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EKO – The 1960s

By Vintage Italian Amplifiers, Vintage Italian Bass, Vintage Italian Guitars, Oliviero Pigini, Historical Figures, Historical Figures, Historical Figures, Historical Figures, Vintage Italian Synthesizers2 Comments

 

Eko was not only the largest guitar factory in Italy but also one of the greatest world successes in the field of musical instruments. The creator of this success was a character named Oliviero Pigini and to him we dedicate this virtual exhibition of celebrities who have embraced his tools.

Lorenzo

Oliviero Pigini, founder of Eko

Oliviero Pigini was a lion of the Italian industry who, since Eko was born in 1960, alone managed to bring the share of Italian guitars exported to the world from 0.8% in 1956 to 12% in 1965.

After starting out as an accordion manufacturer, Pigini decided to turn his attention to guitars and in 1956 he founded Giemmei (Giocattoli Musicali Italiani) in Castelfidardo, with which he managed the mail commerce of Sicilian and Yugoslavian guitars.

In 1959 he founded “Eko S.A.S. di Oliviero Pigini & Co.” and in 1960 took over a former accordion factory and began production on its own with the support of CRB Elettronica, which had already been designing and manufacturing pick-ups at Pigini’s request since 1958.

In 1964 Eko will move to Recanati, where, while Pigini and Augusto Pierdominici design Eko-branded guitars and basses, the factory will also produce instruments for other big companies such as Vox.

In 1965 he began the production of guitars with animals name (Cobra, Barracuda, Dragon, Condor, Cygnus) and the new signature guitars such as Rokes, Kappa, Auriga, Pace.

In 1966 he founded Comusik, with which he will manage instruments’ marketing (Eko, Vox, Thomas) and Genim which will manage the real estate part, such as the Eko hotel in Fano which, according to Pigini’s intentions, would have been the hotel dedicated to music and artists.

Still in 1966, however, a fire occurs (intentional, according to some ), which destroys a part of the Recanati plant and Pigini begins construction of the new Montecassiano plant but will never see the end as a heart attack will stop its race at the beginning of 1967. He was just 44.

Pigini with Eko staff

The Eko factory

Unfortunately, the death of Pigini coincides with the beginning of a market crisis caused by Asian competition and due to some not exactly right and far-sighted choices: under the guidance of Augusto Pierdominici, Eko updates and diversifies production, putting the guitar department in the background. and focusing everything on electronic musical instruments, keyboards and built-in effects like in Vox guitars.

This strategy would have proved to be unsuccessful, not because there was a lack of ideas and innovation, far from it (proof of this is the legendary Computerythm drum machine), but thanks to the aggressive Japanese commercial policy also in the electronic field (the Japanese government widely financed its music companies while the Italian government was only thinking of financing the FIAT “vampire”, which would lead the Italian car scene to bankruptcy, dragging all the best brands acquired over time with it).

The string instruments market, on the other hand, was not dying at all because the rock music scene never stopped and maintained its positions even during the 70s, 80s and following. This while Eko paid for the wrong choices such as that of falling back on the production of guitar copies and electronic instruments, effectively destroying the successful position that Pigini had achieved for Italian production in the world market of musical instruments.

The last attempts to bring the Eko back to its glorious times were under the careful guidance of Remo Serrangeli, who, with innovative product ideas, began production of high-quality guitars and basses but the sudden entry into the field of a new wicked management thwarted the efforts bringing Eko to an end in the mid-1980s.

This article will therefore be a celebration of the historic Italian brand, through the images of musicians, artists and those who have loved and used Eko instruments over time.

Maurizio Vandelli and I Giovani Leoni, with Eko Master 400

Victor of Equipe 84 with the peace guitar

The Dik Dik with prototype instruments

The Rokes with the famous instruments that bear their name

The Rokes – Grazie a te

Caterina Caselli with Ranger 12 Electra

Adriano Celentano with Ekomaster 400

Rita Pavone (995 bass) with Giancarlo Giannini

Dario Toccaceli with Eko 100

Ricky Shayne with Eko 100

I Kings with the Eko Kappa, created for them

The Snobs with guitars and bass from the Cobra line

Herbert Pagani with Ranger 12

Fausto Leali with Ranger 6 Electra

The world adventure

Pigini established several contacts with foreign distributors, including the Lo Duca brothers for the USA. Therefore Eko guitars and basses can be found with other brands such as Eston, Shaftesbury and later also D’Agostino, Camac … Some Vox were simply Eko instruments with the “Vox” brand on them.

Oliviero Pigini (left) with Tom Lo Duca, US importer of Eko.

Dick Elliot, Eko testimonial and demonstrator for the USA

The Grass Roots

The Blue Chip Village Band

The Jackson Five

Jimi Hendrix Eko 100

Pete Townshend

Roger Daltrey

Al Stewart

Brigitte Bardot with Eko 500

Les Disciples with Ekomaster 400

Gary Burger (The Monks)

The article continues in the second part: EKO – The 1970s

 

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Utopia – Deface The Music (1980)

By Music, Music, MusicNo Comments

 

Anyone who knows Todd Rundgren knows how passionate he is of the Beatles. It was therefore not too surprising when, in the late 1980s, Deface The Music was released, an entire album under the name Utopia that turned out to be a concept album dedicated to the magical Liverpool quartet.

Lorenzo

The album cover

“Outstanding in their field!”

 

For some years now, the Utopia staff had settled from the prog/avant-garde sextet of the beginnings to a compact quartet that was more oriented towards a simpler and more direct pop/rock.

The seventh album of Todd Rundgren’s Utopia was therefore a tribute to Liverpool’s “4 fantastic 4”, maniacally made with the same or similar instruments and played in perfect and equally maniacal style.

After all, Mr. Todd had already anticipated his intentions in the 1976 solo album Faithful, where on an entire side dedicated to six incredibly “faithful” covers, two were from the duo Lennon / McCartney (Rain and Strawberry Fields Forever).

The original album cover

Our new “fab four” were fresh out of their most successful and latest recording effort – Adventures in Utopia – a very complex project that included quite articulated music and video productions, what better time than this to indulge in a holiday based on immediate music, simple and melodic?

Starting from one of his songs, I just want to touch you, which was born for the soundtrack of the film Roadie but immediately discarded because the producers of the film were terrified of possible legal actions due to the excessive reference to I Wanna Hold Your Hand, Todd then decided to create an entire album of excessive references to the Fab Four!

And he did it with inspiration, taste and great class: the pieces are fantastic and there are some absolute immediate classics like the irresistible Take it Home, the powerful Everybody else is Wrong, the deep All Smiles, the dramatic Life Goes On, the catchy Where does the World go to Hide, the joy of Feel Too Good!

The 13 tracks (13 such as those from the album A Hard Day’s Night) retrace the career of the 4 of Liverpool, in a pastiche that goes from 1963 to the psychedelic period and each song is so well-elaborated that it can seem an authentic product of the Beatles:

1 “I Just Want to Touch You” 2:00 “I’m Happy Just to Dance with You”, “I Want to Hold Your Hand”, “Little Child”
2 “Crystal Ball” 2:00 “Can’t Buy Me Love”, “She’s A Woman”
3 “Where Does the World Go to Hide” 1:41 “A World Without Love”, “You’ve Got to Hide Your Love Away”
4 “Silly Boy” 2:20 “I’m a Loser”, “I’ll Cry Instead”, “Help!”
5 “Alone” 2:10 “And I Love Her”
6 “That’s Not Right” 2:37 “Eight Days a Week”
7 “Take It Home” 2:53 “Day Tripper”
8 “Hoi Poloi” 2:33 “Penny Lane”, “Lovely Rita”
9 “Life Goes On” 2:21 “Eleanor Rigby”
10 “Feel Too Good” 3:04 “Getting Better”, “Fixing a Hole”
11 “Always Late” 2:22 “Yellow Submarine”, “A Day in the Life (middle section)”
12 “All Smiles” 2:27 “Michelle”, “I Will”
13 “Everybody Else Is Wrong” 3:38 “Strawberry Fields Forever”, “I Am the Walrus”

On the left the songs of Deface The Music and on the right the Beatles songs to which they are inspired.

The album was released on September 24, 1980 and so far everything was great, because the pieces are really beautiful as parodies, sometimes even almost better than the originals. Even the title of the album itself, “Deface the music” is quite controversial, although probably inspired by ELO’s Face the Music too.

The original cover, which was practically the same as that of the album With The Beatles, with the four “utopians” positioned as the four Liverpolians, was then replaced with an illustration containing the busts of the group. While the photo of the back, where the words “Outstanding in their field” stands out, ironically recalls Strawberry Fields Forever.

But that turned out to be a rather eventful year, the album worked very well with the critics and very badly with the fans, who despite being quite used to Rundgren’s continuous musical changes, this time found themselves totally disoriented by the sudden turn from the very modern stadium AOR and prog rock, to 60s brit-pop.

