Can You Buy Tulips In Oct For A Wedding

neuromechanics: OFFICINE SCHWARTZ BETWEEN HEAVEN AND FACTORY



The name and logo adopted by this training Bergamo, as misleading, they have nothing to do with the congegnerie Bruitist we have torn / delighted / used extremists followers of industrial strand of English and German followers in tow.
Despite the stylistic choices and expressive, Officine Schwartz neuromechanics have little debt, and those few, with cross-inheritance rumorista lasciataci dai vari Z'ev, Test Department, Einsturzende Neubauten e compagnia martellante.
Il fatto che questi 20 operai trasformino da 26 anni il palco in una fabbrica, decidendo di accantonare strumenti tradizionali del circuito rock o elettronico in onore di una vitalizzazione dell'inanimato che li vede manipolare e percuotere catene, ferraglie e bidoni non significa necessariamente trovarsi di fronte all'ennesimo campionario di vuoti ed insostenibili clangori.
Questi cugini dei CCCP propongono ammalianti ibridi di violini e ingranaggi, tromboni e scintille, mazzate di bidoni e velluti di soprano, sirene lancinanti e cori melodiosi, vetri infranti e cornamuse, fughe classicheggianti d'organo e stridori delle catene di montaggio.
Le loro mise en scene, spesso ambientate in spazi tutt'altro che convenzionali e ancor più spesso precedute da parate per le strade, non di rado rinforzate da un approccio multimediale che comprende discipline quali la danza e la videoarte, mirano maggiormente al recupero di una memoria storica, alla voglia/ necessità di non dimenticare, di non far dimenticare, piuttosto che allo stordimento e alla provocazione delle platee.
Quest'ambiziosa ma lodevolissima intenzione/ iniziativa si avvale di richiami folcloristici di molteplici estrazioni culturali ed epocali, quali canti della resistenza bulgara e della guerra civile spagnola, liriche tese ad esprimere la rabbia e gli scioperi dei lavoratori oppressi, sfruttati, malpagati, disdicevoli eventi legati alla prima ed alla seconda guerra mondiale.
Fritz Lang, Sergej Eizenstein, Orwell e Marinetti li avrebbero di certo adorati e c'è da star sicuri che anche André Schwartz, uno scrittore che ha lasciato ai posteri una fiabesca trilogia sul potere, li avrebbe considerati con un certo riguardo...

Dopo l'onore e il piacere di una ventina di loro esibizioni decido nell'aprile 1994 di estorecere maggiori ragguagli biografici al capo-cantiere Osvaldo, compositore coordinatore e Von Karajan dell'ensamble

' Tu hai un cuore ardente per un'azione agghiacciante' (Antigone)


MANOLO Magnabosco - We first summarize, for non-experts, such as when and why it started and why you're so baptized?

Arioldi OSVALDO - Officine Schwartz have arisen in the fall of 1983 after a break from other musical experiences, with a dedication to the expression of the will of our industrial civilization. We started with the concepts that abolish systems that it was not valid or appropriate to compose the music.
workshops are especially created as opposed to the musical trend of an era in which various groups "transgressive" of electric sound or rock saw limited by fashion and media. Militants of this objective standard, and they did a radical transformation of the sound of those instruments, the appearance proponitivo, the degree of tension provoked by the events of symbiosis between music, projection, light, shadow, dark, fire, dance and noise. All this to cause a deliberate change of direction from the trend of mass expression, meaning also the large mass congregation "alternative" dominated unconsciously and unwillingly, by yet transient fashion.
The main choices and cutting of expression with which, with his head down, started the workshops were the abolition / boycott of the battery as rhythm instrument, considered in firm evolution for some thirty years and tonally limited. We have "renewed" and replaced with electronic rhythms and percussion instruments such as improper bins iron pipes and cast metal grates, chains, sheets, drills, glass, televisions to be destroyed ... we went to a choir and use of mechanical rhythms, a representation of work in a department of the factory.
What excited us was that £ 20,000 could get tools for four people from a scrap dealer, scrap metal and rusted abandoned long before that had served for completely different purposes. Reuse of material that had served his time for the work has been for us a sort of claim. Another
convention to which the Officine ruthlessly said "no!" is the figure of the singer-man front, which we believe has nothing to do with music but is instead part of an aesthetic taste of doubt created by propaganda and fashion. We objected to the conventional system 'voice singer =' with a redistribution of the choral melody, relegating the solo recitatives and only a whisper.
There was also the awareness of noise as a cultural reference to the industrial era, and then we started to exploit the combination of harmony and noise, nice sounds and noises ...

MM - as well as noise and annoying sounds nice ...

OA - too. Sparing silences. While music imported from America - the land we earnestly hated to bottom, in our opinion, taste and even more expressive potential flat - not attracted to us, we have preferred not to subject us to the colonial Anglo-American music and avoid aping the style with 'use of a language incomprehensible to become something for the chosen few.
Officine have always tried to create something which was fruitura for everyone: for children, for old partisans, workers, youth, provided that anyone listening would be willing to leave their home fashions.
references to the ways of symphonic composition include sounds and silences, pianissimo and fortissimo, contrasts between harmony and bruitismo.
The subjects on which he worked mainly sound / rhythm / sound of the car mechanics, the historical culture of work, the transition from peasant to industrial, work during the war, accidents in the factory, love / hatred for modern times and cultural exchange, chosen or forced, as emigration and immigration of workers.
All without using tools of symbolic culture as rock bass and electric guitar, except for non-traditional (low arch or larsen).
We were never interested in having a gender or a way to define, how to create sound atmosphere and using various tools and sonic dimensions dictated expression in the subject, then the consequences of different forms with each other.
At the beginning we were five brave investigator, during these years have come and gone about forty persons. Currently we are in the wind.
The criteria for work that I have exposed are still operating.

MM - Officine Schwartz Why?

OA - Call the group "workshops" put us beyond an expressive barrier civettuoleria far from the trend and its plastic content. Schwartz
instead is a name that belongs to my way, my children's culture, to my way of life. The name was chosen for reasons of aesthetics euphonic.
Now a name like this it could anyone use, because since 1980 has witnessed a great degeneration aesthetics, an overflowing extended a little bad taste 'everywhere, in whatever his name is mangled or abbruttita right for the tone to do something "new" and " original.
In 1983, a band that is signed and multimedia workshop was special, even disturbing. At the time, so call and make a set of drums and sheets on a stage needed a little 'hair. Now between TV and modern times they have combined for each color.
time, however, were innovations; am glad I did something and felt that they had the chance, thanks to the many colleagues succeeded from time to time, to continue always to do things that we liked.
A similar name in the proposal for aesthetic and expressive "positive" of workers, artisans, clerks, students, workers, metal workers, volunteers. But do not believe in the joy of work to work more closely and to oppress the people, as the Duce wanted, but in being able to be present in a physical manner, working with their strength, their energy, their ideas for a contribution.

MM - The constants of the most unpleasant job such as exploitation, work as Orwellian trick of oppression, unemployment and alienation from work seem to be your most expressive anger on stage and on vinyl ...

OA - When I was younger I worked in a factory, and this experience was rather heavy and ugly. Shops were born
When we chose to express in our music contents of a certain thickness, which directly concerns the experience of everyday life for almost all people. Hence the choice of work as a theme, with all its ugliness and its burdens.
stand on stage in front of you and feel little or a lot of people watching you or listening to you, puts you in a position to have something important and not trivial to express.
Speaking of work for us encompasses a multitude of different aspects, which are also cultural references and historical accuracy. When we go on stage dressed in the blue suit, the worker to whom we refer, in a sense that we represent in that moment, it is the engineering of the first industrialization, nineteenth-century worker. This entity, linked to the car, which for more than ten hours a day repeating the same gestures, which is exploited and bullied by the owner, which is poorly paid, no rights and who defended them, confined to that state for their material survival becomes for us an almost mythical figure, a symbol of the human condition.
This worker wants to be a metaphor for everyday life of those who feel crushed by a reality that is not its size, which tends to create distance between people and fractures, and no conflicts communication.
It 's the symbol of those who feel deeply uncomfortable in a world of a state, a city that seems to be happier than those who are more equal than others, according to which controls the master-TV, the owner -fashion, owner-money ... the worker continues to work, but is dreaming and planning the destruction of the factory.
The theme of work in our shows is not only in that its symbolic aspect. The worker, the worker and, more generally, the figure becomes a very real and present when we talk of strikes, accidents on construction sites and factory workers who would go home-country and unemployed foreigners from Italy are sent back to Africa.
Moreover, in many aspects of our songs, we also try to help claim a historical memory about the facts of the recent past.
What we have done, for example, with the show "remanium Dentaurum. In addition to spontaneous assembly of sound experimentation, it was felt the need for a more composite, more total. It all started with an architecture - or structural - basic ... remanium Dentaurum was a breakdown by area based on the rotation and time synchronization of media used. For the "background color" using a historical fact in the work culture: the bombing at Dalmine. This steel factory, located in the province Bergamo, produced, among other things, the warheads for the German V2. The Warenkopf did not sound the alarm plane to stop production, so U.S. bombers dropped their loads all over the heads of workers at work.
Other dyes, as well as lighting and projection were the elevations given by mechanical singing complaints of workplace accidents, noise and more noise. The project cost him four years of development, was presented for a single time in March 88 and runs for 18 elements.
The composition was designed for eight hours, as long as a turn and we we were acting on the perimeter of a shed, leaving the audience in half, in contrast to what happens normally. Everything is
already been done. We just have to repeat. So why not do it consciously, giving various reports whenever different keys, motivated and free at the same time? There is always a justification, there is always an agreement, willy-nilly. In this magma
combinations, contradictions and dissonances that was remanium, we wanted to make a final order or proposal for a possible convergence, which is not the final solution, however, everything goes and repeats beyond the hours at our disposal, with the same chaos, the same stubbornness, the same become inevitable.
Transform tools or goods produced by workers is also an instrument sound like a big revenge, and revenge of reinterpretation.

