Tickets to Ciao St Louis’ first annual Carnevale Grande Masquerade Ball are selling fast! Deadline to purchase your ticket to THE event of the year is Monday, February 5. That’s less than two weeks away! No reservations will be taken after this date.
Get your mask ready!!!!
*Male and female categories for the best mask, with amazing prizes!!!
*Just $10 to enter, the night of the event. Look for the photo booth, don your mask, and strike your best pose!
*Winners announced later in the evening, and will be posted on ciaostl.com.
This piazza, as is often found in Italy, will be directly across from the neighborhood church which is St. Ambrose on the Hill. We feel that this will become a tourist attraction for all of St. Louis and will help stabilize the Hill for years to come. The design is by Anthony Frisella of Frisella Nursery. The cost of the 5013C piazza to this point is from donations from the IMO family and other undisclosed donors. Additional donors are still needed to complete the piazza so it would be appreciated to please share this post and video to help raise awareness and the needed funds to complete this amazing project for not only the Hill and St. Ambrose but for all of St. Louis
Many people have asked how to make donations. You can send donations to:
The Hill Piazza 6801 Hoffman Ave St Louis MO 63139
Cocktail hour and appetizers
Four Venetian Dining Stations
Premium Open Bar
The night kicks off with a special performance in a typical Venetian style; followed by Music and Dancing, along with other surprises throughout the evening.
Be sure to register for the Best Mask Contest that evening for a chance to win a prize.
We are looking forward to a beautiful evening, with great music, great food and great company! If you have any questions or need additional information, feel free to contact us!
Fr. Gabriele Amorth, chief exorcist of Rome, speaks to CNA on May 22, 2013. Credit: Steven Driscoll/CNA
Rome, Italy, Jan 23, 2018 / 03:00 pm (CNA/EWTN News).- A documentary on the ministry of Father Gabriele Amorth, popularly known as the “Vatican exorcist,” will be released this spring. The film was directed by William Friedkin, director of the 1973 movie “The Exorcist.”
“The Devil and Father Amorth” will be released April 20, Deadline reports.
The film follows Amorth during the events surrounding the exorcism of an Italian women in 2016. Amorth died in September 2016 at 91, shortly after filming was completed.
“I had been curious to meet Father Amorth for many years and when he granted permission to meet and film him in Rome last May, it was the opportunity to complete the circle and see how close that film came to reality,” Friedkin told Deadline.
During filming, Friedkin was present at an exorcism, which he said he had not previously seen personally, despite his work on “The Exorcist.”
“In the early 1970s when I directed ‘The Exorcist,’ I had not witnessed an exorcism but I wondered how close I had come to portraying reality,” he said in an interview with Variety.
The documentary interviews Amorth about the exorcism of an Italian woman, referred to as “Rosa,” who, Amorth said, struggled with demonic mood swings and convulsions, which were reportedly heightened on Christian holidays like Easter. It includes a video recording of the event.
Father Amorth was born in Modena in northern Italy on May 1925. Twenty years later, the man joined the Congregation of the Society of St. Paul, and was ordained a priest in 1951.
In 1985, Father Amorth was appointed an exorcist by Cardinal Ugo Poletti, vicar general of the Diocese of Rome. Amorth claimed to have performed thousands of exorcisms. He was the author of “An Exorcist Tells His Story” and “An Exorcist: More Stories.”
The National Premier Soccer League (NPSL) is proud to announce that Saint Louis Club Atletico (St. Louis, MO) has joined the league as an expansion team. The club will compete in the South Region’s Heartland Conference.
“We are very excited that the NPSL is coming to St. Louis,” NPSL Chairman Joe Barone commented. “The city has such a long and storied history in the American game and we are happy for the NPSL to be involved in such an exciting venture. This will be a great story for the St. Louis community and the entire region.”
The ownership group of Saint Louis Club Atletico (STLCA) is led by President Jim Krupp, General Manager/Head Coach Ricardo Garza, and Chris Burke.
Krupp is a former collegiate soccer player who is actively involved in coaching teams and administratively organizing and operating a multicultural inner-city soccer non-profit organization.
Garza is the founder of STLCA, which also goes by the nickname of the Bluebirds. He helped launch a collegiate soccer program at Jefferson College in 2005, earning a .900 winning percentage after eight seasons and bringing the program to national recognition each season. Garza has been named Coach of the Year numerous times and won conference, regional, and national championships throughout his career. Garza also co-founded soccer academies in South America and Africa, but he felt it was time for a new platform to be built in his hometown to provide more opportunities for young players committed to pursuing a professional career path. His vision is to help amateur players gain professional identification domestically and internationally and move on from STLCA to pursue their dreams at the next level.
“We appreciate the organization and leadership style of the NPSL,” Garza added. “We want to represent our city in the playoffs and show the league we will be a strong contender for years to come.”
Burke was recently added to the ownership group and will bring a certain value and leadership to the franchise. Through 32 years the Burkes have embraced the entrepreneurial spirit through business ownership and in 2000 a new journey emerged into the world of soccer via their daughters Ava Isabel and Vivian. Today their love of the game will continue with an ownership interest in Saint Louis Club Atletico.
