In case you missed the live broadcast from December 1, 2017 of my Radio Program ” NEW YORK * NEW YORK ” on RADIO AMICA.IT, listen to the link below
Podcast December 1, 2017
In case you missed the live broadcast from December 1, 2017 of my Radio Program ” NEW YORK * NEW YORK ” on RADIO AMICA.IT, listen to the link below
Podcast December 1, 2017
Italy is celebrating success at the Gotham Independent Film Awards, as Luca Guadagnino’s “Call Me By Your Name” picked up the Best Feature Film prize, along with a Best Breakthrough Actor gong for its young star Timothée Chalamet. Although the Gothams are one of the smaller awards of the season and chosen by a small, select group of jurors, they are influential and have recently proved good at spotting Academy Award winners. “Moonlight,” “Spotlight” and “Birdman” were all winners at what Variety has called “the Iowa caucus of Oscars season”. Guadagnino’s film has also picked up six Spirit Awards nominations.
“Call Me By Your Name”, shot in English with an international cast including Armie Hammer as well as Chalamet, is a coming of age romance between a 17-year-old boy and his father’s 24-year-old research assistant and is set in a 17th-century villa in Lombardy during the kind of sun-drenched Italian summer that film makers from Bertolucci to Merchant-Ivory have never been able to resist.
The film has been garnering rave reviews in America and Britain, with NPR and Vulture both hailing it as “a masterpiece”. Most of all the critics have found it “ravishing”. Variety went for ‘ravishingly sensual”, Peter Bradshaw in Britain’s Guardian was “overwhelmed by it” and found it “ravishingly beautiful”. The New York Times described it as a “ravishment of the senses”. All this despite the fact that one of the few criticisms that have been made about it is a shortage of ravishing. The original script by 89-year-old James Ivory apparently featured a lot more sex and nudity, although a steamy forbidden-fruit scene – the fruit in question being a ripe peach – survived.
Italian cinema is experiencing a renaissance at the moment. After decades when directors seemed to churn out nothing but low budget comedies of manners about the love lives of thirty-somethings, along came Paolo Sorrentino (The Great Beauty, This Must be the Place), Matteo Garrone (Gomorrah, Tale of Tales) and Guadagnino, as well as others less celebrated but just as interesting. Italo-American Jonas Carpignano’s film A Ciambra takes a grittily neo-neo-realist look at the poor and marginalised in a Romany camp in Calabria. Gianfranco Rosi’s Fuocoammare (Fire at Sea), a documentary about the island of Lampedusa and the European migrant crisis, was nominated in the Best Documentary category at the 2017 Academy Awards.
Italy has won more Best Foreign Language Academy Awards than any other country, the most recent being Sorrentino’s The Great Beauty, but despite this, and the recent flowering of talent, it is becoming harder than ever for Italian movies to find distributors in the all-important American market. U.S. audiences for foreign-language films have fallen in recent years. In 2016, the highest-grossing Italian release was “Mia Madre”. Although its director Nanni Moretti is a long time favourite of American cinephiles, it grossed all of $301,098, according to the IMDb. “Call Me By Your Name” has already topped that, taking a very respectable $404,000 at only four theatres in Los Angeles and New York on its opening weekend.
Join Tony Marotta Marotta on Radio Italia of Cleveland for two hours of the newest and most diverse Italian music you will ever hear! Serie A soccer scores and local Italian community news and events.
Special guest “Pasquale” Patrick Capriati, host of “Domenica Insieme”, Chicago’s Sunday Morning Italian Radio Program heard on WKCG 1503 AM & 102.3 FM and later with New York-based, Italian international recording artist and philanthropist Micheal Castaldoat
Tune in and don’t miss out!
Adriano Valle & Gabriella Piccinini
No Lounge (Stefano Dall’Osso & Virginia Mancaniello)
Sugarpie & The Candymen
Maria Giovanna Cherchi
Ginga (Felice Del Gaudio)
Enzo Avitabile & Elena Ledda & Paolo Fresu
Mina & Adriano Celentano
Audio 2 (Gianni Donzelli & Enzo Leomporro)
Carlo Aonzo Trio
The Radio program “New York New York” with Sal Palmeri
Friday November 24th, 2017″ at 11:05 am New York time 17:05 Orario di Roma Tune in on ” www.Radioamica.it” for another Radio Show of “NEW YORK NEW YORK” Hosted by ” SAL PALMERI. ”
This week Guest of Honor is ANGELO AVARELLO DEI TEPPISTI DEI SOGNI … Songwriter, Band Leader and Popular Singer.