In addition, many rockstars were very agitated by the excessive interest from the fans and it happened that, shortly before the release of the album, on August 13, Rundgren suffered a traumatic robbery.

During an evening with his partner and friends, four masked characters broke into the house, taking away hi-fi apparatuses and paintings, threatening him to amputate all his fingers if he did not give him all the drugs he had in storage, all while whispering his famous hit “I saw the light”.

In addition, on December 8 of that year, John Lennon was shot dead and a boy named Mark David Chapman, apparently a self-declared Rundgren fan, was accused of the murder (the previous day he had been unsuccessful, looking for him at his Woodstock home). In fact, at the time of the shooting, Chapman was wearing a promotional T-shirt of The Hermit of Mink Hollow, Rundgren’s latest solo album, and in his hotel room, the police found a Stereo 8 cartridge of the album Runt. The Ballad Of Todd Rundgren, Todd’s second solo album.

If you also consider that the good Todd had a well-known disagreement with Lennon himself in 1974, which led him to a rather acid letters exchange with the ex Beatle and that Rundgren was part of the well-known All Starr Band of Ringo Starr for several editions, well … there are some pretty curious points connecting the two musicians.

But now we are interested in talking about Deface the Music and, more than anything else, enjoying these 13 tracks so, Happy Listening!

The official “I Just Want To Touch You” videoclip

Listen to “DEFACE THE MUSIC”

A 1982 LIVE OF UTOPIA

Deface The Music – Utopia

  • Todd Rundgren – lead guitar & lead vocals
  • Kasim Sulton – bass, backing vocals
  • Roger Powell – synthesizers, keyboards, backing and lead vocals
  • John “Willie” Wilcox – drums, percussion, backing and lead vocals

Recorded at Utopia Sound
Cover [Cover Illustration] – Jane Millett
Engineer [Assistant Engineer] – Chris Andersen
Photography By – Kenneth Siegel
Producer – Utopia
Producer, Engineer, Mixed By – Todd Rundgren

 

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The Seventh floor (Il fischio al naso) – 1967

By Cinema, Cinema, Cinema, Fiction and non-fictionNo Comments

 

Based on a short story by Dino Buzzati, in his second movie direction Ugo Tognazzi builds up a harsh satire on how the healthcare industry manages to create sick people from perfectly healthy ones.

Lorenzo

Article by Daniele Pieraccini

(spoiler alert)

Con la descrizione di questa industria della malattia, ho voluto rendere la degenerazione che porta la società dei consumi anche nella scienza, cioè in quella parte della società che dovrebbe invece conservare l’uomo, la sua integrità fisica e psicologica

(Ugo Tognazzi, dal libro a lui dedicato nel 1981 da Claudio G. Fava e Aldo Bernardini).

Tognazzi with his cast

The film is tastefully vintage (with typically Space Age furnishing accessories such as Brionvega televisions and Artemide lamps), but the story narrated, dystopian and Kafkaesque, could not be more current.

Tognazzi, in his second work as a director, elaborates a clear critique of a world adrift, without ideals or morals, in which what matters is to produce and consume and then be ruthlessly consigned to death, after a life devoid of any authentic meaning.

Concepts that he will reiterate in the “Loganian” I viaggiatori della sera (1979), his last dystopian movie (which could also have found a valid cantor in Elio Petri) based on the novel of the same name by Umberto Simonetta.
The Seventh Floor (Il fischio al naso) is instead inspired by a short story by Dino Buzzati, The seventh floor (I Sette piani), published for the first time in 1937 then revised and included, after various reworkings, in at least three collections.
Buzzati also elaborated a theatrical transposition, A clinical case (Un caso clinico), in 1953.
It can be deduced that certain themes (the healthy, or the today’s asymptomatic who becomes a slave and then a victim of health care) have inspired certain authors who were particularly attentive and aware already in the last century, up to today’s reality made up no longer of care and assistance centers but of real health companies. Think also of Knock ou Le triomphe de la médecine (Knock or the triumph of medicine), a play by Jules Romains from 1923, broadcasted on television on RAI in the same year as Tognazzi’s film.

Cover of a Spanish illustrated edition of Dino Buzzati’s story “The Seventh Floor” (Sette piani)

«Mi dica, dottore, come va il processo distruttivo delle mie cellule?»

In Buzzati’s story, a lawyer named Giuseppe Corte (strangely very similar to the name of the ex  “Italian premier”) disturbed by a very slight uneasiness not specified, is admitted to a modern clinic specializing precisely in the treatment of the rare disease that afflicts him.
The sanatorium is divided into seven different floors: patients with lighter forms are hospitalized in the higher one; as the severity of the case increases, the floor gradually descends, up to the first floor which houses hospitalized patients with no more hope.
What looks like a short-term hospitalization in a comfortable and reassuring environment, with the return home planned at the end of a series of exams, turns out to be a real descent into hell.
While Giuseppe Corte’s health worsens rather than improves, a chain of inconveniences (administrative oversights, employee holidays, a doctor’s fussiness) causes him to be detained and gradually transferred to the lower floors, despite his protests, however blocked by the continuous reassurances of the doctors on the non-seriousness of his case. In a crescendo of helplessness, sadness and resignation, the lawyer will sadly find the end of his days interned on the first floor.

Dino Buzzati

In the movie Tognazzi, assisted in the screenplay by the trusted duo Scarnicci-Tarabusa, by Rafael Azcona, novelist and close collaborator of Marco Ferreri and the well-known sports commentator Alfredo Pigna, sets up an operation that is even more directly to the target and far from any metaphorical spirit.

“produrre, consumare, gettare via!”

The annoying whistle that plagues the life of the perfect industrialist

The protagonist, masterfully played by Tognazzi himself, is called Giuseppe Inzerna and is a successful entrepreneur in the paper industry.
His motto is, as he repeats several times, “consume and destroy”. Even the recurring musical theme, ‘La conta‘, a beat song by Le Pecore Nere, obsessively recalls for the entire duration of the film that “today it’s my turn, tomorrow it’s you”, underlining a production chain vision also of the cycle life/death.

An annoying whistle produced by his nose, which causes him embarrassment in work and social areas, pushes him to reluctantly accept routine checks at the “Salus Bank” luxury clinic: a name, a program…

“non si muore che in un momento di distrazione”

He is hospitalized on the first floor of the structure, waiting to go back home and to his job in a very short time. As in the story to which the film is inspired, in reality his stay is not only prolonged as in a nightmare but for various reasons Inzerna will gradually be transferred to the other floors: unlike Buzzati’s work it is an ascent, not a descent, from the first to the seventh floor.
The climb slowly becomes a suffocating imprisonment, and from an irrelevant annoyance such as a whistle in the nose, non-existent problems emerge that in the end make him really sick. In this “health bank”, health ends up being completely lost. Not regeneration, but annihilation.
In the state-of-the-art clinic, among other things, we see technology applied to healthcare at work for which men are nothing more than numbers (515 hanging around Inzerna’s neck on any floor). Doctors act as cyber investigators: by dint of investigating they always find something wrong.
The well-known carnal attitude of Tognazzi is manifested in the approaches to the female medical and nursing staff (attractive as models at the beginning and then giving way to much less pleasant figures as you go up the floors) and in being able to have his mistress hospitalized as well, only to withdraw from intimacy as if devoid of physical flaws that increase with the length of the stay. In fact, the whistling in the nose disappears quickly, but only to give way to fever, kidney problems, extrasystole, eczema, weakness and so on.

“l’ammalato può essere una grande industria, lo so”

During his stay in the clinic (shots taken at villa Miani and villa Parisi, on the Roman hills) we meet a series of emblematic characters: among all, Dr. Claretta stands out played by the well-known character actor Gigi Ballista, the charming Tina Louise in the role of by Doctor Immer Mehr (in German: more and more…), Doctor Salamoia, played by Marco Ferreri.
Tognazzi’s interpretative effort is remarkable, managing to calibrate his exuberances and direct himself by supporting Inzerna’s progression from initial entrepreneurial exuberance, to pragmatic distrust in medicine, to passing from anger and rebellion at the succession of misadventures to entering the hypochondriac mechanism up to a state of anxiety and exhaustion that leads to final resignation.

“curare il corpo, salvare l’anima”

Tognazzi and Tina Louise

But other themes are also touched upon in the work.
Starting from the connivance, hidden by a false contrast, between Church and science, between facade spirituality and technology: in addition to the gloomy presence of nuns and friars, at the entrance to the hospital chapel is posted the inscription “cure the body and save the soul” ; above Inzerna’s bed there is an accommodation for sacred images interchangeable with a button, crucifix, Buddha or other on request.
The doctors receive the patients individually in a large room of the villa, in a sort of anamnesis/confession at the end of which they release the absolution in the form of medicines to be taken … to arrive at the scene in the room where hibernation is experienced and in which a doctor proclaims that one can aim at the search for immortality because the Church is not opposed to medicine.