MM - So how much value buys a ritual that happens in your stage?

OA - A ritual?!?

MM - Yes, the integration of an exorcism or something missing ... I've just said that you tend to turn a wreck into a musical instrument, in revenge, this process of resuscitation and claim it makes me think that somehow you are going to operate an exorcism. Up to a point that your show can be seen as a tribal rite?

OA - No, not at all mean that what happens on stage during the nostri spettacoli sia un rituale. Il rito è qualcosa che ha a che fare con la parte più istintiva dell'uomo. Nel rito non ci sono spettatori, non c'è un palco; tutta la tribù è intorno allo sciamano, danza e canta con lui. Il rito riguarda una credenza, una fede che accomuna tutti.
Ciò che avviene nei nostri spettacoli è più simile alla rappresentazione di un mito. Il mito è un'architettura della realtà che appartiene al livello razionale, non istintivo, dell'uomo.
Sul palco noi raccontiamo un mito, una storia senza celebrare nulla: non c'è nessuna tribù, nessuno sciamano, ci sono gli attori-musicisti e c'è il pubblico che guarda e ascolta... forse l'estetica e le sonorità proposals are thought to aspects tribal / ritual. When we play a piece of iron does not believe any exorcism to work, simply use our divergent thinking, it would be to say that "the brain" that everyone has - that many people ignore and do not use - which allows you to be creative and imaginative in our case of turning a bin that contained the oil in a bidompano (gable + drum).

MM - About result, blood that runs through it? Can you establish a dialectical pole?

OA - The approach Officine Schwartz always held with the public is kind of theater: we introduce ourselves as workers in a factory at work, have a duty to perform, con un inizio e una fine, lasciando sempre libero chi ci guarda e ascolta di farsi idee proprie o di non farsene affatto.
Comunque dobbiamo sottolineare che il livello di comunicabilità con il pubblico è cambiato nel corso degli anni. Le prime Officine, ponendosi in netta contrapposizione con le mode musicali dell'epoca, avevano come intento prioritario quello di provocare, di scuotere, musicalmente e contenutisticamente chi stava davanti a loro, portandoli in una dimensione fatta di temi e atmosfere pesanti, di terrore e di gelo.
Non c'era intenzionalità comunicativa, ma quella di trasmettere una forte scossa.
Mantenendo fermo nel tempo lo spessore dei temi che le Officine hanno affrontato e affrontano, è andato maturando nel a group more intent, but not covered by the convention relational mass, remaining out of the game propaganda, didactic and moralistic. We are also equipped with irony, cynicism, trying to make visible and palpable with every aspect of reality.
The same fact, such as the shift on the assembly line, can be explored artistically in various ways: the environment is overwhelming dominated by the strident and timing of the machine, the worker who creates a bond with the grotesque His car-executioner.
Who we face we give the coordinates on the source of the work in its history and its construction. Everything else - interpretations, emotions, feelings, opinions - and the public.

MM - The current industrial outsiders were concerned with analyzing the relationship between man and machine with a dose of cynicism, nihilism, and unspeakable impulses iconoclast, offering products violent themes and sounds draconian, authoritarian attitudes and often quarrelsome and limits of permissible with audiences ... by one of their show is coming out annihilated, stunned, angry, sometimes shocked. To the representatives of the current tense interested in creating functional transmission and perception of that universe desolate and bleak that George Orwell prophesied nearly half a century ago. Officine Schwartz seems to me that the move in a direction that includes over the din to lose perspective, even if I throw the bad word-romantic, positivist ... rust and clash often give way to massive injections of harmony brought by choirs, horns, organs, violins, bagpipes, accordion, folk songs, elegies, kyrie ... which tends to soften significantly the speech, almost romantic to see him in an angle or a positivist, which is the syncretic background of an operation like yours and what do you think are the main differences between you and an industrial?

OA - I think the real industrial music in the sense of "produced for mass consumption" is the rock.
The first time I heard the term "industrial music" was during a conversation on modern music and its uselessness, and it was a musician friend of mine to use it to define the importance of expressing a cultural reality closer to us, even if aesthetically unattractive - housing, disfigurement general, workers with their problems -, So ' I thought that the expression is that he had invented him.
Only two years later I found a magazine, "Industrial Music", published in 78 by Throbbing Gristle, he spoke of what were then the most famous artists 'noise' - Z'ev, SPK, Non, TG etc - and of their unique ...
fully agree that the line of duty in the current industry is in its rather violent and extreme sounds in his compositions, and is undoubtedly the effect that has on the public action of sound Vivenza, Bruitist of Grenoble.
Again, when the workshops were born, everything was unknown to me, my work was spontaneous, noise and everyday life were my dream ever since. I find it extremely wrong
compose strong intensity and persevere in them. Also because the ear becomes accustomed, after a few seconds what was extreme becomes the norm, and after a fad. Much more interesting and effective is to compose whispers that speak of an explosion, which may reach more than emotional intensity aroused by a roar.
not a way to soften the speech or to make it all romantic and positivist, today we are deeply opposed the idea that to communicate something to the public need intense disgust. The music industry in its development has been polluted mainly by trends in music from time to time in fashion - dance, house, techno - we prefer to be infected by the subjects and situations that we express.
You can not talk of war in the mountains playing the background noise of a metropolis.
Your use of workers' and popular tradition of singing and choirs, horns, bagpipes is placed, as do many other choices of expression, which we are engaged in research on recovery of historical memory. This is not nostalgia for lost values \u200b\u200band traditions, is simply the need to recover ritmi e tempi più a misura d'uomo.

MM - Però il gusto retrò di molte vostre composizioni mi induce a pensare che a vostro modo vi portate dietro una certa dose di nostalgia... Ecco, in questa componente nostalgica che tu e le Officine avete - o comunque, trasmettete - è implicito il desiderio di voler tornare a certi valori e tradizioni persi, irrecuperabili o incerti, a certa bellezza della vita popolare sfuggita sempre più di mano dalla nascita dell' era industriale in poi?

OA - Infatti la bellezza della vita popolare se n'è proprio andata, non esiste più. Parecchio tempo addietro i nervi del prossimo erano un po' meno veloci e di conseguenza si viveva meglio. Porto con me della nostalgia peace that I need to lean in the compositions. We
behind the factory but also the ground beneath your feet and the sky ahead, we aim to do well, we're not masochists. If our sound is sometimes "bad" is because of the ugliness of the picture represented.

MM - What is the imaginary political and ideological Officine Schwartz? You are supporters or opponents of particular elements or situations past and present?

OA - Officine assume not ask for or against something, but to bear witness, to be the rolling of the historical memory of oppression and struggles of the workers in particular and social man will generally forward steadily asserting their existence, their dignity, their rights.
Witnesses bombings, massacres of state, victims at work, exploitation and intolerance exasperated man.

MM - Rumor has it that you interact with renowned entities such as La Fura dels Baus and John Ferretti. you planning future jamming with other persons "artistic"?

OA - The collaborations and interactions with other groups and artists have always been for us a very fertile ground for creativity and construction of new jobs. About the Fura dels Baus and John Ferretti, I have personally contacts and relationships, but they have never worked with the workshops. They were instead initiated worksite expressive with Andrea Chiesi, painter, and Valerie Prandi, poet, which culminated in the multimedia presentation of "The Factory" and "De Machina war."
Another productive collaboration has taken place with Ravenna Teatro, we proposed a paper on resistance having listened to the chorus of "Hello Beautiful" during our concert.
This music, which originated spontaneously, it was later made as an objection to the popular "Hello Beautiful", a symbol of the partisan resistance, who spoke of dead buried in the mountains in time to the polka. With Ravenna Theatre have come a long way to search the memory of the Resistance, the direct testimony of Ravenna and the partisan activity, mediated by the Workshop, with songs of struggle and resistance of the Romagna.

MM - Considering that you have never represented twice on the same show, there is a disk or a job in particular that there is more?