Podcast November 24, 2017
Sourced direct from rare records, cassettes and VHS tapes.
Straight out of Naples’ burgeoning electronic music scene, Modula is the producer behind one of our favourite 10″s of the year so far. Released on Firecracker, The 780 Chronicles is an elastic workout on the Yamaha PSS 780, the versatile five-octave synth released in 1989. It’s an era Modula references heavily in his music, lodged between lost Prince b-sides and the purest PPU electro-funk.
To accompany the release, Modula aka Filippo Colonna Romano has delved deep into the analogue archives to source a selection of his favourite Italian film soundtracks from rare records, cassettes and ripped from VHS for a superb mix, laced in melodrama and magnetic fuzz.
He’s called the mix Cinema Italiano – The Italian Film Scores, and explains, “I wanted to share a selection of my favourite Italian film soundtracks which have accompanied my life and form my music background. The mix shifts through comedies, romance, crime, Poliziotteschi and documentary scores. It’s mixed in a similar way to how a film is structured, moving the needle at the point of drama up and down to keep the listener interested and with a sense of “what’s gonna happen next?””
Listen to the mix above and read Romano’s track-by-track insights below.
‘Alligator Attack’ from Il Fiume Del Grande Caimano
Directed by Sergio Martino, this is like an Italian version of Jaws set in a tropical environment. I played a few tracks off this record and it’s probably one of the best scores I’ve heard so far. With ‘Alligator Attack’ Stelvio Cipriani creates the perfect balance between suspense and stillness, which I believe is key to keeping the audience biting their nails. I really recommend watching this film.
Guido & Maurizio De Angelis
‘I Metodi Di Piedone’ from Piedone A Hong Kong
The great Bud Spencer (Carlo Pedersoli) appears in another episode of Piedone directed by Steno. This is the second film of the trilogy and is the best example of the Italian comedy/Poliziotteschi genre. The De Angelis brothers delivered a great electronic funk soundtrack emphasising each scene, especially those saturated with punches and kicks from the great actor.
‘Dance On’ from Così Come Sei
What can you say about Morricone? His music speaks for itself. ‘Dance On’ was first included in Così Come Sei, directed by Alberto Lattuada, and subsequently included in Bianco Rosso E Verdone, directed and interpreted by Carlo Verdone.
‘Disco China’ from Squadra Antigangsters
Squadra Antigangsters stars Tomas Milian (dubbed by Ferruccio Amendola, the Italian voice of Robert De Niro and Al Pacino) and was directed by Bruno Corbucci, well known for directing the first release of Django (1966). Goblin’s soundtrack is such a great combination of tension and its amusing theme, which works really well in helping tell the story of each scene.
‘Super Maratona’ from Super Fantozzi
A great comedy that shows the “L’ Italiano Medio” (Italian middle class) succubus of the Italian mobbing. Everyone born in Italy from the ‘870s onwards probably grew up watching this series of films. I love the funny main theme.