Krupp and Garza consulted with numerous managers, scouts, and coaches from South American countries while they were in Bolivia hosting a College ID camp (collegeidprogram.com). What they concluded on the trip was that American soccer culture needs an upgrade if the country wants to consistently compete well on the global stage. Krupp and Garza want to be a part of the solution to improving the American soccer culture, and they believe that the NPSL is playing a big part in positively contributing to this soccer culture puzzle. Their top priority of launching a new team is to bring high-level soccer back to the city of St. Louis.
“Our venue is in historic soccer-rich South St. Louis at St. Mary’s Stadium,” Garza concluded. “It has a seating capacity of 1,500, a dual-fiber artificial turf playing surface, and locker rooms. We are bringing soccer back to an area filled with tradition.”
More information about the club can be found at www.stlclubatletico.com or by following the club on Instagram (@stlclubatletico), Facebook (@stlclubatletico), and Twitter (@stlclubatletico). An app is also available on iTunes and the Google Play Store by searching for “Stl Club Atletico.”
ABOUT THE NPSL
The National Premier Soccer League (NPSL) is the largest organized men’s soccer league in the United States with 96 teams competing across the country in 2017. The NPSL is a successor to the Men’s Premier Soccer League (MPSL), which was formed in 2002. The NPSL is a member league of the United States Adult Soccer Association (USASA) and sanctioned by U.S. Soccer, the governing body of soccer in all its forms in the United States. NPSL’s cooperative and turnkey ownership platform has led to its explosive growth, countless player development opportunities, and commitment to grow the game in the United States. For more information about the NPSL, please visit npsl.com.
Luca Guadagnino with the stars of Call Me by Your Name, Armie Hammer and Timothée Chalamet. Photo by Maarten de Boer/Getty Images.
Luca Guadagnino makes sumptuous movies, and so he needs sumptuous music for their soundtracks. The Italian director has used the works of Sufjan Stevens, the Rolling Stones, and, often, American composer John Adams to elucidate the emotions his impressionistic camera draws from his actors. In his latest film, Best Picture contender Call Me by Your Name, this includes a heartbreaking scene of a young man staring into a fire, crying, while one of Stevens’ original songs plays over the crackle of the flames. The rest of the film varies wildly from that deep moment, whether it’s excellent skanking sound tracked by the Psychedelic Furs or Bach performed on the piano as seduction.
To further understand how he thinks about music (and, honestly, to fan out about John Adams), we called Guadagnino to discuss what music has meant to his life and his films. Clearly the pairings are paying off: Just today, Stevens was nominated for Best Original Songat the Oscars, for “Mystery of Love.”
Pitchfork: Call Me By Your Name begins with John Adams’ “Hallelujah Junction” playing over the title credits, and I Am Love’s soundtrack is entirely Adams’ music. What is it about his music that you love?
Luca Guadagnino: I discovered John Adams’ music in 2005, when I was editing a movie in Spain. It was my birthday, and the legendary Gareth Whigham, an executive from Sony who I was working with, gave me, as a present, Naive and Sentimental Music, by John Adams. I put the disc in the CD player, and suddenly when those first notes, dun dun dun started, I immediately got completely kidnapped by the musical world of John Adams. Since that first epiphany, I started to dig in to him. I started to look for everything that I could find recorded by John Adams, and I became a sort of an encyclopedia of what he has done as a musician.
There is something Wagnerian and also something minimalist into his music, which I found very fantastic because he just goes beyond the strict rules the minimalists gave to themselves. The world of the music of John Adams is a world that comes with a very great package of intellect that I found fantastic. It comes with a capacity of interpreting reality, interpreting the history of the reality, interpreting the history of the United States, and understanding even the boundaries of music to become a cunning exploration of the identity of human nature and the politic relationship that ties all us in. I can’t think of how to put it differently.
John Adams comes to me constantly. I can say to you that really that moment in 2005 was transformative and changed my life as a director forever. The ambition I have, that I blush in speaking it out with someone, is that maybe, one day, John Adams will compose a soundtrack for me.
How did you end up using his music for your 2009 film, I Am Love?
I started to work on the shoot with his music. We edited the movie with his music and then we faced the brutality of the fact that we didn’t have the rights to his music. What we did is that Tilda Swinton [who stars in the film] wrote him a letter and he replied. He said, “I’m happy to see your film.” We showed the movie to him, and at the end of it he turned to us and he said, “Fantastic. I’m happy. And I also want to ask you if you can put music by John Adams in the main title?” Which is something that I really wanted to do, and I didn’t dare to ask, but he asked himself.
How did that feel?
It felt fantastic.
So many of your films involve the piano, either in the script or on the soundtrack. What is your relationship with that instrument?