Above all, it is criticized, and in this the presence of Ferreri and his screenwriter matters, the bourgeoisie unable to have a human face dedicated as it is to the search for the accumulation of capital.
Indeed, the attitude of the protagonist’s family members is striking: devoid of emotion and unable to feel true affection, they experience Inzerna’s decline with extreme indifference.
Noteworthy is the evolution of the character of Giuseppe’s father, who, after dyeing his hair, takes over the reins of his son’s factory and converts it to the production of holy cards and religious gadgets, proclaiming: “the Church is preparing to live a new golden age ”.
A very particular and full of symbolism sequence is that of Inzerna’s attempted escape from the clinic: after a run between rows of pines and olive trees, in a dreamlike crescendo, he finds himself in front of a very high stone wall that blocks him. Then, seduced by a female nudity glimpsed in the trees, he gets distracted and is captured by two nurses. As if to say that one cannot escape from the world of capital and its language, one can only be seduced or enter into conflict and end up interned.

“chi l’avrebbe detto… per un fischio al naso!”

These are the last words of Giuseppe Inzerna, now resigned and almost absent but with his hair dyed in a seeming and, given the circumstances, mocking rejuvenation. And the helicopter that flies over the clinic in the last moments of the protagonist’s life, like a technological vulture, is perhaps waiting for fresh organs to be transported? Note how the Italian legislature gave the green light to explants and transplants the year before the movie was released …

In this story and in its bitter conclusion, the trap of hypochondria disguised as modern health care is revealed: living sick to hope to die healthy.
How can we fail to see in this, again, the sinister and desperate invocation “Heal me, make me complete” appear?

Nurses or incentives?

THE TRAILER OF UGO TOGNAZZI’S “THE SEVENTH FLOOR”

The Seventh Floor aka Il fischio al naso (1967) by Ugo Tognazzi

 

Cast: Ugo Tognazzi (Giuseppe Inzerna), Olga Villi (Anita, his wife), Alicia Brandet (Gloria, his daughter), Franca Bettoja (Giovanna, Giuseppe’s lover), Tina Louise (Dr. Immer Meher), Gigi Ballista (Dr. Claretta), Marco Ferreri (Dr. Salamoia), Riccardo Garrone (the barber), Alessandro Quasimodo (Roberto Forges), Gildo Tognazzi (Gerolamo Inzerna, Giuseppe’s father).

Screenplay: Giulio Scarnicci, Renzo Tarabusi, Alfredo Pigna, Ugo Tognazzi, Rafael Azcona

Cinematography (Panoramic, Eastmancolor): Enzo Serafin

Scenography: Giancarlo Bartolini Salimbeni

Music: Teo Usuelli

Editing: Eraldo Da Roma

Production: Alfonso Sansone, Enrico Chroscicki for Sancro International (Rome)

Distribution: Cineriz

ITALIAN AUDIOBOOK OF “I SETTE PIANI” BY DINO BUZZATI – READ BY ROSANNA LIA

 

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Serge Brussolo – Les Semeurs d’abîmes (1983)

By Fiction and non-fiction, Fiction and non-fictionNo Comments

New lap, new race, new section of the site: Fiction and non-fiction. Let us consider “Les Semeurs d’abîmes ”, an old story by Serge Brussolo, an imaginative and prolific French narrator, very active especially in the 80's and 90's.

Lorenzo

The cover of the original Urania edition (Italy)

Brussolo’s style is extremely effective, black and nervous: a vivid imagination constantly cloaked in darkness. With a constant pessimism, which is so natural to him that it is extremely convincing, it is not that Brussolo does not admit alternatives … he does not see any, so much so that he does not even consider the possibility.

This supremely distressing style of his turns out to be perfect for a particularly dark sci-fi genre, heavily contaminated by very strong and effective elements of innovative horror-gore and fantasy, a very personal Cyberpunk. In some ways, it could be compared to a Ballard with a crazy imagination, completely disillusioned and completely devoid of empathy towards any living being.

Thinking that such a character can also try his hand at writing for children is sincerely shuddering, yet in a world like this, it could also happen.

And indeed it happened.

Serge Brussolo

However, we will deal with this splendid “visionary” work which is ‘Les Semeurs d’abîmes’, a 1983 novel.

“Les Semeurs d’abîmes” first French edition

The synopsis of the story:

In the near future, genetic experiments have led to the creation of a new race of humans, the “Harlequins”, with morphological characteristics and pigmentation from various ethnic groups.

This new race with its multicolored and iridescent skin, whose deadly body secretions can pierce rock and steel, are imprisoned in a reserve in the territory of Shaka-Kandarec (very recurrent in Brussolo’s narrative) and as custodians are assigned a zoologist, David Sarella (another name that is a constant in the Brussolian production), the violent policeman Cazhel.

They are accompanied by Barney, an elderly shady figure who finds himself there thanks to strong government contacts, he has also opened dozens of workshops across the country that perform innovative and mysterious mobile tattoos.

In one of these works the young tattoo artist Lise who, when her clients begin to die, horribly corroded by the ink used, tries to track down Barney, discovering, behind the apparent unpredictable tragedy, a precise governmental purpose of reducing the youth population. the segment that is most attracted to the new fashion.

Talking about it with Barney, Lise realizes that the revolutionary ink is nothing more than the secretion of the Harlequins combined with an anticoagulant that makes the design between the layers of the tattooed skin mobile; after some time, however, the anticoagulant loses its effectiveness and the acid begins to corrode.

Lise, also having a tattoo and driven by feelings of guilt, goes to Shaka-Kandarec to look for an antidote that neutralizes the deadly ink and stops the massacre.

When The Girl arrives, the Harlequins, assailed by an illness, the “migratory fever” (clear quote from “The future life” by H.G. Wells), have already fled to start a long journey. The girl joins David and Cazhel and sets out in pursuit of the fugitives on an odyssey through the Shaka-Kandarec region, the homeland of the world’s outcasts.

The life of the populations of this region, each with unique characteristics, takes place on suspended bridges over a sea of ​​poisonous mud, bridges that the acid secretions of the fugitives are endangering, so much so that the Harlequins have earned the nickname of “

Lise, also having a tattoo and driven by feelings of guilt, goes to Shaka-Kandarec to look for an antidote that neutralizes the deadly ink and stops the massacre.

When The Girl arrives, the Harlequins, assailed by an illness, the “migratory fever” (clear quote from “The future life” by H.G. Wells), have already fled to start a long journey. The girl joins David and Cazhel and sets out in pursuit of the fugitives on an odyssey through the Shaka-Kandarec region, the homeland of the world’s outcasts.

The life of the populations of this region, each with unique characteristics, takes place on suspended bridges over a sea of ​​poisonous mud, bridges that the acid secretions of the fugitives are endangering, so much so that the Harlequins have earned the nickname of “Les Semeurs d’abîmes” (sowers of abyss). Obviously, if the Harlequins are not stopped, they will pierce the whole world, risking the probable extinction of all forms of terrestrial life.

Another threat looming on settled populations is the rapid spread of the disease brought by the Harlequins, unnecessarily hindered by the inoculation of an antagonist virus discovered by Rilk, a scientist belonging to the Morhad population.

From now on, it will be a succession of madness, in the typical Brussolian style, but we will not ruin the surprise with useless spoilers.

 

FRENCH INTERVIEW TO SERGE BRUSSOLO

FINAL CONSIDERATIONS

It is quite curious how practically every dystopian story or film released so far, deals, in addition to genetic mutations and cloning, with a pandemic and a plan for a drastic reduction of the population, be it through contagions, poisoning, or lies of various kinds, such as climatic “catastrophes” and insufficient resources

Here we also have an extremely current and, for this reason, very disturbing part: that of tattoos, extremely “expanded” fashion today and which makes us think a lot.

Are we talking about novels or historical advances? Furthermore, is it possible that every dystopian science fiction writer is also a clairvoyant?

wounds

Wounds (2019)

By UncategorizedNo Comments

 

There is a rather different movie, which gravitates to the famous Netflix platform: honor and merit to the same for having included it in the schedule. It's "Wounds", by Babak Anvari.

Lorenzo - Daniele Pieraccini

Wounds by Iranian director Babak Anvari is a curious experiment that analyzes the esoteric world in
an exoteric key, that is, using a material vision to explain what is intangible.

After the umpteenth viewing of this movie, which we really like, we talked and indulged with friends on the various interpretations of the messages that this work suggests.

Viewing of the film is required before proceeding with the reading. This is both to understand what
we are talking about, and because there will be continuous spoilers in the article.

Wounds: The plot

Will is a bartender at a New Orleans club. One evening, during his working hours, a fight breaks out between Eric – a regular customer of the place – and other visitors. The chaos created and having called the police causes the rapid disappearance of all those present. Among the latter, there is also a group of very young people who, after having resumed the fight, run away forgetting a cell phone.