01. Stadio – Lunedì Cinema [Sigla Lunedì Cinema Rai Uno]
02. Stelvio Cipriani – Alligator Attack [Il Fiume Del Grande Caimano]
03. Stelvio Cipriani – Night Escape [Concorde Affaire 79]
04. Daniele Patucchi – People Come In [Turbo Time]
05. Alessandro Blocksteiner – Apocalypse [Apocalypse Domani]
06. Guido & Maurizio De Angelis – I Metodi Di Piedone [Piedone A Hong Kong]
07. Stelvio Cipriani – Rites Percussion Theme [Il Fiume Del Grande Caimano]
08. Stelvio Cipriani – Ready To Attack [Il Fiume Del Grande Caimano]
09. Ennio Morricone – Dance On [Così Come Sei]
10. Goblin – Disco China [Squadra Antigangsters]
11. Riz Ortolani – Il Corpo Di Linda [La Ragazza Dal Pigiama Giallo]
12. Alexander Robotnick – Litbarski Drive [Ragazzi Fuori]
13. Fred Bongusto – Super Maratona [Super Fantozzi]
14. Fabio Frizzi – Luca Il Contrabbandiere Seq. 14 [Contraband]
15. Guido & Maurizio De Angelis – Appostamento [Piedone A Hong Kong]
16. James Senese – Habanera [No Grazie, Il Caffè Mi Rende Nervoso]
17. Vasco Rossi – Stasera A Casa Di Alice [Stasera A Casa Di Alice]
COMEDIAN SEBASTIAN MANISCALCO BRINGS HIS HILARIOUS
“WHY WOULD YOU DO THAT”
NATIONAL TOUR TO THE PEABODY OPERA HOUSE
SATURDAY, DECEMBER 9th
“The comedian’s comedian” (People Magazine) is taking his “braggadocios” (Billboard) stand-up routine to more than 10 cities across the U.S. this fall including stops in never-before-headlined markets Nashville, Cleveland, Cincinnati, Louisville, St. Louis & more
Sebastian Adds Momentum to 2017 “Top 20 Global Concert Tour” (Pollstar)
Sebastian Maniscalco continues to build upon arguably the most successful year of his career yet: In 2016 he was named Just For Laughs Stand Up “Comedian of the Year,” selected for People Magazine’s annual “Ones to Watch” package, and his third hit special Why Would You Do That? was declared Showtime’s most successful comedy/variety special premiere in 2016. This year, shortly after welcoming his daughter, Serafina, into the world with his wife Lana, he set the record for most consecutive comedy appearances at the Borgata with a seven-performance stint in Atlantic City in early July. Maniscalco continues to adhere to the voice he describes as “always in the back of my head saying ‘Don’t rest!’,” as he takes what The New York Times calls his “own kind of panache” across the U.S. this fall. Tickets on sale now at: sebastianlive.com. .
“I just had to go on tour this fall because with a new baby, comes new material,” shares Sebastian.
Dubbed “one of the hottest comics” by Newsday and “one of the funniest comics working stand-up today” by Esquire,Sebastian’s live performance has become a critically-acclaimed event, with the Los Angeles Times raving, “onstage, there’s an impatience to Maniscalco’s delivery as well, a hair-trigger exasperation with people and modern life, punctuated with baffled expressions, percussive thumps on the microphone and wide-swung leg kicks more associated with an Olympic speed-skater than a stand-up comic.”
In addition to starring in his wildly popular podcast as heard on SiriusXM , “The Pete and Sebastian Show,” Maniscalco is making several major motion picture appearances this year including a voice-over role in the animated feature “Nut Job 2,” a role in the New Line Feature comedy “The House” starring Will Ferrell and Amy Poehler, as well as a role in the independent drama “Cruise,” directed by Rob Siegel and produced by Jeremy Renner.
Tickets: $39.75 – $59.75 / VIP: $125 – $250 / Showtime: 7:00PM
Call: 314-622-2551 / http://sebastianlive.com/home/
The Peabody Opera House is located at 1400 Market St. St. Louis, MO 63103
Terence Hill is a legendary Italian actor (born as Mario Girotti), who became famous for playing in Italian western movies (a.k.a spaghetti westerns) together with his friend and partner Bud Spencer.
Hill was born in Italy, in beautiful city of Venice. His dad was Italian and his mother was from Germany, so they lived in Lommatzsch for few years. His talent was recognized very early (when he was only 12) by a famous Italian director and filmmaker Dino Risi, and he soon started acting (his first movie was Holiday for Gangsters). Hill made over 27 films in Italy (that includes collaboration with great Luchino Visconti on a movie titled The Leopard).
Soon Terence Hill went to Germany, and played in a TV adaptation of Karl May’s novels and in a series called Heimatfilmen. Until 1967, he was credited as Mario Girotti, and then he changed his name in a more international one – Terence Hill.The very same year, he played in a movie God Forgives, I Don’t, and received excellent reviews.
The story about his new western name is very popular. He was given 20 names, and 24 hours to choose the one he likes best. He decided to become Terence Hill because those initials were the same as his mother’s – her name was Hildegard Thieme.