OA - making records is not our job, let alone our goal; incised just to have a wider range of communication, for declaring its presence. They are also a kind of economic vehicle - but not in our case .... We make them because at least there will be someone who knows you exist and you could give a chance to perform and do shows, which is what most of us interested. Our size is that of a department at work, active and dynamic, not the one behind a recording console. All work performed
represent us, every show is a new arrival, a summary of our evolution, in that particular historical moment of our journey.
Among them, besides the aforementioned remanium Dentaurum, I remember an exhibition took place in a natural theater, among the rocks, using only the acoustics of the place and the reverberation environment. I also remember a former church and I also pleasant memory of the factory in Bologna.
We play on the road, the workshops are also ready to organize a band parades.

MM - What should we expect in the future productions made in Schwartz?

OA - We are currently preparing a new show, which has no external collaborations, and will require a long time. Not belong to a genre we have never done two things equal, everything you create is always new and different. The training itself is not always what the people come and go, the people coming brings something of his, who goes off the road. Who is left is working on the new material.

No Previous Installation Of Rome Total War

THERE 'IN ITALY TO TASTE BE Roberto Freak Antoni (1994)




'The secret of the agitator is to become as stupid as his audience so that they believe to be smart like him' (Karl Kraus)

MM - So, Roberto, replay: how, when and why were born Skiantos? From what input and what needs have been forged?

Roberto "Freak" Antoni - Well, then here directly from the central train station in Bologna say to you that Skiantos were born in the mid 70s. The first record dates back to 77 but the experiments Skiantos began some years earlier. Then we were called 'Freak Antoni and Dementia Praecox', in a moment of delirium and self-gratification over exaggerated the group took my name associated with dementia praecox, because stavamo appunto ragionando su questo fenomeno e questa caratteristica della demenza e di ciò che può essere demenziale. E bene o male l'aggettivo 'demenziale' ce lo siamo inventato noi, è una piccola invenzione degli Skiantos.
Oggi si parla tanto di demenziale, secondo me anche molto a sproposito, perché si tende spesso ad identificarlo soprattutto con la goliardia mentre in realtà il demenziale non si limita certo a questo; è anche il piacere del non sense, il gusto dell'assurdo. E penso che i nostri primi esperimenti fossero davvero molto interessanti, abbastanza radicali.
Avvennero nella mia cantina, ove ero solito radunare amici, compagni di classe, conoscenze varie per iniziare a comporre canzoni assurde dettate dalla hard and fast rule, precise, very determined that there was talk of love in a sloppy second characteristic typical of those canons classic Italian song. So get involved exclude or break the sentimental romance and all the general and melassume mielume free, requires us to compose songs about spaghetti, examining everything with great stuff ... but not to deny a spiritual impetus and dialectic that was how our need, but to oppose strongly against the rhetoric of the period, against the indifference canzonettaro the Italian musical world, tied to the usual rhymes, the usual themes ... obviously for me to speak inappropriately in music, because the so-called music leggera italiana è invece molto, molto pesante!
Ti ripasso il microfono qui dalla stazione ferroviaria di Bologna centrale!

MM - Cosa ricordi dell'allucinato, beckettiano esordio in cui davanti ad un'allibita platea cucinaste degli spaghetti e ve ne abbuffaste?

RFA - Ne ho un ottimo ricordo, è stata una bella provocazione, è stata una serata all'insegna del rifiuto musicale, della negazione di quella musica intesa come accozzaglia di stereotipi musicali, dal rock più facile alla banalità della canzone tutta amore e cuore... Per il nostro esordio, piuttosto che tuffarci nella mischia producendo musica, magari altrettanto stupida e banale, noi decidemmo di fare una spaghettata sul stage.
The famous 'spaghetti-performance' would be, in its small way, a form of protest against a show, enforcement, dispute some of musical frivolity.
On other occasions, they also bring a refrigerator on the stage from which extracts of foods and also pulled noodles of fishing to the public, spewing from the stage or catapults ... Our performance was more elaborate on the other hand the preparation, through real stove, a pot of spaghetti with lots of water, salt and cook spaghetti made. Lacked the sauce, a sauce was prepared that nobody has ever had the opportunity to listen, or rather hear, in terms of taste and culinary, no one could then listening to music, because after a verbal confrontation with the audience, the audience got the shit in the form of cow dung, collected the day before - as he was later told - in local stables.
was an interesting evening in every way and remember with pleasure and affection.

MM - Beyond the high rate provocative, intended to aim at particular demonstrations of such an action?

RFA - Overview was much more fun to do things of that type rather than sweat on his musical studies, as well as in front of some trivial theater is more fun to do ... If the scene should be in the boredom and banality best to make her squirm and think of something else.
[see anche http://www.youtube.com/watch?v=jeOcLb7fsLc ]

MM - L'uso di strumenti giocattolo con i quali avete iniziato a proporvi on stage fingendo di suonare alludeva alla miseria cultural-musicale vigente o, più in profondità, era un'ennesima dimostrazione cageana dell'espressività e della musicalità del silenzio?

RFA - No, era semplicemente un modo per dire che anche con strumenti giocattolo si potevano fare interventi musicali interessanti o provocatori. Quell'idea era stata adottata per arrivare a esprimere una sonorità ed un'attitudine infantili, supportate da certi testi in rima baciata, da asilo che noi sceglievamo di fare proprio per ingigantire la grevità della canzonetta and the seriousness of the Italian scene. So the toy instruments could be designed to emphasize the stupidity of certain musical situations.

MM - What are your memories of the Metropolitan Center Scream? What were the expectations and the atmosphere of that period?

RFA - Scream Metropolitan Center was the first name of Gaznevada, who were then, if you will, a big disappointment because at first seemed the criminals of Italian rock, seemed to those who could do in the places slices common rock and roll with new proposals very, very different and definitely alternatives, then actually turned out to be just like a little fashionistas' stupid. The
expectations were very similar to those of British punk in Italy and is emulated and followed that move. But we had from our irony, the insane which aimed at a small revolution, to reverse things in music, to ensure that pop music could also become interesting not only to Jackson canzonaccie idiotic and so on.

MM - you pass through the 80 experiencing first hand experience of the end of 70, what did it mean for you the riot-musical aesthetic of the first punk and new wave movement after the defeat of 77, broken up by emergency legislation and the so-called "heroine status?

RFA - The punk movement was a very innovative ed interessante, senza dubbio l'avvenimento più degno di nota della seconda metà degli anni 70 e, come ripercussione, anche l'esperimento più originale nei primi anni 80.
Negli anni 80 ci sono stati parecchi cambiamenti e secondo me è fondamentalmente vera l'immagine che vuole gli anni 80 come la decade del riflusso, nel senso che rispetto allo scoppio di creatività degli anni 70, gli anni 80 sono stati decisamente anni di ripiegamento su sè stessi.
La fine dei 70 è stata l'era dell'esplosione, della ricerca, dell'innovazione e della sperimentazione; sono gli anni della rottura con gli equilibri preconfezionati del sistema piccolo borghese della società in cui si viveva allora; erano appunto gli anni del punk-rock with its ideology of 'no future!'. I must say that the demented approach it, perhaps inappropriately, of course the sense that there is a temporal connotation very strong and we are born more or less the same period.
But punk has its roots on quest'apocalittica ideology of 'no future!', A nihilism of the bottom of this safe feeling that there was no possible future rosy. And compared to the 60's punk overturned all: there is no future, do not tell us lies, we do not have opportunities on the horizon etc. Over time, this nihilism has been very dangerous and harmful, because then the true and deep nihilism can only lead to a dead end, you do not più sbocchi né prospettive e ti rimane solo il suicidio - come nel caso di Sid Viscious, Ian Curtis o Kurt Cobain.
Voglio dire che l'esasperazione nichilista non va oltre l'annullamento di sè stessi.
Il rock demenziale, un po' figlio del movimento studentesco e della scoperta dell'ironia come Nuovo Linguaggio, ha sempre avuto dalla sua parte anche l'uso della comicità e dell'umorismo come carta vetrata, come grimaldello per forzare una realtà certamente negativa e priva di prospettiva come il punk giustamente faceva notare.
Il rock demenziale aveva nell'ironia e nell'umorismo la capacità di rispondere a questa noia e a questa forte disperazione, nel senso che l'ironia e l'autoironia rilanciavano la voglia di resistere. E parlo di resistenza ferrea, pura, alla difficoltà del vivere, all'angoscia del quotidiano e alla mancanza di prospettive e di valori nel mondo piccolo borghese: ebbene, l'impulso sardonico diede una grande spinta.
Noi oggi leggiamo Cuore, ma prima c'è stato Tango e prima ancora non bisogna mai dimenticare Il Male, che è stata la rivista antesignana, che per prima ebbe il coraggio di adottare uno stile satirico molto radicale, molto forte, molto risoluto, decisamente alla carta vetrata.
Noi siamo figli del Male, perché abbiamo trasposto l'ironia sarcastica, il sarcasmo velenoso, al vetriolo, di quella rivista nella musica rock.
MM - Skiantos e tutte le altre esperienze legate alla fatidica Bologna wave of 77 had also aim to subvert the canonical relationship between artist and audience, and to disturb the liability of a cheering audience of crap for inaction. "
As you can see today the public: the more shrewd, more responsive, more bored or naive way? The Skiantos still manage to offend the audience?

