the excesses that supposedly led to the fall of Rome -- but it contains very little truth, as Ray Laurence demonstrates in this study.


BOOK REVIEW

'Roman Passions' by Ray Laurence

Forget toga parties and orgies: Our view of ancient Rome is exaggerated to an extreme, a new book suggests.
Los Angeles Times; By Charles Solomon; July 3, 2009

In the popular image of ancient Rome, decadent patricians loll idly on couches, eating flamingos' tongues and peacocks' brains to prepare for the nightly orgy, while barbarians rally outside the gates. That well-beloved myth may have been burnished by Cecil B. DeMille and right-wing pundits comparing the current moral climate to the excesses that supposedly led to the fall of Rome -- but it contains very little truth, as Ray Laurence demonstrates in this slim study.

Rome enjoyed an economic boom that produced the first real consumer culture and, under the first emperors, wealth flowed into the city from the provinces and as a result of lucrative trade with India and China. Increasing numbers of Romans had money, which they cheerfully spent on luxury goods: silk clothing, gold and silver table vessels, ancient statuary, rare perfumes, fine wines, exotic spices and country villas.

Some of the practices that initially had been regarded as idle pleasures were incorporated into the idea of what made someone a Roman. A real citizen visited the public baths regularly and drank wine, vast quantities of which were produced in Italy and the provinces for an undiscriminating mass market. Enjoying sensual luxuries in moderation was part of a life well-lived, but to devote oneself entirely to pleasure, ignoring politics and civic duty, was frowned upon. The good citizen ate and drank cheerfully, but not to excess; even aged senators exercised regularly.

Orgies were another matter. Although erotic, explicitly sexual artwork existed in some villas, Laurence notes there is no archaeological evidence that anyone ever held an orgy. Romans enjoyed sex inside and outside of marriage; graffiti and other evidence suggest that men sampled the physical charms of both genders. But Roman sexual activity was largely confined to one-on-one encounters in the bedroom.

Given its interesting content, "Roman Passions" is more often pedestrian than entertaining. Laurence catalogs the exotic (and to the modern reader, bizarre) delicacies served in the "Dinner of Trimalchio" episode in Petronius' "Satyricon." But he loses sight of the fact that the dinner is a satire. Trimalchio is the ultimate parvenu, who punishes a slave for not throwing a silver tray into the river after it has touched the floor -- thereby detracting from the tone of the household. Many of the dishes involve elaborate (and virtually untranslatable) puns and wordplays. Though the dinner offers some insights into what wealthy Romans ate, it's a spoof, not a typical feast, and it should be taken cum grano salis (with a grain of salt).

Ironically, what Laurence's prose lacks is passion. He argues blandly that Nero's Golden House, the gargantuan palace he built after the fire of AD 64 destroyed much of the city, was an architectural innovation that enabled Nero to present himself to the Roman citizenry in a domestic setting: "Here, the emperor could entertain his people in person and display for them the spectacle of empire." Suetonius, whose "The Twelve Caesars" Laurence cites, describes the excesses of the Golden House in a far more entertaining style that alternates poses of calculated outrage with revelations of salacious tidbits. "When the palace had been decorated throughout . . . ," he concludes, "Nero dedicated it, and condescended to remark, 'Good, now I can at last begin to live like a human being!' " Hardly the comment of a sovereign concerned with entertaining the masses.

"Roman Passions" is weakest when Laurence discusses gladiator fights, executions and slaughter of wild animals that provided popular entertainment in Rome. He argues that these bloody spectacles arose from "a need to humiliate the enemy (slave, criminal or adversary)." But when he tries to relate them to the Sept. 11 terror attacks, the photographs of abused prisoners in Abu Ghraib and the execution of Saddam Hussein, his argument feels both strained and superficial -- despite 70 pages of footnotes, timelines, glossaries and sources.