Next year he started the series of spaghetti westerns, with his friend Bud Spencer, and they became the dynamic duo, famous for excellent sense for comedy and western. They were incredibly famous in Italy, but became real celebrities abroad which resulted with a huge popularity of the whole western genre worldwide. These two starred in 18 movies together.
Their most popular titles during the 70’s were: Boot Hill, They Call Me Trinity and the sequel titled Trinity is Still My Name. In 1973 Terence Hill starred in My Name is Nobody alongside American legend Henry Fonda, and stated in various interviews, that this one was his personal favourite.
First American movies Terence Hill ever starred in were Mr. Billion and March or Die (both filmed in 1977). After this successful debut, he lived between Italy and America, and filmed parallel in both countries.
Terence Hill appeared in more than 60 movies, and majority of his roles includes westerns, action movies and comedies. He became a true brand, and a movie legend, often recognized as one half of “the Bud Spencer and Terence Hill duo”, since they have filmed many movies together.
The story about his western movies success is very popular and he often talks about it. He actually looked quite like Franco Nero, spaghetti western legend, so normally; directors wanted Hill to star in similar roles, which meant he was mainly casted for westerns with a comedy twist.
Terence Hill is still very active and he works as an actor, producer and writer. He is very famous and well respected, and also, considered a true living legend from Hollywood’s golden era. His children decided to follow in their father’s footsteps: Ross Hill and Jess Hill his children, are both pursuing their acting careers.
To play mafia characters, you must be a hundred percent Italian. Some people can argue with this, but a famous actor and recognized sex symbol, Al Pacino, is not among those individuals. The actor has a real-life link to famous “mafia” town of Corleone, which proves he is a true Sicilian.
Al Pacino, who became worldwide famous after playing the youngest son of Don Corleone in the iconic “The Godfather,” says he is all Italian. His grandparents came to New York City from a small town in Sicily, known as Corleone, which due to the famous movie has gained a status of a mafia stronghold.
Al Pacino’s father, Salvatore Pacino, is also from Sicily, from San Fratello. The famous actor often says that unlike the majority of people who call themselves true Italians, he is the one who really matches this statement.
In America, most everybody who’s Italian is half Italian. Except me. I’m all Italian.
Al Pacino doesn’t like to talk a lot about his childhood, he simply says that he came from a poor family. His parents divorced when the boy was just 2 years old. Pacino had to drop school at the age of 17 to earn money for living. As a teenager, he worked as a clerk, waiter, and even janitor.
Nevertheless, Al Pacino always knew he would become an actor. His grandfather encouraged the boy in this interest. As a teen, Pacino spent hours watching movies and then acting out scenes from them. He enjoyed playing brave and successful men and dreamed to become the same kind of person.
After “The Godfather 2” came to the big screen, Al Pacino, who had been a relatively unknown actor at that moment, suddenly became rich and famous. Pacino’s co-stars in the iconic movie were Marlon Brando and Robert De Niro. The young actor’s performance earned him an Academy Award nomination and a worldwide fame.
There is some great news for all fans. Al Pacino and Robert De Niro will reunite for a new gangster film directed by legendary Martin Scorsese. The upcoming film is named “The Irishman,” and it will be released by Netflix in 2019.
The movie critics comment that “The Irishman” is going to get Scorsese back to one of the most popular movie genres and reunite him with the actors he helped make iconic. The new gangster film will definitely become a new hit at least due to its “golden stars” cast, including “the man of a dream,” Al Pacino.
Oh, what a story. Frankie Valli, who came to fame in 1962 as the lead singer of the Four Seasons, is hotter than ever in the 21st century. Thanks to the volcanic success of the Tony winning musical Jersey Boys, which chronicles the life and times of Frankie and his legendary group, such classic songs as “Big Girls Don’t Cry,” “Walk Like a Man,” “Rag Doll,” and “Can’t Take My Eyes Off You” are all the rage all over again. With the play in its twelfth blockbuster year on Broadway, and five other casts performing Jersey Boys nightly from Las Vegas to London, the real Frankie Valli is also packing venues around the world.