RFA - We pulled the vegetables to the public to say that the public itself was not to be anchored and secured in its role as a passive spectator and inert, so that the applause that the whistle still make you a passive spectator.
So we wanted to strike up a game that would allow us to bridge the gap between artist and audience, for this march tiravamo vegetables and blunt objects - but still very provocative, insulting the audience booed. The game was now very misunderstood, so we stopped doing that, because every good game is short, but mainly it was our interest to amend and remove certain structures in our live act.
I must say that in some ways the public today seems more shrewd, he saw and heard many things, has already experienced several situations - speaking of the most attentive audience - and it is also often bored because of the frequent feeling of having already seen and heard everything. It should also be added that the new audience of younger generations, sometimes I feel estremista della normalità, mi sembra che abbia deciso di fare della normalità il proprio logo, il proprio modo di essere, il proprio marchio distintivo, spingendola talvolta all'estremo.
Noto che in realtà, rispetto agli Skiantos, c'è una platea molto particolare; un pubblico che decide di venire a vedere e sentire gli Skiantos è comunque un pubblico che fa una scelta molto radicale e particolare, ed è sempre una fascia di persone particolarmente sveglie.
Il pubblico medio, generale, mi sembra invece - ahimè! - estremista della normalità, oggi più di allora.
MM - Le vostre prime performances presentarono soluzioni davvero deliziose e molto orticanti all'interno dei dogmi dello scenario spectacular Italian; your entr'actes were really nasty, disrespectful and clearly printed Dada-Situationist. But today I find much more condescending toward the audience, it seems that the initial bitterness and ferocity are gradually crystallized ironic, perhaps because it has reached a certain complicity between what you and the other party. What made you opt for such a turn? Why this radical change in progress?

RFA - Because the next step, moving forward on this road, was shot in public, spit on him without pretense, the next move was amplified speakers slam on people, whip the public to the letter. Means passing from one level to a very literal imagery, real, even violent, which does not belong to us, and then get to the launch of blunt objects and materially injure the public, but in fact we were interested in finding new forms of provocation, and we were we are looking for other avenues.
Maybe there were times "more refined" of provocation, in which we have chosen the most elegant formulas, and then we went to a cross dall'insulto more literary, made by my reciting a series of comic poems demented with the absurd to leverage a more literary, in some way. We switched to sublimate from a certain point of view our violence because the beautiful the game is that it does not become repetitive ...
Continuing on that road, the first repetition and boredom of it then there would have given no choice but to throw objects more and more fierce, more and more heavy and dangerous, and baste a real war.

MM - This change came also from a musical point of view: you are more technically cured, the lyrics are less and less light-hearted and ironic, however, more demented tout-court, it seems that you have decided to abjure works such as 'Kinotto' , 'Inascoltable' and 'Mono tone' ... What happened?

RFA - For years people told us: 'Ok, you're funny, you're funny, but do not know how to play then we do not take seriously, we do not give credit because you can never tell if you're stupid if you're joking or serious. "
Of all this there are always beaten us, but to a certain point in the sense that at some point in our history has also increased the need to demonstrate that we, as tattered, it was a game aware that we We played at a very low level - which by our standards were high, but that would be intentionally low in the eyes of others - because of a conscious choice, which was to use a metaphor, and the general public has always taken the e has always misunderstood the speech Skiantos, has always taken unable for the real, while our game was really an inability to pretend to show that the naive, if honest and devoid of artistic ambitions, produces something more interesting than the professor.
Sometimes the ungrammatical is deeper than the polished and dell'impeccabile, Godard also said it compared to the movies, I repeat Truffaut.
short, it seems to me that we have been part of that category of artists who has ever tried to intentionally from a poor level to exchange and disrupt things, but also at the same time possessing the ability and technique to make the others. Over the years it has grown we also need to demonstrate possession of a technical considerevole, almeno per noi, per i nostri livelli; è cresciuta la voglia di creare prodotti più raffinati e dare al pubblico la consapevolezza che il cavallo da noi cavalcato non era poi così zoppo e che possedevamo le chiavi del gioco.
Con l'andare del tempo si cresce e si sviluppa la voglia di ricercare altri canali, altre esperienze, cresce il bisogno di non ripetersi e di percorrere sentieri più eleganti.
Se però hai presente il nostro ultimo disco, Saluti da Cortina , noterai che c'è stato un ritorno alla ruvidità sonora e tematica dei primi tempi.
A noi interessa soprattutto trovare una formula che ci permetta di esprimere al meglio le nostre potenzialità e che allo stesso tempo sia fedele our strings in tune with our deep stimulating challenge. It is about finding new revenue and new releases, we now more than ever, we can not and do not want to ride what we have already made, supported and practiced.
We want new, and perhaps this is past time for finishing, excessive arrangement, to too much care, but it was still part of our research, the most professional sounding tracks officer was wanted.
We are tired of always being considered the beggars of the situation and we wanted to demonstrate the means and willingness to offer more musical richness. Somehow we wanted to give a kind of slap moral to those who regularly get me wrong, and there claimed, or pretended to support us but in reality are moving towards other artists and showed other preferences.
When you are very provocative people believe that you do not know anything else. Instead, we had all the cards in order, but the public sympathized equally with the regularly Skiantos then betraying and deserting at a time of products handled, refined, technically flawless. Even Skiantos could offer them, and they did.

MM - Lately peeps have done some texts that deep down I reek of rhetoric and moralism, on the understanding that these are personal impressions rather than categorical judgments, we are still safe that Skiantos, acrobats from the craziness over the arts and the parties are being progressively camouflaged by judges or demagogues?

RFA - We always do what we feel to do. I remain of the view that are less suitable to criticize me. I can only honestly say with full honesty, what we like, things in which we recognize.
Of course we are not perfect or infallible, nor free from any kind of rhetoric and it is possible that sometimes we have slipped. The Skiantos have beautiful that no link ever - or almost - the finger at anyone or anything, just do a speech for those who know and understand and accept what we like to express che abbiamo nella testa e nel cuore.
Non abbiamo però delle velleità di messaggio, di pistolotto retorico, di penetrazione subliminale, di grande espansione. Non vogliamo parlare alle folle, c'interessa esprimere pareri o sentimenti che caratterizzano un certo periodo della nostra vita, fermo restando che magari fra dieci anni la possiamo pensare esattamente al contrario.

MM - "Noi fingevamo di essere idioti e loro ci consideravano idioti effettivi; è stata una dura battaglia. Alla fine hanno vinto loro". Con queste parole hai dichiarato nei primi anni 80 - e lo hai ribadito poco fa - dove vi hanno portato le sabbie mobili dell'equivoco, di quel fraintendimento che il mettersi in gioco inevitabilmente - e necessariamente - Entails. Three decades away the Skiantos have taken revenge? What happens today between you and them? What kind of reports are there?

RFA - Their reactions are always very interesting, we are always in a research phase and we find that the music affects a certain type of rock very harsh, radical and corrosive. Currently, the relationship with the public good, to our shows are young people, young people who obviously have known the Skiantos by older siblings or parents, and who know by heart the songs.
is repeated but the ceremony always dell'elogio Skiantos for the first hour, I think of the Skiantos now have many more things da dire nonché molta più lucidità degli Skiantos di un tempo, hanno ancora una loro ragione d'essere, una loro forza comunicativa, una loro precisa validità ed è per questo che continuiamo e si va avanti comunque.
Il rapporto col pubblico è oggi molto dialettico, sempre molto intenso; non a caso molti osservatori e molti giornalisti affermano che il live act è la nostra facciata migliore, la più interessante. Detto questo, non me la sento però di cantare vittoria e di parlare di rivincita; a tutt'oggi siamo molto equivocati. E' incredibile quanto il pubblico medio sia sconfortante, decerebrato, microcefalo, poco informato, poco attento, poco spiritoso e molto permaloso, sempre meno disponibile allo scherzo, all'autoironia, irony in general ... with time so I do not think the earnest Skiantos bet on which are the favorites to win this battle.
MM - you name from the early willingness to make provocative and gnashing of your foundation: Skiantos phonetically and conceptually indicates the rupture and collision. There is more concussion in humor or in anger?

RFA - It can cause even using humor very fine and not too much between the lines. Take a song like 'I prefer to die': it is very radical in its presentation of otherness and opposition, opposition that results in suicidal mania, but between the lines, with a certain savoir faire, he says things very provocative ... obviously we had to resort to this kind of provocation and become ... [thinks for a bit 'on] ... not even more immediate and less direct, but to go deeper into the importance of the texts, for example, to write something more thoughtful, perhaps less direct but more thought, more thought, and not just "I'll break your face, you vomit in your mouth, you guts "...
When you do this for years, you will then want to change pages.