The reader looks in vain here for the profundity of Marguerite Yourcenar, who saw the unimpressive biographies of the later emperors collected in "Writers of the Lives of the Caesars" as a prescient depiction of later 20th century politics. Yourcenar might have been writing the epitaph for the George W. Bush administration when she described a moribund culture as characterized by "that gigantism which is merely a morbid mimetism of growth, that waste which makes a pretense of wealth in states already bankrupt . . . those pompous reaffirmations of a great past amid present mediocrity and immediate disorder, those reforms which are merely palliatives. . . . "

Solomon's most recent book is "Disney Lost and Found: Exploring the Hidden Artwork From Never-Produced Animation."

http://www.latimes.com/entertainment/news/arts/la-et-book3-2009jul03,0,5957018.story

Thursday, July 2, 2009

"Life and Death on the Italian Front: 1915-1919" by Mark Thompson


If you are one who thought the trench warfare of the Western Front in WWII was horrific, and it was, ponder that Italy lost more combat deaths in proportion to population than did Britain, 689,000 from 35 million, versus 743,000 out of 46 million.
The bulk of the battles were between the Alps and the Adriatic. Imagine, "the flat or gently rolling horizon of Flanders being tilted at 30 or 40 degrees," with Arctic weather, with Austrian troops holding the high ground behind rows of barbed wire and a parapet of stone.

BOOK REVIEW: For territory and status

Washington Post ; Joseph C. Goulden; Thursday, July 2, 2009

LIFE AND DEATH ON THE ITALIAN FRONT 1915-1919

By Mark Thompson

Basic Books, $30, 480 pages

Reviewed by Joseph C. Goulden

Of all the military stupidities that mark mankind's gory history, the Italian front campaign of World War I is sui generis. Seldom, if ever, have so many men shed so much blood for no discernible reason other than political ego, fed into battle by criminally incompetent "leaders."

The cover photograph of Mark Thompson's book vividly illustrates the absurd impossibility of what the Italian army was asked to do. It shows soldiers clambering out of a trench and moving up an ice-and-snow coated slope that juts skyward at about a 45-degree angle - a route that would challenge an ice-climber, much less men burdened with a 45-pound kit.

As a fairly keen student of military history, I must admit that my knowledge of the Italian front pretty much starts and stops with Ernest Hemingway's novel "A Farewell to Arms." Now, Mr. Thompson shows us that the true story is even more horrible than fiction, with a work that garnered no less than eight "best book of 2008" from British publications last year - and deservedly so, for his writing is so vivid, so detailed, so sobering that a reader must take an occasional break from the horrors he describes.

Learn, as I did, that Italy lost more combat deaths in proportion to population than did Britain, 689,000 from 35 million, versus 743,000 out of 46 million. The bulk of the battles were between the Alps and the Adriatic. Imagine, Mr. Thompson writes, "the flat or gently rolling horizon of Flanders tilting at 30 or 40 degrees," with Austrian troops holding the high ground behind rows of barbed wire and a parapet of stone.

When the war began, Italy initially leaned toward the Germans. However, early French victories caused rethinking, and Italy chose to war against remnants of the Austro-Hungarian Empire and reclaim scattered northern territories lost over the years. France and Britain agreed to support the desired territorial concessions when the war ended. Their chief interest, of course, was that the Italians would draw enemy troops from the Western front.

According to Mr. Thompson, Italy's grounds for war were slim. "Alone among the major Allies, Italy claimed no defensive reason for fighting. It was an open aggressor, intervening for territory and status. The Italians were more divided over the war than any other people. But for a minority, the cause was whiter than white: Italy had to throw itself into the struggle, not only to extend its borders, but to strengthen the nation. In the furnace of war, Italy's provincial differences could blend and harden into a national alloy."

One feels pity for the fighting men. Mr. Thompson writes, "Even by the standards of the Great War, Italy's soldiers were treated harshly. The worst-paid infantry in Western Europe were sent to the front sketchily trained and ill-equipped, sacrificed to the doctrine of the frontal assault, ineptly supported by artillery."

The Italian commander was a dolt named Gen. Luigi Cadorna, whose military "thinking" - is the word deserved? - was summarized in an 1895 pamphlet, 25,000 copies of which were distributed to his officers at the outset of war. He wrote, "The offensive is profitable and almost always possible, even against mountainous positions that appear to be impregnable, thanks to dead ground that permits (a) advance under cover, (b) deployment towards the flanks or weak points, unseen by the enemy." Anyone who has completed a basic infantry training course perhaps would disagree.