But please don’t say that Frankie is back. The truth is, he never went away. Sure, the majority of the 71 chart hits of Frankie Valli and the Four Seasons (including 40 in the Top 40, 19 in the Top 10 and eight No. 1’s) came during the 1960s, but the music didn’t just disappear. He has toured almost continuously since 1962, and his songs have been omnipresent in such movies as The Deer Hunter, Dirty Dancing, Mrs. Doubtfire, Conspiracy Theory and The Wanderers. As many as 200 artists have done cover versions of Frankie’s “Can’t Take My Eyes Off You,” from Nancy Wilson’s jazz treatment to Lauryn Hill’s hip-hop makeover.
There’s something about Frankie’s music that makes young people of every generation want to get up and dance. Amid the disco era, the Seasons hit it big with “Who Loves You,” which reached No 3 in 1975, and “December 1963 (Oh, What a Night),” a No. 1 record in 1976.
But who could imagine that the first four decades would be only the beginning—that Frankie Valli would celebrate the new century with a new album and a heavy sold-out global concert schedule? No other pop star has ever received the kind of fresh lease on life that Jersey Boys has given Frankie Valli. In 2009 Jersey Boys made it into the Southern Hemisphere by having a wildly successful run in Melbourne, Australia, before moving to Sydney, Australia, and then New Zealand.
FRANKIE VALLIE & THE FOUR SEASONS
Thursday, November 30, 2017 at 8:00 pm
FAMILY ARENA – ST CHARLES
Legendary film director Martin Scorsese has stated many times that one of the biggest influences in his work was the Italian Neorealism period in Italy. His personal documentary My Voyage to Italy (also check out: A Personal Journey with Martin Scorsese Through American Movies) is a journey through Italian Cinema history and marking influential films. But what is Italian Neorealism?
“I saw these movies. They had a powerful effect on me. You should see them.” – Martin Scorsese
Mussolini’s Government wasn’t the only thing which ceased to exist after the Second World War. The making of traditional Italian movies also stopped as all the film studios were destroyed during the war.
In the year 1943, when Mussolini lost control of the Kingdom of Italy, local cinema saw significant changes which led to the birth of a new genre in the entertainment industry. This new genre took the film world, not only in Italy but the neighboring countries as well, by a storm.
Filmmakers were facing an extremely hard time to make films owing to limited resources and lack of studios where they could shoot. One thing led to another, and soon top filmmakers of the country found a solution to cope with the issue. This was the start of Neorealist thought in the Italian film industry.
Huge names like Luchino Visconti, Roberto Rossellini, and Vittorio de Sica are some of the many who emerged to the fore and laid the foundation of Italian Neorealism, also known an Italian Spring. The ideas and the messages behind the films changed with changing social and political scenarios.
At this time producers and directors were ready to put their money and efforts, respectively, into the movies which focused on social shortcomings and the plight of people. Society, economy, and politics were the main niche of interest, under the influence of Italian Neorealism. The directors dared to make these movies now, which the former fascist regime, led by Mussolini, would have never tolerated.
Reviewing the films, which were produced in Italy during the era between 1943 and 1950s, we come to know that all of them opted a theme of post-war poverty, depression, injustice, unemployment, and other menaces which were plaguing whole of the Italian society.
Not only the topics of the films were primarily affected by the Italian Spring of 1943, but it molded the ways of making movies up to a greater extent as well. Unlike the movies of the past, these movies hired new – lesser known – actors and revolved around the contemporary issues of the time. Moreover, films weren’t directed in huge studios, but the directors took their work onto the roads, interceding into the social fabric of society.
A common consideration is that these films were based on the Marxist thoughts passed on by the pro-socialist writer Karl Marx, as these focused not only injustice and chronic unemployment but also shed lots of light on the economic disparities between bourgeois and proletariat.
With the growing thought of economic disparities and rising, anxiety among the people, liberals and other parties found it hard to send their messages to the people of Italia.
The liberals condemned the thought of Italian Spring by suggesting that a nation which is already struggling to develop a balance and lacking stability will get further plunged into the social menaces, lest the expansion of Italian Neorealism is checked. With the turn of the 1950s, Italian Spring started to see a gradual decline in its popularity as people started searching out for an optimistic approach towards life.
It wasn’t exactly after the defeat of Italian Empire that neorealist thoughts prevailed in the society. The first film of the sorts, Ossessione featuring Massimo Girotti and Clara Calamao, was prepared by Luchino Visconti in May of 1943 when Mussolini was still in office. He left the office in July of the same year and Italy was invaded by Allied Powers in September, after which scores of such films came to the fore.