Will, without thinking too much, takes home the cell phone decided to contact the boys to return it, finding in it a shocking video. This will cause the start of strange events that will coincide with the end of all rationality in Will’s life.

In the article we will propose different levels of reading of the film.

Wounds Movie poster

Heart of Darkness

The movie begins by quoting Conrad’s “Heart of Darkness”, a novel that depicts evil as unaware of itself, in this pointing to the protagonist with his emptiness confused by the siege of absurd and unknown that he doesn’t understand if it has an external origin or comes from within himself.

“I think it had whispered to him things about himself which he did not know, things of which he had no conception till he took counsel with this great solitude – and the whisper had proved irresistibly fascinating. It echoed loudly within him
because he was hollow at the core.”

Joseph Conrad – Heart of Darkness (incipit of the film Wounds)

…Gli aveva sussurrato cose su di lui che egli stesso ignorava, cose che neppure sospettava… e quel sussurro si era rivelato irresistibilmente affascinante. Echeggiava forte dentro di lui poiché egli dentro era vuoto.

Joseph Conrad – Cuore di Tenebra (incipit del film Wounds)

Heart of Darkness by Joseph Conrad, book cover

Wounds

we introduce the meaning of “wound”: a term that in the English language is the most generic to define the concept.
Wound can be a wound inflicted on living tissue, but it can also have a moral connotation.
It can indicate a problem, a great unhappiness, a stress caused by someone else or something.

An emotional or psychological state, in short, and the director moves among all the possible meanings, touching and connecting them together
and developing a highly mental and metaphysical horror.

“Do you know what you really want? Nothing. Because there is nothing that can satisfy you. You are a bad person, you are just a body. “

Carrie, Will’s partner, after the breakup

«Sai cosa vuoi veramente? Niente. Perché non c’è niente che ti possa soddisfare. Tu sei una brutta persona, sei solo un corpo.»

Carrie, la compagna di Will, dopo la separazione

Wounds scene in which the secret Gnostic ritual of the “Translation of the wounds” is spoken

Bugs

What do the cockroaches that infest the environments in which the story takes place represent and which are more and more numerous and intrusive as the horror grows?
Are they depictions of the impure, of the persistence of evil, are they symbols of psychological and relational distress (as in Kafka) or are they heralds of the supernatural? Are they somehow related to the alcoholic habits of the protagonist?

“Today there seem to be more cockroaches than customers”

Will, the parallelism between people and cockroaches

«Oggi sembrano esserci più scarafaggi che clienti»

Will, parallelismo tra persone e scarafaggi

Symbolism of cockroaches that repeats itself over and over again in Wounds

Post-traumatic stress and hallucinations

Are the violent and nightmarish images that overlap reality due precisely to Will’s alcoholism or some psychological disorder resulting from trauma?
Just as cockroaches (protagonists in fact of many of the character’s hallucinations) grow with the increase of horror, so suffocating paranoia and delusions of persecution develop like terrifying visions.

hallucination with cockroaches, similar to those of delirium tremens

Gnosticism

The film is not about a generic supernatural, in fact Anvari goes fishing in the Gnostic tradition, combining mysticism and violent and horrifying rituals and effectively placing these elements in an urban and contemporary context.

It is important to understand what Gnosticism is: clearly derived from the Theosophical Secret Doctrine (of which it is a distorted reworking), this current of thought, broadly speaking, defines the world in which we live as the result of an error of an eon ( superior beings emanating from the Divine, which all together form, divided into male / female pairs, the Pleroma).

The error in question led to the creation of the Demiurge, or a false God or evil deity, creator in turn of material reality and “great deceiver”.
Consequently, for a Gnostic, enlightenment (or discovery of the authentic divine) is obtained through learning the esotericism or hidden reality of the world.

Some Gnostic currents think that all human beings carry the divine spark within them, others argue that it is instead the prerogative of only some of us and divide men into three types: hylics, psychics and pneumatics.

The hylics, or somatics, are those who are linked exclusively to the material world and destined to disappear with the flesh, the psychics are those who are endowed with soul and free will and have the possibility of incomplete redemption and of ascending, one day, to the divine together with the demiurge or dissolve like hylics; pneumatics are men in whom the divine spark (pneuma) has been hidden, unbeknownst to the Demiurge, and are destined to reunite with the divine.

The Demiurge creates man as a “tunic of empty skin”, unaware of transmitting his psychic nature to some of them and that some even conceal the pneuma.

Looking for information on the consequences of the Gnostic ritual of the “Translation of wounds”

Will as the personification of the psychic man

Will is clearly a psychic man who brings with him the urge, the urgency, the “bite” to evolve: floating in hylic materialism, he seeks something more and drowns his dissatisfaction in the search for easy earthly gratification. But the inner urge does not give him peace, starting to shatter his life of convenience.

And after yet another confrontation with his partner Carrie, who accuses him of being just an empty body, he feels the angry pull to get out of this hylic stalemate. Carrie will then prove that she herself is a surrendered psychic who will end her path in hylic dissolution, totally falling prey to the abyss that will drain her of the vital spark.

But is it the urge that is tearing up Will’s life, or is it he who, in the throes of suffering, is choosing the easy way (like Cypher from The Matrix), choosing to return empty shell and therefore a perfect accommodation for an evil entity, which is only accelerating events and “transformation”?

The “demiurge” Will, wrapped (another of the possible meanings of wound) in his isolation and “wounded” in the soul by the consequences of his inability to have functional and genuine romantic relationships, finally finds the divine spark that will heal and complete him. He will find her wrapped (again) by the body of the injured person, physically and not only, Eric, in a riot of cockroaches and with the supervision of the eye-symbol.

Eric, a key character of Wounds

Will then took the necessary steps to obtain divine knowledge through Eric’s “blood sacrifice” (see also the movie “Branded” with the sacrifice of the red beef for the purpose of achieving clairvoyance). This offering leads him to pass from “empty body” to bearer of “divine spark” (“Heal me and make me complete!”). And he is now the bearer of the demiurge.

The eye, a symbol that appears more and more insistently in Wounds, in this case, a manifestation of the false “God”

In his work Babak Anvari combines all these levels while maintaining a remarkable balance, allowing the viewer to interpret the story by favoring this or that element, depending on his sensitivity and the reading tools he possesses.

Other important elements are The Nietzschean abyss, the references to Lovecraft and the quotations to directors such as the Carpenter of “The seed of madness”, the critique of the dominant religion, always ready to run “to help” to fill interior gaps (with cockroaches ?).

A more “pragmatic” level of reading highlights other basic issues:

Unhappiness can lead people to terrible decisions.

In absence of meaning, people will choose anything with a strong appeal.

Wounds both physical and non-physical have the potential to transform us.

Is it you who gaze into the abyss … or is it the abyss that gazes into you?

Conclusions

We, therefore, have a perfect analysis of the emptiness of current humanity which, with something, has to fill its inner wounds, its body rendered empty by traumas and the lack of stimuli of real life, lost as it is behind a daily technology that ‘brutalizes, depriving it, in fact, of all reality and of the will to “build” a soul.

“Heal me, make me whole!”

Will’s invocation to the Demiurge

“Guariscimi, rendimi completo!”

invocazione di Will al Demiurgo

“Heal me, make me whole!”: It is necessary to stop and understand where this sentence comes from and the context in which it is inserted. An example:

Invocation to the Spirit

Come, eternal Spirit of God Enlighten me, eternal Spirit of God, come, light of splendor,
give a new meaning to my life, show me what is good and right.

Come, Spirit of God and console my soul that does not find rest.
Give me faith in Jesus, heal me and make me whole.

Spirit of God, give me courage, cast out doubts and fears in me.
Come, eternal Spirit of God, teach me to reflect and pray, to ask forgiveness for my sins.

Show me my calling in the days and years of my life.
Spirit of God, ineffable light, open my eyes to notice those in need
of my friendship and fraternity.

With your grace stay close to me and guide me in all my ways.
(Finnish Evangelical Lutheran Church)

THE TRAILER OF BABAK ANVARI’S “WOUNDS”

Wounds (2019)

 

Credits/Cast

Director: Babak Anvari

Producers: Babak Anvari, Megan Ellison

Writers: Babak Anvari & Nathan Ballingrud (from his novel ‘The Visible Filth’)

Release date: October 18, 2019

Cast:
Armie Hammer as Will
Dakota Johnson as Carrie
Zazie Beetz as Alicia
Brad William Henke as Eric
Karl Glusman as Jeffrey

 

mellotron

The Mellotron Tales – MKIIfx: the Hessel story

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A new mini column sees the light today and is dedicated to an instrument of which everyone knows the sound but few know what it really is and how it is made... the Mellotron.

Lorenzo
mellotron

The mellotron is a keyboard musical instrument that established itself in the late sixties and the first half of the seventies. It has no sound of its own, but can instead be considered the first sample player in history, being designed and built to reproduce the sound of symphonic acoustic instruments or human voices.