MM - What drew you to art references such as Dadaism, surrealism, art brut, even on the poems that doth every performance?

RFA - Lots; the current ones I loved and studied a lot in school. I did DAMS and I often say this about the artistic avant-garde of the early '900, and futurism, dada and surrealism as a nineteenth-century legacy of the past few decades.
I was greatly fascinated by their being very innovative, I have been very attentive to their linguistic violence, their expressive scissor kick. I tried, after such strong interest, in my own way to transpose these characteristics in the work Skiantos. Obviously the way I do because I believe that an artist has an obligation to be original in some way and to store information, images and insights of art and then reworked in their own way, according to the filters its sensitivity, otherwise it is a copyist of many, certainly not real artist ... Here, I think that Skiantos have made this effort to render all their artistic tensions of the early twentieth century, elaborating such avant-garde through contemporary culture, which goes through the pop art of the sixties ...

MM - And you have also experienced the situation, if I remember correctly ...

RFA - On our way yes we recorded the first albums on Cramps label, so-called "alternative" of 70 years in Milan, who had the art director Gianni Sassi who was an activist situationist knew Yoko Ono many members of that movement which we have done part, through him.
We had pleasant contacts and enjoy this cultural shock with which we stood in line.
And I must say that everything has since been redesigned with a sensitivity Skiantos very, very much our contemporary, as it always has to be in the arts, the artist takes signals 1000 and then to revise them to propose their own signal, and the original exclusive.

MM - Standing in terms of relations with the public, on stage you always tend to denigrate and ridicule the fans especially the myth of rock star with his luggage-type of relationships that can arise between huge fanatic and exalted and capricious star: I see a lot as a kind of exorcism against the star system, as a desire to dampen, if not outstanding, idolatries disproportionate in your / your concerns ...

RFA - Absolutely. And I always do, because this is the essence of Skiantos; if there was this message that passes I do not think we would have more reason to exist in the sense that Skiantos want to demolish their stardom in all its forms, they want to understand that the artist is not a man like everyone else, which is absolutely not the case to idolize anyone.
Punk put him in this light, always pushing things to excess, however, so much spitting and destroying everything. I think it's only fair, however, undermine the foundations of idolatry, the artist which is god because he is on stage or have recorded an album ... Certainly, there is in the artist, the very fact of proposing something and to oppose boldly at first and unclothed, a factor that makes it special, something special, something extra, but not for this is be justified idolatry. We
before, during and after a gig we have a very direct relationship, mediated very little with our audience, we want to talk about on par with our people, we want to break decisively with all their myths and rituals, with the rites and myths rites, myths, practices with a classic rock concert, but declared that it is a game made with the knowledge and consent to be there to play.

MM - Despite your attempts to smooth such fanaticism, you happen to still have a problem with someone who puts you above everyone and everything?

RFA - No, fortunately. I think, I think ... I hope to always be shiny rather than to the dangers of stardom, I do not feel quite like a rock star nor do I believe the false myths of stardom.
If the artist has something special, such a characteristic must not expire on the idolatrous dialectic, in any case or in any form. Especially since the artist is often more fragile than a human being generally much more scared and anxious than the average human beings. So
essere artisti non è sempre un vantaggio, è spesso molto scomodo ed imbarazzante; si tratta di uomini dai tanti difetti, dalle tante ansie, dai tanti handicap psichici - nel senso di difficoltà comunicative -, dalle tante paranoie... fondamentalmente sono esseri umani come tutti gli altri. Non è detto che l'etichetta "artista" sia una valida ragione per essere messi su un piedistallo: se mi ci mettono, io lo lascio il momento dopo.
Io detesto ogni forma d'idolatria.

MM - A tuo avviso cosa genera l'impulso secondo il quale una buona maggioranza del pubblico ha più bisogno di dei che di persone?

RFA - Deriva dalle frustrazioni personali e dal fatto che il pubblico ha bisogno di pensare che chi sta sul palco si diverte maggiormente e conduce chissà quale vita più intensa ed interessante. C'è bisogno di avere un punto di riferimento e "un personaggio" è il bersaglio primo, perché l'artista suggerisce un modo di vivere diverso.
C'è bisogno di avere informazioni diverse dalla noia del quotidiano, stimoli che esulino dal tedium vitae, c'è bisogno di evadere: da qui la necessità di credere che l'artista sia una divinità e non un uomo. E tutti ne sono tristemente illusi, è ciò a cui tutti pensano: le alternative, i sentieri alternativi, altre strade rispetto alla piattezza deprimente del day by day, strade che molti si credono impossibilitati a percorrere con le proprie gambe.

MM - "Esplorare il lato comico del tragico e quello tragico del comico": puoi approfondire questo concetto per chi magari non l'avesse ben compreso leggendolo nel tuo libro 'Non c'è gusto in Italia ad essere intelligenti'? Credi sempre che l'humor implichi necessariamente la tragedia e viceversa? E ancora: credi che l'ironia sia un passe par tout oppure ci sono soglie che a tuo avviso non possono essere valicate?

RFA - L'umorismo è fondamentale per resistere alla noia, alla depressione e alle angosce della vita. Credo che l'ironia e la comicità, quando vere, quando autentiche, siano davvero importanti. Tragedia e comicità sono solo la testa e la croce of the same coin. In life there are very serious tragedies, however, put together by very strong hilarious moments, brief moments, maybe, but with great humor that helps us not to succumb to the crisis. Sure, you can not always laugh at it, there are tragedies that such existence would become to be cynical laugh, limestone dell'impietosità the pedal to the extreme.
MM - The cynicism, however, in its way, is nothing but a form of comedy ...

RFA - Cynicism is a form of comedy sometimes healthy, sacrosanct, which allows you to survive, but they are not always convinced that in life one could or should laugh, but if you can laugh at themselves cynicism is purified. Here, the irony is a basic exercise of demolition of their ego, allows you to make the right distance from your superstructure, with your arrogance, by your false certainties and false information that maybe your shop criteria as absolute and undisputable , and please you with your superstimarti even your flaws. The irony is serious self-criticism, I think there is a great need for everyone. Laugh at himself is an examination of conscience, so I am very fond of the comedy in all its nuances.
And let us not forget that the comic is a great exorcist to help ward off the sadness and the rigors of daily life and above all: I am more than convinced that the comic sia davvero preziosa, unica e rara.

MM - Con essa si è liberi di fare e dire ogni cosa oppure ci sono delle zone che devono rimanere off-limits per tutti?

RFA - No, non ci sono dei veri tabù, anzi direi che la comicità serve a ridere di essi. Con l'ironia ci si può sbizzarrire in ogni campo, anche se a volte nella vita - e qui dipende dalla sensibilità individuale - ci sono momenti in cui è estremamente difficile ridere ed è quasi impossibile far suscitare il sorriso. Però pregiudizialmente non penso all'intoccabile, all'invalicabile: ogni cosa è passibile di derisione.
MM - Credi sia davvero uno sbagliato e consunto cliché l'assioma "l'arte nasce suffering "?

RFA - Even if it was written it 'handbook for young artists' do not think so really. Indeed, I think it is more than established that the best artistic intuition implied by the suffering, but not all: there are 1000 faces , 1000 ... the art aspects of the problem may arise primarily from the pain, but not limited to, born from 1000 stimuli, intuition, from an innate personal capacity by a particular observation, by the findings, even a certain capacity aptitude to recognize the absurdity of life. He was born 1000 and then more excuses.
The suffering must not be used as a pretext and romantic stereotype to say that the artist must sempre e comunque essere confinato necessariamente nella tristezza, nella povertà, nelle angustie e nelle ambasce, nella difficoltà e nelle lacrime.
Non credo che l'artista debba per forza esser tenuto nelle paranoie, nell'angoscia e nella miseria per produrre meglio o per essere più prolifico.
MM - E' allora che si trasforma in luogo comune...

RFA - Certo, soprattutto se spinto all'eccesso. Non per questo si può però negare che anche da un'estrema sofferenza e dalle difficoltà possa nascere il genio.

MM - Nella creatività poni una netta linea demarcatoria tra il buono e il cattivo gusto o credi che quello che fai stia al di là delle regole, del lecito and the offense, the goodness and badness, prohibitions and obligations?

SAB - Well, art is extremely difficult to mark the boundaries, in the creative sphere is all true as it is all false, then art is extremely subjective and unlikely to fix the limits of the codes and regulations. There is objectivity in the sense that there is always the principles, tastes, and the solutions that are or may seem more general, but in principle be determined on a very individual and personal. Then, in general, there are many insights in which more or less recognize and demonstrate that art is something objective, but basically art is always a subjective matter, both for authors and for users.
Of course it is a question left open-discussion, which will never resolve: the art index as objective or subjective is a dispute over which they beat their heads high - and are still exchanging opinions and insults - aesthetes, philosophers, spin doctors, critics and artists from around the world and of all time.
MM - It 's harder or easier now, laugh and make others laugh?