Gen. Cadorna dithered for months while the Austro-Hungarian forces built reinforced mountain positions that commanded the battlefield. The bulk of the fighting was along the Isonzo, a river that rose in the Alps and flowed down to the Adriatic. Incredibly, Cadorna launched no less than 12 separate assaults over this ground, all of them repelled. Even the defenders were repelled by the carnage. Mr. Thompson recounts the Austrian captain who shouted to the Italians, "Stop, go back! We won't shoot anymore. Do you want everyone to die?" He cites a host of similar incidents.

But the Italians had no choice. Gen. Cadorna decreed that units which flinched in battle were subject to punishment by decimation - 1 man in 10 would be shot. Names were pulled out of a hat to pick those who faced the firing squad.

Punishments were arbitrary - one man was executed because he deigned to salute an officer without taking his pipe from his mouth. Italy mobilized roughly the same number of men as did Britain; it executed 3 times as many.

Soldiers who were captured were considered deserters, and food packages from families were withheld. Of the 600,000 Italians captured, more than 100,000 died. Mr. Thompson observes, "Statistically, it was more dangerous for the infantry to be taken prisoner than to stay alive on the front line."

A colonel named Angelo Gatti wrote after the Battle of Caporetto, which cost the Italians 12,000 lives, 30,000 wounded, and 294,000 prisoners, "This whole war has been a heap of lies. We came into the war because a few men in authority, 'the dreamers,' could not accept that you don't do politics by dreaming. Politics is reality. You don't stake the future of a nation on a dream, a yearning for reinvigoration. It is idiotic to imagine that war can be a means of healing."

Incredibly, even amidst the carnage, an ambitious Italian politician offered a positive view of the war, looking forward to the day when Italy would be governed by a "trenchocracy, a new and better elite." His name was Benito Mussolini, and what he did to Italy is another story for another day.

Joseph C. Goulden is writing a book on Cold War intelligence.

Wednesday, July 1, 2009

Obit: Fred Travalena: 66; Master Impressionist and Singer

Of Italian and Irish heritage, Travalena was born Oct. 6, 1942, in the Bronx, N.Y., and grew up on Long Island.
The boyish-faced entertainer is said to have had a repertoire of more than 360 celebrity, political and cartoon-character voices, including Clint Eastwood, Dr. Ruth Westheimer, Joe Pesci, Robert De Niro, Henry Kissinger, Donald Rumsfeld, Johnny Mathis, Bruce Springsteen and Luciano Pavarotti.In one part of his act, Travalena physically and vocally "morphed" into all of the U.S. presidents, from John F. Kennedy to George W. Bush.
Dubbed "The Man of a Thousand Faces" and "Mr. Everybody," Travalena emerged as an impressionist in the early 1970s. Over the next three decades, he was a headliner in Las Vegas, Reno and Atlantic City, performed in concerts across the country, appeared on "The Tonight Show" and other talk shows and starred in his own specials, such as "The Many Faces of Fred Travalena" and "Comedy in the Oval Office."

Fred Travalena Dies at 66; Master Impressionist and Singer
'The Man of a Thousand Faces' could voice Bugs Bunny as well as Luciano Pavarotti. Travalena, a Vegas performer, talk-show regular and star of his own specials, died of non-Hodgkin's lymphoma.
Los Angeles Times; By Dennis McLellan; June 30, 2009

Fred Travalena, the master impressionist and singer whose broad repertoire of voices ranged from Jack Nicholson to Sammy Davis Jr. to Bugs Bunny, has died. He was 66.

Travalena, who began treatment for an aggressive form of non-Hodgkin's lymphoma in 2002 and saw the disease return last July after going into remission in 2003, died Sunday at his home in Encino, according to his publicist, Roger Neal. Travalena also was diagnosed with prostate cancer in 2003 but had been in complete remission since then.

Dubbed "The Man of a Thousand Faces" and "Mr. Everybody," Travalena emerged on the national stage as an impressionist in the early 1970s.

Over the next three decades, he was a headliner in Las Vegas, Reno and Atlantic City, performed in concerts across the country, appeared on "The Tonight Show" and other talk shows and starred in his own specials, such as "The Many Faces of Fred Travalena" and "Comedy in the Oval Office."