The sounds are recorded on tapes contained in special cartridges and are read and played by heads activated by pressing a piano keyboard, where, when a key is pressed, the tape is activated and made to slide under the reading head.

An example of the selectable sounds can be heard at the beginning of Strawberry Fields Forever, where the then almost unknown instrument is played by Paul McCartney.

The instrument became in the seventies one of the pillars of progressive rock, probably due to the debut of King Crimson, where the Mellotron was used decisively in a masterly way, becoming the trademark of many of their productions, but excellent and fascinating examples of The use of Mellotron can also be found in early PFM records.

It was first used by Graham Bond on “The Sound of ’65” album. Later it was also used by many others, including Moody Blues, Robert Wyatt, Genesis, Rick Wakeman, Yes, Jethro Tull, Barclay James Harvest, Deep Purple, Pink Floyd, Led Zeppelin, Rolling Stones, Motorpsycho, Herbie Hancock.

Mellotron M400

In this article we have as our guest Hessel Herder, a great enthusiast and expert on the instrument. He will tell us about his story and how this magical device entered his life to stay there forever. Those who know the Mellotron can understand well how this instrument can have this power because, in some ways, the Mellotron is alive!

Mellotron’s Libraries album

Hessel is a composer, producer and studio engineer and started his career in Holland’s most prestigious studios, Wisseloord Studios, where he worked with a wide variety of acclaimed artists and bands such as Bon Jovi, Chrissie Hynde, Cranberries, Stereophonics, etc.

Since 2002 he’s also been producing and composing music for many national and international advertising campaigns and TV programs (Reebok, BMW, Braun, Sky Italia, etc).

 

«My love for the Mellotron started during my teen years, when I learned that the haunting yet compelling sounds heard on records by the Moody Blues, Beatles, Genesis, and many other post-1967 releases was an instrument called the Mellotron.

At that time there was very little literature around, apart from some references in books about the Beatles, most notably in Mark Lewisohn’s “The Beatles Recording Sessions”. During my days in music school I was able to get my hands on the CDRom released by Mellotron Archives, containing high quality and detailed samples of all the relevant sounds, and thus use these sounds in my own productions.

Up until then I had been using an EMU Classic Keys MIDI module, but the sounds in this unit weren’t very good. A little I landed a position as an engineer in one of Holland’s largest recording studio’s and lo and behold, there was a little white keyboard standing around in the studio’s basement, a snow-white M400. This was my first hands-on experience with the instrument, although that particular unit wasn’t in very good shape.

Mellotron M300

About 7 years later I encountered an ad on eBay, in which in a nearby town a Mellotron was offered at a reasonable price. Although this machine needed much work, both mechanically and cosmetically, I figured this was a once-in-a-lifetime chance to actually own the instrument I loved so much. So I picked it up and brought it home. It turned out that it was a very early version of the M400 (serial number #126…which would make it the 25th unit to come out of the factory). Typical for the early units were brass capstans and different motor control boards: the CMC4 instead of the CMC10 found later units; interestingly the CMC4 performed better than the CMC10, the former was also used in some MKII and M300 units.

At that time I started to make contact with other Mellotron aficionado’s across the globe, most of whom were connected via the yahoo mailing group, and thereby gaining valuable information and insight into the workings of the Mellotron. Most notably I came to know Martin Smith & John Bradley from Streetly Electronics and Streetly affiliate Klaus Hoffman from Germany. With Martin sending missing parts and new tapes-/ tape frames Klaus was able to refurbish the machine inside and out.

Hessel’s Mellotron M400 #126

Somewhere along the line a switched jobs, driven forward by my ambition to compose, arrange and produce music for media, specifically advertising.
I was very happy to use M400#126 in some productions. At that point, I had the more common sounds on my tape frames: 3violins ( THE prog-rock string sound), the flute, brass, 8 voice choir, etc.

Interesting note: the 3 violins sound originated as a Chamberlin sound, the Chamberlin being the Mellotron’s (American) precursor. It is the only sound shared by the two instruments. When compared, the same sound sounds vastly different, the Chamberlin sounding much cleaner and hi-fi than the Mellotron. This is also because sounds found in a Mellotron are about four generations away from the master tape.

What I did learn was that a Mellotron needs regular maintenance; cleaning the heads and tapes, adjusting the keyboard’s rollers/pressure pads, etc. Never a dull moment with a Mellotron!

Chamberlin Music Master 600, the instrument from which the Mellotron derives

 

The Mellotron MKII

 

At some point I traveled to the Streetly workshop in the UK, to meet Martin Smith and John Bradley, to check out their then-new instrument the M4000. Luckily for me, they still had an MKII machine in storage that needed restoring.
It’s important to understand that there is a big difference between the M400 and the MKII.

Hessel’s Mellotron MKIIfx

Hessel’s Mellotron MKIIfx

The MKII has two keyboards, which in turn give access to 6 “stations” / different longitudinal positions on the tapes. The tapes themselves offer three tracks. So all in all, an MKII has 36 sounds (18 per keyboard), whereas the standard M400 only has 3.

In the latter one can exchange the tape frames quite easily. The changing of sounds on the MKII involves the shuttling/cycling of the tapes to a new position. This is all done in the analog way: with a sync tape, a position wiper and a contraption called an SSCU. It works surprisingly well!

Hessel’s Mellotron MKIIfx

Hessel’s Mellotron MKIIfx

You can imagine however that this delicate system is not meant to be used on the road.

The Moody Blues toured extensively with an MKII, and apparently hardly had any issues with the cycling mechanism. The fact that the Moodies keyboard player used to work at Streetly, test driving Mellotrons, certainly must have helped!

Hessel’s Mellotron MKIIfx

Hessel’s Mellotron MKIIfx

The MKII I own is officially known as an MKIIfx, which means it was modified to be used in broadcast studios to playback SFX. The modifications included an improved signal-to-noise ratio, as it was specifically aimed at being an instrument used for recording.

Many MKIIfx instruments were fitted with music tapes. The Abbey Road Mellotron, which Paul McCartney now owns, is one of these converted MKIIfx machines.

… but how does it sound?

Click The Button and listen to Hessel’s Mellotron MKII

Later on, I also obtained, played and maintained an M300, an MKV and two additional M400’s.

The M300 is the successor of the MKII, also sports a cycling mechanism, but uses ¼-inch tape instead of the regular ⅜ inch. The more narrow tape width makes this model a bit more delicate or rather less sturdy than the other models, but still a fantastic machine.

Originally the M300 came with all-new recordings! The M300 violins are well known (Barclay James Harvest).

One of the additional M400’s was a relatively young unit, having left the factory in the early ’80s, and it was rebranded with the name Novatron; at some point in the late ’70s, Streetly Electronics lost the rights to the Mellotron brand name. They still produced Mellotrons, but sold and marketed them under the name Novatron.
This particular M400 was very tough and stable and came in a speckled black cabinet.

The same goes for the MKV, which is basically two M400 side by side.

So the MKV offers 6 sounds, a beautiful cabinet design completely different from the M400, has a reverb tank on board, and funnily enough, has the control knobs in front of the actual keys!

Mellotron MKV

Mellotron MKV

The best model, for me, is still the MKII, and this is the model I still own and play regularly.
The sheer amount of sounds, the feel of the keyboard, the smell, the vibrations.
With all of these instruments, I have had many moments of joy and of creative flow.

Of course, there have been technical issues, but nothing which couldn’t be fixed.
As a Mellotronist, you are better off learning about how to maintain or repair the instrument, as there are very few people out there who can fix it for you, and the size of the instrument doesn’t help either. There is a certain beauty in this…of needing to care for your instrument.

Tom Waits described it beautifully once… ”each time you play the Mellotron it dies a little”.

Very human for a machine!»

Mellotron M400 1972 advertise

We greet and thank our friend Hessel for his great kindness and maximum availability, it was a great pleasure to collaborate with him!

To contact Hessel Herder.

 

etna

Etna – Etna (1975)

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Once upon a time there were three Sicilian boys, two brothers and a cousin, already musically prepared and with their minds in the future. The three boys had a project and to make it happen they called a friend on the bass. “Flea on the Honey” was born.

Lorenzo

The Flea On The Honey album cover

It was 1971, the beginnings of progressive rock in Italy, and there was always a great psychedelic vein and, unfortunately, a clear xenophile fashion, which led our guys to choose to use the English language for the name of the project, the lyrics of the songs, liner notes and even their own names.

The album inner cover

Beyond this, the album was truly remarkable, both from a compositional and instrumental and vocal executive point of view. The album, released on the microscopic Delta label, will, unfortunately, go virtually unnoticed but will take the three boys to Rome, where they will meet their definitive bassist and this meeting will lay the foundations for the next “Topi o men” (1972). The band name was shortened to “Flea”.