I don’t know. I’m not an expert. I go through music in a way that has to do with my instinct, by the way. I like the concept of piano as a dialogue. There’s a great, beautiful album by Ryuichi Sakamoto called Back to the Basics, in which the great, legendary Sakamoto reflects on his own roots that you see in Ravel; he creates this beautiful piano poem that is completely inspired by that great French musician. I found, in that work, the sum of what I feel is piano for me, which has to do with dialogue. It’s a dialogue. In fact, in Call Me by Your Name, we have extensive usage of piano because those notes, in a way, are the interior and exterior dialogue between Elio and himself, and Elio and Oliver.
When you were Elio’s age, what were you listening to?
I was listening to soundtracks. I think I was listening to Sakamoto.
Was that a cool thing to listen to when you were 17?
My absolutely dear… I don’t understand the concept of being cool. I have been seeing a lot of people basically going through their lives in the attempt of being cool. I don’t know what that means. I can’t think of myself as striving for coolness. I think I’m the most uncool person in the room. Always have been, and maybe even proudly so. No, I would have never, ever, ever, ever done something for the reason of trying to be cool or because it’s cool. I did it because I loved it. In 1987, I went to see The Last Emperor, which is Bertolucci’s nine-Academy-Award winner. I’ve been blown away by the movie and by the soundtrack, which was David Byrne, Cong Su, and Ryuichi Sakamoto. I bought myself the CD, I played it and played it. That Sakamoto, I think probably nobody knew that I was listening to him because I basically was listening to Sakamoto in the solitude of my bedroom. I did it because it was a sort of deep inspiration for me, again.
The reason I ask that is because Elio wears that Talking Heads shirt throughout the film, and you have this feeling that he’s wonderfully of two minds, one more classically minded and intellectual, and one where he just wants to be a kid and feel excited about rock music that’s young. What you listen to helps define who you are at that age.
Absolutely, I agree with you. But I don’t think that someone who is in academia who is going through an upbringing in the classical world is necessarily devoid of intellect for the pop world. I don’t think that Elio, being the bright young man who wants to be a great pianist, who is invested in culture because he lives in a world of culture, has learned that culture is an elitist thing that shuts off everything else and only gives life to just the high art. I think what he has learned, as a kid interested in culture, is that culture is the complex element that makes our life what it is, which includes everything. A speech. The body of someone you desire. The music of the Talking Heads. The leaves on a tree. Everything. I think the great mistake we would do as people, and for me as a filmmaker, is to say that to be invested in the classical world means that you are not invested in the real world. They are part of the world at large.
Why did you want Sufjan Stevens to write original music for Call Me by Your Name?
I believe Sufjan is one of the greatest American artists. Someone pointed out his music to me six years ago and I got to be enamored with his voice. Then the more I delved into his canon, the more I detected the greatness of his lyrics, the complexity of his body of work.
His song “Visions of Gideon,” which plays over the end credits, is so crucial to the movie, it’s like the song and that scene couldn’t exist without the other.
In the script, you have a line at the end saying, “Elio stares at the fire and thinks of his life.” It was always in my mind that he tended to be with one shot. I also thought about putting different kinds of songs in that moment. This was before I got the music from Sufjan. Then Sufjan showed me these songs. I was one week into shooting and I listen to the songs. I was with my editor and with Armie and Timothée, and we were shocked by the beauty, commitment, and attitude in these songs. So we immediately felt that “Visions of Gideon” was the perfect song for this moment in which Elio thinks of his life. When we shot the scene, I put the earbud in Timothée’s ear and played. There is very prominent dancing in both Call Me by Your Nameand A Bigger Splash, your 2015 film. How did the Bigger Splashscene with Ralph Fiennes dancing to the Rolling Stones, which is now pretty legendary, come together?
Well, there was a great line in the script that Dave Kajganich wrote, in which he said, “Dance, it is life.” We see the way he dances. That was our guideline for me and Ralph Fiennes.
Did you like “Emotional Rescue” before the movie came out? I couldn’t stop listening to it after I saw the movie!
You’re asking me if I like the song? Of course! I have complete control over my work. I would never put a song in a movie that I don’t think is a great thing to be doing.
What about the dancing in the Italian clubs in Call Me by Your Name? How much was that choreographed?
We had a consultant that created the movements for the crowds. We had kids that were playing kids of the ’80s, but they were kids of the 2000s. Armie created his own choreography and he adapted that to the historical precision, and then Timothée jumped in and made it his own, which was great. It’s a mixture of historical accuracy and hubris.
Do you like to dance?
If I’m drunk, I do. But I don’t drink a lot so it’s something that’s happened, I would say, three times, four in my life. The last time that I was drunk and I danced was at the party for Call Me by Your Name.
What were you listening to?
I DJ’ed and I put just ’80s music, from the famous international ’80s pieces to the tacky, tacky, tacky, tacky Italian music of the ’80s.
Were you a big Italo disco fan in the ’80s?
No, I was more interested in the pop music of the ’80s—Mina, Patty Pravo, Loredana Berté—that we use in this film, that are possibly the typical brand of upbringing for a young gay guy, in Italy. But that, I understood afterwards.