The boyish-faced entertainer is said to have had a repertoire of more than 360 celebrity, political and cartoon-character voices, including Clint Eastwood, Dr. Ruth Westheimer, Joe Pesci, Robert De Niro, Henry Kissinger, Donald Rumsfeld, Johnny Mathis, Bruce Springsteen and Luciano Pavarotti.

"I've known impressionists who have reached a wall where they can't do any more" voices, Travalena told the Omaha World-Herald in 1996. "I don't have that problem, thank God."
In one part of his act, Travalena physically and vocally "morphed" into all of the U.S. presidents, from John F. Kennedy to George W. Bush.

He also was known to sing "Have I Told You Lately" in various voices, including Kermit the Frog ("Have I told you lately that I love you"), Katharine Hepburn ("Have I told you there's no one else above you") and Frank Sinatra ("You fill my heart with gladness . . . ")

The imaginative entertainer even did Sinatra imitating Boy George.

Of Italian and Irish heritage, Travalena was born Oct. 6, 1942, in the Bronx, N.Y., and grew up on Long Island.
When it came to impressions, he had an early role model: his father, a onetime entertainer who sang and performed comedy and impressions.

"He got me doing church shows when I was just a little kid," Travalena recalled in a 1998 interview on "The Crier Report" on Fox News Network. "I used to do an impression of [singer] Johnny Ray."

In school, he said, he learned to deal with bullies by imitating a Martian voice or Porky Pig. And he found he could deflect a teacher's question of why he didn't do his homework by making her laugh with his impression of Crazy Guggenheim, the goofy character played on TV by Frank Fontaine during the "Joe the Bartender" sketches on Jackie Gleason's show.

During a stint in the Army's Special Services, Travalena won the All-Army Entertainment Award for best singer and once impersonated President Lyndon Johnson's voice on the base theater's answering machine to announce the movies and show times.

Although he told the New York Times in 1989 that he was "headed for the commercial art field," Travalena said, "That wasn't getting me up in the morning, and I couldn't get show business out of my mind."

At one point after launching his career as a singer, he and his singer wife, Lois, were performing together at Andrews Air Force Base near Washington.

As recounted in a 1989 New York Times story, Lois surprised her husband by spontaneously asking the audience, "How'd you like to hear Fred do impressions?"

He went on to impersonate Dean Martin, Paul Lynde, Jim Nabors and Presidents Kennedy and Johnson.

"People liked it," he later said.

Travalena reportedly was performing at a resort hotel in the Catskills when impressionist Rich Little was in the audience. After the show, Little congratulated Travalena and later recommended him for a spot in British celebrity journalist David Frost's show at the Riviera in Las Vegas.

Travalena joined Little, Frank Gorshin and other impressionists as a regular on the "ABC Comedy Hour," the 1972 comedy-variety show, which was known in reruns as the "ABC Comedy Hour Presents the Kopycats."

In 1974, he opened for Shirley MacLaine at the MGM Grand and later opened for other Vegas performers such as Mathis, Davis, Wayne Newton and Andy Williams.

Travalena's talent for vocal mimicry led to a side career dubbing in clean dialogue to replace offensive words in feature films bound for airing on television -- including Pesci in "Casino," De Niro in "Brazil" and Sean Connery in "Just Cause."

Travalena made occasional guest appearances on TV series such as "The Love Boat" and "Murphy Brown," as well as on "Hollywood Squares" and other game shows. He also did voices on a number of TV cartoon series and appeared in the 1978 movie "The Buddy Holly Story."

In recent years, he turned to songwriting and singing and released CDs, including "We All Need Love Today" and "The Spirit of America."

Travalena received a star on the Hollywood Walk of Fame in 2005.

He is survived by his wife of 39 years, Lois; sons Fred IV and Cory; and a granddaughter, Sophia.

Funeral services will be private.

A public memorial service is being planned.

dennis.mclellan@latimes.com

Film" Quiet Chaos": Dad Is Distracted by Life, Work and a Motherless 10-Year-Old Daughter

This Italian sad-dad melodrama is a global (or at least a midlevel European art film) phenomenon.