RFA - I do not know how to respond, because I believe that there is never a problem today than yesterday or "easier / less likely" based on a question of talent, intuition, predispositions to laugh and who wants to provoke.
If a person is talented and hilarious perspective of things is often a shield to defend himself from the anxieties and taedium vitae. There is a famous Jewish humor, where the Jews of the United States for years have learned to laugh at their misfortunes, and in particular, in recent decades, has developed along this type of comedy called Jewish leaders of that great stuff.
I can think of the Marx Brothers, they did highlight the funny side and paradoxical existence ... everything depends on the fact that people are brought and prepared to capture the nuances spirit, I do not think either of these periods of social arrangements, the qualifications of character, manner of individuals see things, the way to bring out the humor with themselves, regardless of era.

MM - What are the mechanisms that have oxidized much of the spontaneity and authenticity and irony that tend to distort more and more the pleasure of laughter and humor?

RFA - Television shows ... all those pre-recorded laughter, the audience paid to laugh and make painful sciapo what should be a source of amusement.
Television has many merits and advantages but also many many flaws, including the recurrent, incurable, to flatten down, generalize ... based on the duty to appeal to a range more possibile vasta di audience il mass media banalizza, sceglie deliberatamente di essere anche stupido, volgare, gregario... a volte arriva perfino a compiacersene. Per cui anche la comicità peggiora, si uniforma verso il basso, diventa più barzellettiera; dico questo senza aver nulla contro le barzellette, che spesso sono esilaranti.
Per far ridere molto spesso si ricorre allo strumento e al meccanismo più facile.
MM - "Italiano Ridens" denuncia l'insofferenza verso l'epidemia parolacciara e verso quella volgarità giostrata al solo fine d'incrementare l'audience; è però curioso ricordare che voi stessi avete spesso e molto volentieri fatto ricorso al verbo e al gesto offensivo e grossolano...

RFA - Of course, we always strive to be a type of humor that sometimes wants to be provocative and necessarily falls back on the most trivial deeds, but we are from another planet and do not wish nor do we have no charm, no television usufruiamo support, do not have the ball audience to worry about.

MM - Do you think the bad word has a precise penalty, given its vitality and elegance of its own within a creative context?

RFA - depends on how you use it, how the systems, how and why it can be liberating. Like any weapon, even the bad word is double-edged, sometimes is useful, sometimes it is criminal.
A joke may serve to clarify things, as can be grim and free. The university boys
joke laugh following the example of "cazzofigaculotettemerda" is a winner, considering that the Italians are found to be a people so repressed by laughing as he hears a so-called dirty word ... die laughing to hear words like 'fuck' or as 'rottoinculo' or 'blow job' ... the fault of Christianity. There has repressed to the point that just a bit 'of foul language to lash the hilarity ...

MM - Returning to the theme of suffering, what's really autobiographical in some of your poems that, in my opinion, are much more steeped in spleen ed opaca malinconia che di umorismo? Parlo ad esempio di 'Nostalgia della miseria', 'Fate piano', 'Non voglio più', 'Gelati'...

RFA - Si... devo dire che tu hai giustamente colto la tristezza e la depressione di queste liriche mentre parte del grosso pubblico ha molta difficoltà a capire che molto spesso gli Skiantos fanno sul serio parlando anche di dolore e di disperazione.
Questo perché l'immagine generale contro la quale gli Skiantos vogliono combattere è quella di ridanciani ad oltranza, degli Skiantos visti come clown, come jolly, come buffoni di corte e del popolo legati in maniera immarcescibile ed eterna in questo ruolo, ed è per questo che si cercano nuove strade, per riprendere le tue scorse domande sul perché del nostro drastico cambiamento...
E' vero, siamo molto fraintesi e spesso parliamo anche di tragedie come in 'Frontale' o 'Preferisco morire'; a volte le nostre canzoni sono storie che parlano di drammi molto forti, molto pesanti come ad esempio in 'Riformato', che è la storia di una persona esaurita che si fa esonerare dal servizio militare perché dietro vive tragedie da psicopatico che mi riguardano personalmente, nel senso che io mi sento psicolabile non di rado e, anzi, lo sono sicuramente.
Si, devo dire che non sbagli nell'osservare la componente autobiografica di certe canzoni che partono da sensazioni ed emozioni strettamente personali e hanno poco o niente a che vedere con laughter.

MM - Do you think therefore that there should be a break between what is and what you do?

RFA - No need to be or become prisoners of their character, no? But art and life are in genuine cases, intersected much - if not next -; must then be distinct because it can be dangerous for the artist to be confused with his character that sometimes is necessary to take a good distance good for psychic survival.
It is certainly true to say that art and life are intimately connected, strongly intertwined. E 'useless and stupid to talk about things that do not know. If you treat certain issues in the songs you really have to experience them in or rapportartici very seriously, it is essential to sustained them, have entered into them. Often it is natural to store in the art and propose their own experience perhaps sublimated, very filtered, modified and retracted, is typical of many contemporary artists ... the rest is just the lives of those whispered suggestions and insights as always exploitable on the artistic.

MM - I can not help but wonder what's in Freak Roberto and Roberto's in the Freak? This is the same entity?

RFA - I would say that such images and such personalities overlap: Freak enters Roberto and Roberto Freak passes. They are two people intimately and inextricably related. Although, I repeat, there is often the distances to be taken: I do not want to live the character Freak second artistic stereotypes, and then when you need it I'm away ... but Freak and Roberto are certainly united in good times and bad until death do us part.
MM - On the basis of this statement let me know if you've ever concocted especially scornful jokes, bizarre, horrible ... below with the anecdotes!

RFA - I do not remember jokes made particularly noteworthy. I recognize in the universe ironic, but I'm not a joker, I'm not the type who plans to tutt'andare jokes. If I have to and if I want, I like impromptu abandon intuition, inspiration of the moment.

MM - Curious, because by themselves the Skiantos were one of the more left-handed shots played in the Italian musical world ...

RFA - In this sense I agree with you, but I'm not a militant of the joke, not the joker of the company, I do not lose any sleep over pranks invent or to choose the victims, who knows what congegnerie build ... Again, I like to let me go, let things be, if they come on their own. The
Skiantos were instead a joke program, a project defined and precisely where they wanted to play, however, stand by, between the lines, notes very serious. Much more serious, in our opinion, the shoot of certain singers or certain alleged poets who claim to be terribly solemn and end up being solemnly pathetic.

MM - The birth of Skiantos immediately opened a gap in the tens - if not hundreds - of other groups linked to dementia - I think the most calculating and genuine vocation for fashion or the desire to transcend the musical aspect - and today has more than an attempt at imitation, from which suspicious. flatters you or do you regret that groups such as Elio e le Storie Tese, slyly echoing and recycling - if not unduly possession - ideas and attitudes coined by now you have reached the peak?

SAB - Well, yes, we are naturally very jealous and annoyed But it also makes us very proud and we are pleased in the sense that the proof is obvious, clear, incontrovertible and indisputable that our intuitions could have, as we have always thought the bottom, front too widely in some way , successful, an official recognition after the event, reflected a consensus, because I think the insane, the continually deride idols, rock stars, the audience, the recording industry, the relationship between them is something that concerns the younger generation, who always want to crush the sacred cows of their fathers, the great historical figures and heroes of parents and older siblings.
And in this sense, the crazy rock happens to bean, because it is inherently irreverent; desecrates every time the new myth ... that's why the new generations still tend to ride the fashion of the insane at this point is considered out of fashion, relying on irony and sarcasm are outside the trend, the laughter is outside the ages precisely because universal language, everlasting, accessible.
Captain Jack are the only proof that the insane can pay. We were the first ones, who have broken the ice and of course we can not but be very envious of them reap the handful of what our orchard was, of what has been our effort to break; but on the other hand, there is also pleased to see that the idea worked and it is - consentitemelo, consentimelo - the idea Skiantos.
whatever one may say Captain Jack's demented inventors were the Skiantos and ahiloro!, They make crazy rock!
MM - Among the dozens of groups emerged in this last decade and early 1990 will see someone in particular that has catalyzed more your pleasure and your interest?

RFA - Yes, and it must be said that the same Captain Jack have their songs very beautiful, others do not go beyond the student spirit and are rather poor in content. But there are other artists best, I really like such an intelligent and Marco Carena refined humor, I like Oedipus and his complex, little-known but interesting group of Prato. Like the Eighth Pavilion Livorno, I also liked some things Pitura Freska. In Rome, it should be noted
Sandro Oliva and the Blue Pampurios, another group known as the most active years ago that the experiments very idiotic Zappa but definitely intriguing.
There is a group of drawings Stefano, Volante Group, which has the infiltration idiotic - though not too many - I know a group called Blood Bari which operates on the same plane.
There are in abundance throughout Italy, all or almost unknown, but not unworthy of note. Ben
are irony, self-irony and humor, and I think they will hold them more and more illuminating of the banality of the song from the hit parade of traditional Italian music.

MM - Outside the demented but who / what did you like most?