The Topi o Uomini album cover

The title of the album gives its name to an epic psychedelic jazz-rock ride of 20 minutes (the entire first side of the album) with remarkable guitar parts in relief that weave absolutely new melodies on a very compact base of great bass and drums, skillfully emphasizing the voice lines.

The second side, of this decidedly more mature work, includes three songs that will highlight all the instrumental skills and inspirations of the four boys, who, just one year later, have given birth to an extremely complex album with jazz, rock, psychedelia and experimentation within it. The lyrics are this time in Italian and we finally discover their real names.

The Topi o Uomini album inner cover

The four boys are Antonio (keyboards, winds and vocals) and Agostino Marangolo (drums and percussion), Carlo Pennisi (guitars and string instruments) and Elio Volpini (bass).

The two Marangolo brothers are known for their collaborations with Goblin (since the time of Profondo Rosso, of which they declare themselves composers of the song Death Dies), Napoli Centrale, Guccini, Paolo Conte, Pino Daniele, Ornella Vanoni and others.

Their cousin Carlo Pennisi, guitarist of great abilities, has worked as a session player on many records, both for Italian prog, commercial groups and solo artists. He has an immense curriculum that includes Libra, Goblin, New Perigeo, Enzo Carella, Nada, Cocciante, Ivan Cattaneo, Alberto Radius, Ivano Fossati, Morandi, Mike Francis, Renzo Arbore, Enrico Ruggeri, Rettore, Renato Zero, De Crescenzo, Paola Turci and even the last part of Rino Gaetano’s career, before heading to the USA where he has lived, played and produced for over thirty years.

Elio Volpini will first enter the prog band L’Uovo di Colombo with Tony Gionta, former Goblin and Cherry Five. And he will play with Claudio Lolli and dozens of other bands, carrying out his project on Jimi Hendrix who will see him from now on guitar.

But it is with the third work that the guys will finally come to light for those highly skilled musicians that they are and who will from then on face careers as session workers for the great Italian professionals.

The album was recorded at the Catoca studio in Rome in a week, under the name of Etna, and contains some absolute pearls of Jazz Rock, perhaps inspired by Weather Report and Return To Forever as a starting point, but with completely personal and absolutely Mediterranean flavors and musicality.

The Etna album cover

The seven instrumental pieces that make it up are of the highest caliber, with at least five possible hits in the field of jazz-rock.

In this album you can find the highest synthesis of fusion between rock, jazz, progressive, experimentation, skillfully mixing modern, classical and Mediterranean traditional instruments with vocalizations and assonances and dissonances of Italian cultural area.

The sound is perfect, crisp, very warm, smooth but also aggressive where it needs to be. The execution is perfect, the use of special effects is total classy, never overwhelming, as well as the solos, which are exclusively functional to the overall project and never egotic.

In my opinion, on this record you can enjoy some of the most beautiful Stratocaster lines and sounds, Pennisi’s class is undoubted but the whole ensemble is really noteworthy and it is hard to believe that they are still young, so much the compositions and performances are admirable that one is convinced to be in front of seasoned professionals.

The pieces follow one another incessantly, rich in descriptive atmospheres that run through emotional pictures of all kinds, from the drama of “Beneath the Geyser” to the romanticism of the splendid “Barbarian Serenade”, which ends with a flourish with its epic finale led by Pennisi’s mandolin.

The Etna’s rear cover

Marangolo’s drumming is a perfect, powerful and nuanced engine. Volpini’s bass is bombastic, precise and sculpted. Antonio Marangolo’s keyboards and winds are always perfectly descriptive and chiseled. Pennisi’s guitars bite and caress at the same time, never overabundant, chasing imaginative phrases and weaving perfect atmospheres.

We can only recommend listening to this masterpiece, one of the rare times that this definition can be used with complete peace of mind, without fear of any exaggeration.

Listen to the album “Etna”

Side 1

1. Beneath the Geyser – 3:56 (Marangolo, Pennisi)
2. South East Wind – 6:10 (Marangolo, Pennisi, Volpini)
3. Across the Indian Ocean – 5:36 (Pennisi, Volpini)
4. French Picadores – 4:26 (Pennisi)

Total time: 20:08

Side 2

1. Golden Idol – 8:59 (Marangolo, Pennisi)
2. Sentimental Lewdness – 6:42 (Pennisi)
3. Barbarian Serenade – 5:14 (Marangolo)

Total time: 20:55

Producer – Mario & Giosy Capuano

Carlo Pennisi in the Rino Gaetano’s period

Carlo Pennisi in recent times

 

limitless

Limitless (2011) – The Lateral Thinking

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«And you know how they say that we can only access 20% of our brain? Well, what this does... it lets you access all of it.»

Lorenzo

When you are close to forty, in a deep crisis because you cannot shake yourself from a short-circuit situation in which you do not have a job, you have been left by both women of your life, you have a project for years but the insecurity has created you an impassable creativity block… practically you are looking for the crumbs of yourself under the table.

What if the solution to all of this comes in pill form?

Everything.

This, in a nutshell, is Limitless. a complex and very fast film, which deals with interesting collateral topics such as “Lateral Thinking” studies by the Maltese psychologist and writer Edward De Bono.

De Bono affirms that, if a problem is faced with the rational method of thinking, correct results are obtained, but limited by the rigidity of traditional logical models. When, on the other hand, a truly different and innovative solution is required, that is, one that contributes to a real evolutionary step with respect to the pre-existing conditions, the reasoning must be distorted, starting from the farthest possible point, overturning the data, mixing hypotheses, denying certain certainties and even rely on completely random associations of ideas.

We must therefore abandon vertical thinking, that is, one based on logical deductions, to enter the laterality of creative thinking.

From Lateral Thinking, the cards of the “Oblique Strategies” were developed by Brian Eno and Peter Schmidt and published since 1975. These cards, containing particular guiding phrases, have been used by Brian Eno in many of his musical productions for other artists (Talking Heads, David Bowie, Devo).

Limitless is a well-shot, well-directed film, with effective and intelligent use of special effects and very tight editing, which are well suited to the speed that the story requires. Despite being a medium-budget film, every task was done very well, up to obtaining a product with a personal and recognizable style, it can already be defined as a cult film.

It is based on the novel “Dark Fields” by Alan Glynn but it follows its story only in part and the endings develop in a diametrically opposite way, so much so that the film tends to entice the viewer to use the Nootropic substances, now commonly defined as Smart Drugs, without too many worries about their origin and possible side effects.

A LATERAL THINKING SCENE FROM THE MOVIE LIMITLESS

On the opposite, Glynn’s story treads powerfully on the origin and motivations of the creation of this MDT-48 preparation (in the film renamed NZT-48), which will be further developed in the sequel to the novel, “Under the Night”.

The pill, therefore, becomes the usual quick but risky remedy that the modern era demands from modern man, regardless of the path necessary for inner growth: a school that can also last a lifetime.

Much more useful in this sense were the studies of De Bono, which are linked to those of the Fourth Way of Gurdjieff:

Gurdjieff and Fourth Way: the house without a master

«Let’s imagine a large house where the owner is not present. Inside there are many servants, whose work, however, is not coordinated by anyone. It is a house where the servants do what they want. The baker arrives to deliver the supply of bread, but the groom opens the door and has the bread put in the stable. The plumber arrives who has to repair the bathroom pipes, but the cook opens the door and makes him sit in the kitchen.

The lack of coordination means that certain external stimuli never respond to the right person. The same thing happens in human beings. We present ourselves to a university exam, but instead of only the intellectual center coming into action, the emotional one also gets in the way with its load of anxiety, fear and embarrassment, making it much more difficult, if not impossible, to pass the test.

At a gallant meeting with a beautiful woman or a handsome man, the intellectual center comes into action instead of the Heart, which makes us talkative and unattractive. In the midst of sexual intercourse at a given moment the intellectual center takes over with its doubts and expectations … in your opinion what can be the consequence?

Things inside the house are so bad that some servants one day decide to elect a butler. These servants are the I’s of the Work, that is, those I’s – those parts of us – that at some point feel the need to change the situation and force us to undertake a Work on ourselves (…) The butler begins to observe, to follow step by step the various servants to understand what is actually happening in the house.

He must learn about the house. The mere fact that a butler observes them already changes the behavior of the servants. The observer modifies the observed object. He does not judge, he does not speak, he does not interfere in any way, but the constant presence of this silent witness, day after day, almost magically begins to put things in order and prepares the arrival of the master of the house: the soul.

The observer ego, the “witness” is not moral and does not judge in any way the acts of the various selves. If we are judging it is because we are not looking with the “witness” but with one of the I’s, that is with a part of our personality and this can lead to a dangerous internal split of the mind… The witness is pure presence, detached, devoid of personal opinions about what the machine does and what the world around it does.

The observer ego does nothing to change the situation but merely observes with detachment – without getting involved – what happens in the psychophysical apparatus.