It wasn’t until Roberto Rossellini’s Rome, Open City (released in the year 1945) that the whole world came to know about Italian Neorealism. Once the idea and the thought spread, other countries also followed the lines of Italian film industry and started making movies which were based on social anarchy, imbalance, and disparities.
Here, we have listed some films created during the era of ‘Italian Spring’ ranging between 1943 and early 1950s.
The film revolves around Giovanna and Gino, with former killing her husband with the help of the latter when they meet at a gas station for the first time. In a hope to get away with the crime, Giovanna seduces Gino and tempts him to kill her husband. But, this leads to a string of deaths and betrayal which is faced by both these characters.
Rome, Open City single-handedly set the dawn of Italian Spring and following thoughts in the nearing countries of Europe and Asia. The film features Giorgio, as the leader of a resistance force against the Nazis. Once tracked down by the Germans, Giorgio is on the run and comes to his friend, Francesco, for help. He asks Francesco’s wife, Pina, to warn the priest, Pellegrini, that Giorgio needs to leave the town at earliest.
It is another film which portrays the felonies which were happening in the Italian cities during the time of Word War 2. Thanks to the war that Antonio is unemployed and his family is facing a hard time. When he finally finds an employment of hanging posters in Rome, his wife sells bed linens to help Antonio get his bicycle back from the pawnshop. But then, the disaster strikes and Antonio cycle is stolen. The only way he will get his job back is, if he finds his bike. Antonio with his protagonist son, Bruno, comes to the city to find his lost bike and to seek justice.
This film masterpiece is one of the finest works of Roberto Rossellini. The story is about a 12-year-old, Edmund, who lives with his family in a devastated building, where five other families have also sought refuge. Edmund’s brother is a former Nazi and is on the run from the police. His father is too ill to help the family.
In such a situation, it comes down to the 12-year-old Edmund to earn for his family. The case pushes the innocent child into the black market, and this is where one of his former teachers comes to the rescue.
On return to his fishing village in native Italia, the dreams of Antonio are shattered as all of his investments are gone when the boat, he has spent on, is severely destroyed by a sea storm. Antonio finds himself at the expense of his rivals. He is forced to work for them. During all these proceedings, his family ties are destroying, and it is disintegrating rapidly. Seeing all this, Antonio’s dreams and his trust on social fabric fade away swiftly.
Francesca and Walter, a criminal couple, are on the run from the authorities. During a tough phase in their mutual life, they part ways for the time being and find refuge in far off places, to avoid the law. Francesca finds work with a group of peasant women in the rice fields of Po Plain. Slowly she starts finding solace in her new life where she gets hard-earned, clean money.
When Walter returns to her, she finds it hard to get along with him and to get back into the criminal world which she has left far behind.
This movie shows the horrific side of the capitalist world. Toto is an orphan, brought up by Lolotta who found him in her cabbage patch. When Lolo dies, Toto leaves the orphanage and lives with a group of homeless in their junkyard.
Everything is going well until oil is discovered underneath the yard where Toto and his lowly friends live. Capitalists come in, trying all they can do to drag Toto and his friends out of the place so they can benefit from the reserves.
When Umberto, an old pensioner, finds it hard to pay his long overdue monthly rents, he fakes illness to go to the hospital and spend some time there. His only companion, his dog, is also parted from him during these developments. Umberto gives it to Maria, who is a maid of his landlady, to take care of the dog until his return.
These are some of the many movies which showed Italian Neorealism. The idea remained active in the Italian film industry until the turn of the 1950s. Economic Miracle happened in Italy, as a result of which people saw an increase in their wages and an improvement in their lifestyles. Neorealist films weren’t much relevant anymore. So, their demands decreased drastically.
Moreover, the American cinema was at its boom as well, during this phase of the previous century. As more films came to the fore, in the Hollywood, which showed a positive side of life, the demand of neorealist movies lowered among the Italian people. Italian people.
If you liked Italian Neorealism: Martin Scorsese’s Origins? take a listen to:
Martin Scorsese MasterClass: Breaking Down His Secrets & Directing Techniques
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