RFA-The first I really liked Sergio Caputo; do not understand why then he is - let me say no offense and with the utmost sympathy and utmost respect - convoluted. Perhaps it is collided with reality, too difficult and problematic, but his first recordings in my opinion are absolutely brilliant. I am the author of the literal part, as you know I take care of the lyrics so I am particularly attentive to the words. And brilliant texts
in Italy I'm not sure missed, Battisti and Mogol only thinks about all ...
[Freak if we did not understand or have joked that seriously, given his fierce criticism of the song, author's note]
some things I liked a lot of Elvis, not to mention some new rock bands that have baked solutions egregious .. .
I think you're waking up the Italian music scene.
MM - The Skiantos have never been a cage for you: you set up the Vortex, you had a space in a television program [Mister Fantasy, author's note], you have often moved in private [between his work as a soloist producer and the box of five 45 rpm - now unavailable - "The irrepressible Freak Antoni"], you 've moved parallel to creative experiences such as the sporadic involvement in other groups and journalism [writing articles for magazines and Selene Frigidaire, author's note], thus fully confirming the importance of not becoming a disc that is enchanted. In that perspective should be considered Pollock: they are a completely separate, or is it an extension of your sarcastic track-crazy?

RFA - This is an experiment in its own right. The Pollock is a group of friends born of common passion for the arts, especially painting, photography and sculpture.
They were born on the train, during a return trip from Turin, where we had seen together an exhibition of Keith Ering, an American graffittista; parallelamente eravamo reduci da una mostra fotografica di Alessandro Rivola, che aveva fatto un allestimento che perseguiva un discorso rivolto alla massificazione, con un parallelo che vedeva l'uomo molto simile al pollo d'allevamento nella società contemporanea.
Quindi, partendo dall'emblema del pollo che ricorda molto l'essere umano inserito nel sociale con i suoi obblighi, i suoi doveri e i suoi diritti minimi rispetto agli obblighi e ai doveri che ha, e coniugando il tutto con l'assonanza del nome dell'action painter americano, abbiamo costituito un gruppo che si chiamava Pollock e che proponeva dell'action-music.
E' stata un'esperienza molto più vicina all'artistico, al figurativo, totalmente slegata da altri projects and the playful, which still goes on, regardless of my cooperation.
MM - What happened to Whirlpool and other groups that you formed in the last decade?

RFA - Some have gone forward, others are stuck. Beppe flutters and Vortices were a very impromptu experiment, which was stopped a short time. Astro Vitelli was the pseudonym of the poet and that is instead a character that I developed because I once worked in the comedy or cabaret with formula if you prefer old-fashioned, outdated, a bit 'out of date - but if you want to use, for convenience - and especially writing, is still something I like to deepen.
I do every day, I keep in constant practice, I need to stop thinking, to give them order and to have a mindset more square, to reorder things and to better articulate and punctuate the stages of my life and my thoughts.

MM - What do you think of the many self-administered centers / There have flourished in recent years? Above all, for you that somehow you are a self-made man, what do you think the model of self-management as a new means of production and alternative to the general market? Do you think it possible the union of a public sphere and a private in a model that ousted the party system and institutional associations? E 'can, in your opinion, join - rather than alienate - the time for private life and that of work in a "new political project"?

RFA - I think that squats are the only major real news in recent years, I think in terms of collective social proposal are important for the ideas, possibilities and perspectives are always worth turning out.
I think that squats are the reality of communication more active, more intense and attractive these days, I hope and believe that they have a future if they can organize the minimum, of course, freeing herself from all those business models that are now very fashion. Their hope for a more efficient organization in order to be increasingly valuable as the center severity of the cultural centers of industry can really be expanded and have a socializing function really important for the future.

MM - Have you recently contributed to a CD document to dust off the air and atmosphere of the Resistance. He still makes sense today to talk about it or is it just a sterile nostalgia? not believe that to restore things is ridiculous, besides an anachronism? Now it is full of pseudo-movements and other castes who worship moldy again fossils such as counter-ideological, anarchism ... Yourself in 'I am against!' scoffed at the antagonist, the extremist, the factious, the dissociated ....
RFA - No, no! It is not sterile nostalgia, not with regard me.Non Forget that the Resistance has a definite value, certainly had a meaning. Then it is true that there is the rhetoric of resistance, boring and useless as any rhetoric, however, for if the resistance has a value be placed in his having been at the forefront and proud defender of values \u200b\u200bthat are, for me, very important. This time I mean it in a broad sense, close all'accezione given to him by the journal Heart, human resistance to the new fascism, neo-Nazism, intolerance to reinvigorate, to boredom and degradation of life, overcome with a good dose of humor. I wish once again to highlight the humor might be a cosmic form of resistance.
In 'I am against!' There is a position that if you want to review the current ideal follow the logic of 'Largo ahead, do', which expresses a radical position individual, individualistic. About the impatience expressed by you, it is true that people too often involves unnecessary and s'autointrappola in matters of rhetoric, however, does not mean that only these targets towards which converge their forces. Personally I
other dislikes, and which, like every other feeling, even hatred is relative, everyone chooses his own target.

MM - Da 'Inascoltable' a 'Greetings from Cortina' what is the job to which you feel most attached to, you feel more near you?

RFA - Difficult to say, because I could slip into the rhetoric and say, paraphrasing a line of the great Eduardo, the discs are like children! Of course, a joke, but of course I have experienced first hand each and every record I know the inner life, its many aspects and the same background, so I always different and always a special bond with each job.
I am very fond of 'Mono tone' and 'Kinotto' but also 'There is no taste in Italy to be smart' because it marks our collected in the mid-80s, after a period of crisis when we were still four years and there has sawn a little 'legs: we have accumulated cobwebs the public and we forgot to put back together when we were 84, we had to start over from scratch with all the work necessary. But since we continue to produce, to be there, and apart from 'I Spread the cream', which was openly and deliberately commercial resort operation, there was nothing important.
So our second onset is an important memory, there are also some songs on an LP very little known, 'Too much risk for one man', whom I love very much and think of the masterpieces in miniature. And then I can not nourish affection for 'Greetings from Cortina', because I find that both the onset of our third album, where we are approached again to the music scene radical dei nostri primi album ed è un ritorno alla voglia di avere una comunicazione molto diretta benché alcuni testi siano piuttosto articolati e non solo abbandonati al vomito e alla caccola.
'Saluti da Cortina' mi ha molto coinvolto, questa marcia indietro è una svolta singolare e bella della nostra storia, non posso non sentirmici legato.

MM - Invece dal punto di vista editoriale quali dei libri da te pubblicati è il prediletto che salveresti in caso d'incendio? [Roberto è autore dei seguenti libri: 'Percorso dei cuori solitari', 'Stagioni del rock demenziale', '6 e non più di 6', 'Vademecum del giovane artista', 'Non c'è gusto in Italia ad essere intelligenti', 'Manuale di survival of drug addicts' and 'shovel of culture', author's note]

RFA - are certainly very close, and as hard as that book, 'There is no taste ...' because they both feature two important moments of my career. The book collects ten years of live performances with cabaret formula, in the guise of a poet, then save this, I would like that very immodest gesture ... But I'd hate to leave the flames 'handbook for young artists', because in its essence is a serious book, which between half-jokingly - but especially in a serious way - it puts you and raises questions about what it means to make art and an artist with all the implications inherent in the so-called trade dell'artista.
E' un tomo impegnato, a modo suo, che raccoglie molti appunti accumulati da anni;ci ho lavorato molti mesi per pormi seriamente di fronte a problematiche legate a tale mondo.
MM - 'Percorso dei cuori solitari' è l'unico tuo libro rimasto tutt'oggi nell'ombra e non ancora ristampato; di cosa ti sei occupato in quel saggio? Che tematiche hai affrontato?

RFA - E' un libro dedicato ai Beatles, un mini saggio nei generis nel quale si prendono le canzoni dei Beatles da un punto di vista letterario-poetico. Vi è un excursus dai primi testi fino a quelli precedenti il loro scioglimento del 70, c'è tutta la loro produzione criticata con occhio letterario, passando per tanti linguaggi, senza soffermarsi di certo su una critica sociologica, politica o psicoanalitica ma affrontando il tutto secondo personali punti di vista.

MM - 'Manuale di sopravvivenza per tossicodipendenti' ha sollevato grandi polveroni; ha collezionato accuse di apologia di reato e di stimolare curiosità e iniziazione all'esperienza delle droghe pesanti. Ancora una volta il tuo uso dell'ironia è stato scambiato per qualcos'altro ben lungi dall'essere satira impegnata o incondizionato sberleffo. Come ti discolpi da ciò? Cos'hai da controbattere a quanti hanno trovato, trovano e troveranno il tuo libro "deviante"?