Dad Is Distracted by Life, Work and a Motherless 10-Year-Old Daughter
New York Times
By A. O. SCOTT
June 26, 2009

The wanton slaughter of mothers and the consequent struggles of grieving single dads has been an epidemic in Hollywood for a long time, and not only in movies starring John Cusack. "Quiet Chaos" a new film from the Italian director Antonello Grimaldi, demonstrates that the sad-dad melodrama is a global (or at least a midlevel European art film) phenomenon. If the film is less maudlin and more psychologically astringent than most American specimens, this is partly a matter of Mr. Grimaldi?s restraint and partly thanks to Nanni Moretti?s sharp and unpredictable turn as the dad in question.

Mr. Moretti, who wrote the screenplay for ?Quiet Chaos? with Laura Paolucci and Francesco Piccolo, is essentially a comic actor, but he is no stranger to bereavement as a subject. In "The Son's Room " which he directed (and which won the top prize in Cannes in 2001), he played a father sent reeling by the sudden death of a child. Here, as Pietro, a top executive in a multinational media company, he does not so much reel as blink, stumble and brood. He also has lunch and, since this is a midlevel European art film, some rough sex with a beautiful woman (Isabella Ferrari).

The film begins with a brutal, jolting coincidence. At the beach near their summer villa Pietro and his brother, Carlo (Alessandro Gassman) rescue two women from drowning, an event that is nearly simultaneous with an unspecified accident (it seems to involve cantaloupe) that kills Pietro's wife, Lara. He is left with their 10-year-old daughter, Claudia (Blu Yoshimi), and a welter of confused emotions and reactions.

At the office things are heating up as Pietro and his colleagues (including the wonderful French actors Charles Berling and Hippolyte Girardot) debate a possible merger with another company, but Pietro abandons work, spending his days loafing in a small park near Claudia's school. As the days stretch into weeks, he becomes something of a neighborhood character, a benign, eccentric presence whose watchful, diffident manner arouses sympathy and mild curiosity from other habitués of the area.

At its best "Quiet Chaos" lives up to its name, enmeshing its protagonist in a complicated, lived-in reality that obstructs his attempts to clear his head and organize his feelings. He passes the time by making mental lists ? airlines he's flown, houses he's lived in ? but other people keep interrupting him.

His wife's sister, Marta (Valeria Golino), shows up with her own minor melodramas and with some interesting background about Pietro's marriage. Guys from work seek him out with business updates, and he handles everything with a distracted air that hovers between worry and amusement.

Thankfully, Mr. Grimaldi and the screenwriters have no great lessons to impart or messages to deliver, and the film, while uneven ? sometimes too on the nose, sometimes anecdotal and diffuse ? is generally absorbing, thanks mostly to the quality of the acting. There is one climactic moment that is both jarring and wonderful in ways that have nothing to do with the story; it's a surprise twist of casting, not of plot. I don't want to spoil anything, but let's just say that ?Quiet Chaos,? in addition to its other, rather modest virtues, earns a special place in the movie-trivia pantheon, midlevel European art-film division, since it is perhaps the only film in which two consecutive winners of the Palme d'Or appear on screen together.

QUIET CHAOS

Opens on Friday in Manhattan.

Directed by Antonello Grimaldi; written by Nanni Moretti, Laura Paolucci and Francesco Piccolo; director of photography, Alessandro Pesci; edited by Angelo Nicolini; music by Paolo Buonvino; production designer, Giada Calabria; produced by Domenico Procacci; released by IFC Films. At the IFC Center, 323 Avenue of the Americas, at Third Street, Greenwich Village. In Italian and French, with English subtitles. Running time: 1 hour 48 minutes. This film is not rated.

WITH: Nanni Moretti (Pietro Paladini), Valeria Golino (Marta), Isabella Ferrari (Eleonora Simoncini), Alessandro Gassman (Carlo), Blu Yoshimi (Claudia), Hippolyte Girardot (Jean Claude), Charles Berling (Boesson) and Ester Cavallari (Lara).

http://movies.nytimes.com/2009/06/26/movies/26quiet.html?ref=movies&pagewanted=print