Observe the anger, happiness, disappointment, frustration … experienced from time to time by the biological machine, with the same imperturbable objectivity. If in the face of a fight the personality wants to intervene the “witness” does not prevent it, if the personality wants to remain passive the “witness” does not prevent it. Just watch.

Why “build” the observer? Are we happy with how we behave? Or have we understood that our life can be anything other than the usual reactions to events?»

Source

A dramatic Lateral Thinking application from the movie Limitless

Limitless

Directed by Neil Burger
Screenplay by Leslie Dixon
Based on The Dark Fields
by Alan Glynn
Produced by

Leslie Dixon
Scott Kroopf
Ryan Kavanaugh

Starring

Bradley Cooper
Abbie Cornish
Robert De Niro
Andrew Howard
Anna Friel

Cinematography Jo Willems
Edited by

Naomi Geraghty
Tracy Adams

Music by Paul Leonard-Morgan
Production
companies

Virgin Produced
Rogue
Many Rivers Productions
Boy of the Year
Intermedia Film

Distributed by Relativity Media
Release date

March 8, 2011 (New York City)
March 18, 2011 (United States)

Running time
105 minutes
Country United States

 

header_music_from_the_elder_classic_2_vintage

Kiss – Music from “The Elder” (1981)

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A total commercial flop, the soundtrack of a ghost film never born, progressive and epic rock veins, deeply esoteric lyrics written with the participation of Lou Reed, symbolism. Why was a project with such deep meanings, lyrics and music born from a disintegrating glam band?

Lorenzo
cover_music_from_the_elder_classic_2_vintage

The album cover

“When the Earth was young, they were already old…”

 

The story of “The Elder” revolves around the odyssey of a young Hero, simply called The Boy, who is recruited by the Council of Elders belonging to the Order of the Rose (…), a mysterious group dedicated to the fight against evil.

The boy will be followed by an elderly teacher named Morpheus (well, yes…), who will guide him in the dark forest of inner growth, in facing his fears, doubts, insecurities, until he completes that training that will bring him to mature the Warrior that the order hopes to obtain to continue its fight against the forces of evil.

Through the guidance of Morpheus, the boy will face the various challenges of his initiatory journey in order to then embark on his mission, and it is precisely there that the story told stops, when The Boy is finally presented, by an enthusiastic and moved Morpheus, to the Council of Elders.

This gives rise to thinking that “Music from The Elder” could have been the opening chapter of a saga.

The story is written by Gene Simmons, who explains that the Elders are a benevolent incorporeal entity but committed to maintaining the balance of opposites: when the darkness becomes too strong, a hero will arrive to restore the necessary balance.

Many stories come to mind, one above all the British TV series Sapphire and Steel, from a couple of years prior.

header_music_from_the_elder_classic_2_vintage

The album inner cover

The situation of Kiss was very bad, coming out of a poorly successful album like Unmasked, they were looking for other ways and a renewal that would bring them back to the top of the charts.

The transition from Casablanca to Polydor was certainly not helpful: forced to move from a family environment to a multinational corporation, they found themselves rather disoriented and without a referent person dedicated to them.

Producer Bob Ezrin was called into the project, who, fresh from the success of The Wall, had the intention of repeating the same formula for the Kiss concept as well.

Historic Drummer Peter Criss left the band two months after the project began and was replaced by Eric Carr. Ace Frehley practically pulled himself out of the recordings, practically mailing the few guitar parts he played on the album.

The group, therefore, had to make large use of external collaborations among which, the best known, is the presence of Lou Reed in the drafting of the lyrics of three songs, “Dark Light”, “Mr. Blackwell” and the splendid “A World Without Heroes”.

Without worrying too much about the disheartening situation of the band and the subsequent commercial flop, I would say that the most important thing is to focus attention on the excellent music and even more excellent lyrics, which we offer in their entirety.

C2V’s opinion is that the best songs are the ones that have less to do with Kiss’ style and that also have the densest lyrics: “Odyssey”, “Only You”, “Under the Rose” and the already quoted “A World Without Heroes”.

Listen to the album “MUSIC FROM THE ELDER”

Just A Boy

Who steers the ship through the stormy sea?
If hope is lost, then so are we
While some eyes search for one to guide us
Some are staring at me

[Chorus]
But I’m no hero
Though I wish I could be
For I am just a boy
Too young to be sailing
I am just a boy
And my future is unveiling
And I’m so frightened of failing

[Guitar solo]

While some eyes search for one to guide us
Some are staring at me

But I’m no hero
Though I wish I could be
For I am just a boy
Too young to be sailing
I am just a boy
And my future is unveiling
And I’m so frightened of failing

band_music_from_the_elder_classic_2_vintage

Odyssey

From a far off galaxy
I hear you calling me
We are on an odyssey

[Bridge]
Through the realms of time and space
In that enchanted place
You and I come face to face

[Chorus]
Once upon not yet
Long ago, someday
Countless times we’ve met
Met along the way

[Bridge]
Through the luminescent night
On beams of neon light
You and I in winged flight

[Verse 1]
As we cross the starry sea
Powered by what we see
Now and then, the victory

[Chorus]
Once upon not yet
Long ago, someday
Countless times we’ve met
Met along the way

[Verse 2]
There’s a child in a sun dress
Looking at a rainy sky
There’s a place in the desert
Where an ocean once danced by
There’s a song in the silence
Weaving in and out of time
We are notes in the music
Searching for remembered rhyme

[Guitar solo]

On a mountain high somewhere
Where only heroes dare
Stand the stallion and the mare
We have been, and we shall be
Each other’s destiny
One another’s odyssey

[Chorus]
Once upon not yet
Long ago, someday
Countless times we’ve met
Met along the way

[Outro]
We’ve met along the way
Met along the way

kiss4_music_from_the_elder_classic_2_vintage

Only You

Only you
Have the answers
But the questions you have to find
Only you
Know the secrets
But the truth lies deep in your mind
Only you
Are the answer
You turn the night into day (yeah, yeah, yeha)
Only you
Are the manchild
You are the light, and you are the way

Tell me the secrets
I want to know
Tell me the secrets
I want to know
I want to know

Only you
Are the manchild
You are the light, and you are the way

I can’t believe this is is true
Why do I listen to you?
If I am all that you say
Why am I still so afraid?

[Bridge]
Only you
Only you
Only you

[Outro]
In every age
In every time
A hero is born
As if by a grand design

kiss3_music_from_the_elder_classic_2_vintage

Under The Rose

Though you may be pure of heart
And free of sin
And though you have been chosen
To begin
And yet you must be worthy of the prophecy
But seek and you shall find your destiny

[Chorus]
Loneliness will haunt you
Will you sacrifice?
Do you take the oath?
Will you live your life
Under the rose?

The more you hurt, the less you feel the pain
And the more you change, the more you stay the same
But now before you lies the quest at hand
And from this boy you may become a man

[Chorus]
Do you understand
Will you sacrifice?
Do you take the oath?
Will you live your life
Under the rose?

[Guitar solo]
[Chorus]
Loneliness will haunt you
Will you sacrifice?
Do you take the oath?
Will you live your life
Under the rose?

kiss2_music_from_the_elder_classic_2_vintage

Dark Light

Look out, ’cause there’s something wrong
And you don’t know what it is
Watch out, or it’s Sodom and Gomorrah
The malevolent order
Right now, before it’s much too late
Before it’s much too late

[Chorus]
A dark light, a darkness never ending
A dark light, the devil gets his due
A dark night is everywhere descending
A dark light is coming for you

[Verse 2]
Now look up, well, the skies are black
And they’re getting darker all the time
Watch out, for the things that you believe in
You’re going to be attacked
And you won’t know what it is
Wise up, you better watch your step
You better watch your step

[Chorus]
A dark light, a darkness never ending
A dark light of perversion and hate
A dark night is everywhere descending
A dark light, there’s no time to wait

[Guitar solo]
[Verse 3]
Look out, for the death of love
There will be no more love
Watch out, it’s yourself that you are fooling
Who do you think you’re fooling?
Shout it out, it’s a terrible thing
Such a terrible thing

[Chorus]
A dark light, a darkness never ending
A dark light, the sun is turning cool
A dark night is everywhere descending
A dark light is shining at you

[Outro]
Dark light
Dark light
Is shining at you
Dark light

kiss5_music_from_the_elder_classic_2_vintage

A World Without Heroes

A world without heroes
Is like a world without sun
You can’t look up to anyone
Without heroes
And a world without heroes
Is like a never-ending race
Is like a time without a place
A pointless thing, devoid of grace

[Chorus]
Where you don’t know what you’re after
Or if something’s after you
And you don’t know why you don’t know
In a world without heroes

[Verse 2]
In a world without dreams
Things are no more than they seem
And a world without heroes
Is like a bird without wings
Or a bell that never rings
Just a sad and useless thing

[Chorus]
Where you don’t know what you’re after
Or if something’s after you
And you don’t know why you don’t know

[Guitar solo]
[Outro]
In a world without heroes
There’s nothing to be
It’s no place for me

kiss7_music_from_the_elder_classic_2_vintage

The Oath

Like a blade of a sword, I am forged in flame
Fiery hot
Tempered steel, fire-bright to the night I tame
I fear not
Now compelled by something that I cannot see
I go forth surrendering to history

[Chorus]
Your glory, I swear I ride for thee
Your power, I trust it walks with me
Your servant, I am and ever shall I be

Through a dream
I have a come to an ancient door
Lost in the mists
I have been there a hundred times or more
Pounding my fists

Now inside, the fire of the ancient burns
A boy goes in, and suddenly a man returns

[Chorus]
Your glory, I swear I ride for thee
Your power, I trust it walks with me
Your servant, I am and ever shall I be

[Guitar solo]

I gave my word and gained a key
I gave my heart, and I set it free
There’s no turning back from this odyssey
Because I feel so alive suddenly
And I wonder, is this really me?

Like a blade of a sword, I am forged in flame
Fiery hot
Tempered steel, fire-bright to the night I tame
I fear not
Now compelled by something that I cannot see
I go forth surrendering to history

[Chorus]
Your glory, I swear I ride for thee
Your power, I trust it walks with me
Your servant, I am and ever shall I be

kiss6_music_from_the_elder_classic_2_vintage

Mr. Blackwell

I never said I was more than I am
Do what I want, I don’t give a damn
You’re all so weak, you know it makes me ill
Don’t like you now and probably never will

[Bridge]
You cheat and lie and wonder why
You can’t sleep at night

[Chorus]
You’re not well, oh, Mr. Blackwell
And we can tell
You’re not well, oh, Mr. Blackwell
Why don’t you go to Hell?

[Verse 2]
I am a sinner who just loves to sin
I am a fighter who just loves to win
I am the truth about this crummy hole
There’s nothing here that can’t be bought or sold

[Pre-Chorus]
You’re cold and mean, and in between
You’re rotten to the core

[Chorus]
You’re not well, oh, Mr. Blackwell
And we can tell
You’re not well, oh, Mr. Blackwell
Why don’t you go to Hell?

[Bridge]
You’re a victim, a real disgrace
You should be banished from the human race

[Guitar solo]

(Mr. Blackwell)
(Mr. Blackwell)
(Mr. Blackwell)

[Verse 3]
We’ll drink to sorrow, then we’ll drink to waste
We’ll drink a toast to the inhuman race
Here’s to the world and the times we’re in
Here’s to the kid, a real man among men

[Pre-Chorus]
You’re cold and mean, and in between
You’re rotten to the core

[Chorus]
You’re not well, oh, Mr. Blackwell
And we can tell
You’re not well, oh, Mr. Blackwell
Why don’t you go to Hell?

kiss_music_from_the_elder_classic_2_vintage

I

I was so frightened
I almost ran away
I didn’t know that I could do
Anything I needed to
And then a bolt of lightning
Hit me on my head
Then I began to see
I just needed to believe in me

[Chorus]
And I, I believe in me
And I, I believe in something more
Than you can understand
Yes, I believe in me
Woah-ooh and I believe in me
Ooh yes, I believe in something more
Than you can understand
Yes, I believe in me

[Verse 2]
Listen!
They said I didn’t stand a chance
I wouldn’t win no way
But I’ve got news for you
There’s nothing I can’t do
Ain’t no pretending
Ain’t no make-believe
But I’ve got to be the one
I’ve got to do what must be done

[Chorus]
And I (I) believe in me
Whoa-oh and I (I) believe in something more
Than you can understand
Yes, I believe in me

Well you know that I (I) believe in me
Ooh yes, and I (I) believe in something more
Than you can understand
Yes, I believe in me
I believe in me
Yes, I believe in me
Yeah!

[Finger snapping]
[Verse 3]
I don’t need no money
I don’t need no fame, no
I just need to believe in me
And I know most definitely
Don’t need to get wasted
It only holds me down
I just need a will of my own
And the balls to stand alone

[Chorus]
‘Cause I (I) believe in me
Whoa-oh I (I) believe in something more
Than you (something more) can understand (something more)
Yes, I believe in me
Whoa-oh, and I believe in me (you feel it too, don’t you?)

Well you know that I (I) believe in me
Ooh yes and I (I) believe in something more (Come on)
Than you can understand
Yes, I believe in me (well, do you really?)
I believe in me (do ya, do ya?)
Yes, I believe in me (I wanna rock and roll all night)
Yes, I believe in me!

model_music_from_the_elder_classic_2_vintage

Finale

[Spoken]
[Elder]
Morpheus, you have been summoned here to offer your judgement of the boy. Do you still deem him worthy of the fellowship?

[Morpheus]
I certainly do, my Lord. As a matter of fact, I, I think you’re going to like this one. He’s got the light in his eyes. And, the look of a champion. A real champion!

 

giannini

Giannini – Fernando Temporão’s collection (part two)

By Brazilian vintage guitarsNo Comments

 

Our journey into Brazilian instruments continues with the second part of the article on Giannini guitars, which Fernando wrote for Classic2vintage.

Lorenzo

Giannini Gemini

Fernando is a competent luthier and a great expert and enthusiast of the instruments of his land.

 

«- Giannini Gemini – 1968 – The Gemini project was released late 1967/early 1968 and, in my opinion, is the best solid-body guitar ever built by Giannini.

The guitar dimensions are absolutely the same as a Fender Jazzmaster, but Giannini used soap bar 3 pickups and some metal plates, creating a mix between Jazzmaster and Jaguar models.

Perfect construction, one-piece cedar body, Peroba-do-campo necks and Brazilian rosewood fingerboards.

Giannini Gemini

– Giannini Mirage – 1970 – In 1970 Giannini released the Mirage line, basses and guitars, all semi-hollow instruments.

Those beautiful instruments are, obviously, inspired by the Rickenbacker guitars, and used single-coil pickups and bolt-on necks.

Very good guitars that, just like the Apollos, used a jaguar-type tremolo. Great tone, great necks.

Giannini Mirage

Giannini Mirage

Fernando and his 1970 Giannini Mirage

– Giannini Diamond Stereo – 1971 – In the early 70s, Giannini started to use Japanese hardware in almost all basses and guitars, because the Brazilian industry was unable to supply all the high demand from Giannini.

Tuners, pickups, tremolos, knobs, bridges and etc were pretty much the same ones that we find on Japan-made guitars from that period. And the Giannini Diamond was the first guitar – released in 1971 – using that imported hardware.

The Diamond project is a high-quality stereo hollow body guitar with 2 P90 pickups and set neck.

The guitar was made with a laminate Cedar Body, with a 3-piece (cedar-rosewood-cedar) neck and Brazilian rosewood fingerboard.

They were sold in two versions, the standard one (no tremolo) and the one equipped with Tremolo.

Giannini Diamond Stereo

Giannini Diamond Stereo

– Giannini SG – Tremolo Lux – 1977 – During the ’70s, Giannini built SG guitars that, in my opinion, were better than Gibson’s original ones from the same period.

This Brazilian version wasn’t an exact copy, because Giannini always used 25.5″ scales and Gibson, 24.75″. But the high quality of construction (one-piece mahogany bodies, 3 piece cedar necks, Brazilian rosewood fingerboards with Pearloid inlays) of those SG guitars, combined with very good japan made hardware (those guitars used alnico 2 Maxon pickups, fantastic tone!) make them, in my opinion, the best SG’s from that 70s period.

Much better than the Japanese ones, impossible to compare, and as good or better than the American original ones.

Giannini sold 3 SG models: Standard, Bigsby Tremolo and Tremolo Lux (this one here).

Giannini SG Tremolo Lux

Giannini SG Tremolo Lux

– Giannini Electric Craviola – 1978 – The Acoustic Craviolas were released as an original patented Giannini guitar in 1969 and they were fastly chosen by a huge number of artists as their main instrument.

The Craviolas have a unique visual and were chosen by people like Elvis Presley, Tom Petty, Andy Summers, Jimmy Page, Robert Plant, Jose Feliciano, Bill Winters and many others.

In the late 70s, Giannini decided to create an electric Craviola guitar, and the result was absolutely wonderful.

Those electric Craviolas were the most expensive guitars of the Giannini catalog at the time and were equipped with two fantastic Ibanez Super 70 humbuckers, with split-coil switches for both pickups.

That guitar is, in my opinion, one of the best (and better looking) guitars ever built by Giannini».

Giannini Electric Craviola

Giannini Electric Craviola

… but how does it sound?

Click the button and listen to the sound of Fernando’s 1977 Electric Craviola.

We greet and thank our friend Fernando for this interesting virtual tour of Brazilian instruments, with the hope of being able to meet soon in person and have the pleasure of a nice conversation and to be able to see these splendid guitars live!

Article by: Fernando Temporão (Rio de Janeiro – Brasil)
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The article continues from the first part.