RFA - Non c'è molto da dire se non constatare per l'ennesima volta quanto purtroppo non ci sia alcun gusto in Italia a provare ad essere intelligenti. Il libro è dichiaratamente contro qualsiasi apologia di reato, accusarlo d'istigare all'uso della droga o sostenere giustificata l'assunzione in quel libro, che si propone a partire dal titolo come un manuale di sopravvivenza e di sostegno, vuol dire non aver letto una sola pagina o essere in mala fede.
Basta sfogliarne poche pagine per capire che si tratta di un volume per il contenimento del danno, è un libro che fa il tifo per il tossicomane che vuole sbarazzarsi della dipendenza, che è l'aspetto più allucinante e drammatico dell'intossicazione da alcaloidi; quindi è un libro che tenta, in positivo e senza compiacimenti di sorta, di dare una mano a chi has serious problems with toxic substances, it is indeed intended to encourage their use. You want, without hypocrisy, noting that there are certain substances and will not be easily removed, the more I think a policy like this, definitely prohibition and in favor of the black market, big mafia interests and the crime that holds the ' monopoly and manages the entire drug trafficking.
I think we can say it all in this book, except as apologetic towards heroin.

MM - Some time ago, Perry Farrell claimed that a lack of culture and education on drugs, comparing the use of fire and the discovery of its positive features - light, heating, kitchen - and bad - arson, pyromania, burns ...

RFA - I totally agree. As it happens, Western civilization has the same terror that feeds into the powders for alcohol, tobacco and drugs, substances that are "known". The so-called toxic substances are so demonized by Western ignorance ongoing problems. Farrell's statement makes no half-fold: the man has always sought recreational drug, especially in the East that certain drugs are more prevalent alcohol, in the West is the exact opposite.
I think there are gaps in education, culture and habits of errors.
Heroin shakes ... Certainly, the heroin is dangerous e deve spaventare, però il terrore che ne abbiamo dovrebbe essere pari a quello dell'abuso di alcolici; come mai invece questa paura viene a mancare? Perché l'alcool viene venduto liberamente e tranquillamente in qualsiasi bar?
Come mai una persona è libera di bere fino a scoppiare mentre non appena ha un grammo d'hascisc o 100 mg di eroina viene sbattuta al fresco per settimane?
Perché una persona è libera di fumare tre e più pacchetti di sigarette al giorno sapendo che "nuoce gravemente alla salute", come ipocritamente avvisano in ogni pacchetto, e sapendo che si è passibili di cancro?
Perché si può morire d'infarto per il troppo caffè e non si può essere altrettanto liberi di consumare other alkaloids in small quantities for recreational purposes?
course, I will say that there is an addiction ... but also from its nicotine, alcohol and even in the long run results in serious disorders such as cirrhosis and delirium tremens. Institutionalize
criminalize certain drugs and others do not is completely up.
MM - Do you think the usefulness of some psychotropic substances such as hallucinogens, such as carriers for the soul searching?

RFA - Yes, if taken in the right measure or under medical supervision or an expert or a veteran. For example, a trip with lysergic acid alone is not recommended especially if you are novice, beginner ... would be better evitare l'uso dell'acido, che in taluni casi procura danni irreversibili e comunque brucia una gran quantità di cellule cerebrali.
Ma se proprio una persona deve decidere in piena coscienza ed in assoluta libertà di fare uso di LSD, PCP, mescalina e compagnia, è bene che sia accompagnato da una persona esperta, autorevole sul campo.
Si tratta di sostanze interessanti, capaci di fare eruttare il tuo inconscio e le tue paure e desideri repressi, comunque comportano una buona spanna di rischio e vanno usate con parsimonia , prese con le molle, occorre sapere perché si prendono, farne un uso attento.
Sarebbe buona norma limitarsi nelle dosi, andare per gradi, non bruciare le tappe... tutto questo naturalmente se una persona not resist the curiosity and fascination with certain experiences.

MM - Skiantos In ten years will still be here, ready to bury us with a joke or a song?
RFA - I hope so, but it becomes increasingly difficult. In this regard we are planning to organize a campaign of survival for rare species such as Skiantos to defend and protect. Then a voice is not approved, different, outside the box, prompting you to save Skiantos, endangered species, rare animals in this desert approval. We are developing a BankAccount
post to which to send their tenders a Skiantomat to ensure the survival of such animals Skiantos endangered.
Finally I would add that my famous battle cry "luck is a luck but bad luck sees us very well" has been modified and integrated with "also takes aim and hits the mark in the dark!
E 'to be considered as the official motto of the completed Skiantos Fan Club, which obviously does not exist as a joke but we have always said being realizzazzione: It is important that Skiantos can always have the opportunity to make more records, so I ask to the general public to support them: the Skiantos hooray!

(1994-95)

Quick 5 Minute Activities

The Oxford Murders - A THEOREM OF CRIME

Alex de la Iglesia Starring: Elijah Wood, John Hurt, Leonor Watling

Contrapposizione jaspersiana di volontà e destino, bignamini wittgensteiniani, successione fibonaccesca, Pitagora, Platone, un pizzico di cospirazionismo, Edward Lorenz, René Thom, e per non farci mancare proprio niente, un colpo d'anca - nozionistico e cinematografico- al caro vecchio Pi Greco: mancano solo i tarocchi, Rubik, i numeri ritardatari della ruota di Bari e la mucca Carolina e abbiam fatto strike. De La Iglesia non perde perizia ed eleganza (gusto per l'inquadratura; notevoli piani sequenza; cura attoriale) ma scrive/dirige il tutto dopo una flebo di peperonata. Come cantava qualcuno: il samba è giusto ma è la festa che non va.

Cubefield That You Can Play In School

TOTAL ABUSE OF PETER SOTOS



"Nowadays, if you want to hear, is no longer sufficient to knock politely on the shoulder near him with a hammer to hit you" (John Doe)

"Without crime that awakens in us a multitude of feelings and passions almost numb us off to stay longer in the disorder, ie nell'atonia "(M. Foucault)

Schism planetary those fully aware of here is basically - and happily-sadistic, and willing to be consequential upon the shareholder front, heralds and harbingers of dreams and passions algolagnia aggressive impulses cravings. Beyond those
I am, and frightened and / or horror of that status, they pretend / delude themselves not to be, seeking shelter behind the shield of ethical-moral brakes endogenous and exogenous.
Amid the joking sbruffoncelli to play the role of Satan trendy, more perverse and rowdy outsider and Mephistopheles in the solar system, only to discover that despite their ideological heraldry (... idealistic?) Are as good or more than bread and mothers waiting for them at home for dinner.

This dangerous-and wider in the highest sense of the word-book, compiled by pitch, TNT and arsenious oxide, acts as a spur to all three: the first will be satisfied, if not delighted, to be a worthy response tanatofilo your appetite, pansexual their woes, their exaggerated fantasies of cruelty and indiscriminate of what moves (primitive instincts? infant innocence?). The second
discover why these wildly idolized-time has and continues to soften totemizzare incense so ardently the figure of the murderer in the series, namely because it exemplifies what we all, at least one-offs in life, we would like to do: suppress the other. An authority with Christ, the one might say, the living hologram of our repressed destructive impulses (say the truth, before onset scandalized us off if we could telepathically, how many of us would benefit a hypothesis of survival? A rhetorical question, almost sepulchral silence ...).
Third, caught in the act of modesty despised, finally learn the nature of their sad pathetic butterflies, also called poseurs, and they will-we hope-a reason. Why

fregnacciari where psycho-sociologists and massme (r) results tend to catch the phenomena in order to be able to make recognizable duct desecration and to label resizable in its most inaccessible unassailable initerabili inexplicable ethereal and end up transform a sterile product in Creating serial free spirit heart nerve branches designated ephemeral fashionable (think to industrial, piercing and tattooing, all'e(ste)tica S/M, alle forme più estreme di body e danger art, a molte esperienze cinematografiche e teatrali non riconciliate, e a tante altre cosucce passate tristemente dal sottobosco più arduo a scandagliarsi ai più beceri discount sotto casa nostra), il luciferino fuck-totum e fuck-totem di questo spinoso volume capovolge la prospettiva e dirotta i punti di fuga; ben si guarda, insomma, dal convertire la radioattività in puro ossigeno. Ne centuplica, anzi, il tasso di mortalità.
Ebbro di un disprezzo e di una febbre iconoclasta, di una prepotenza nichilista e di un impulso pantoclasta e rabbioso nei confronti dell'umanità che ha pochissimi pari, nonché di un invidiabile acume critico associato ad una spietata severità draconiana, Peter Sotos sostiene ed elogia con fierezza tutto ciò che, dal micro al macro, contribuisce all'estinzione dell'umanifero, esaltandolo con accenti tronfi e tonalità linguistico-retoriche stroboscopiche e un elevatissimo ed abbacinante senso dell'apodittica, con un'enfasi che ora sfiora ora travalica l'apologia, facendosi beffa di chi è con lui e ignorando chi è contro di lui, prendendo a sonori ceffoni chi si atteggia ad essere come lui tanto per conferirsi un'aura mitologica e un'autorevole nomea di psicopatico D.O.C., e trovando sempre e comunque l'occasione di rivendicare il proprio febbricitante gusto per l'energetismo della Violenza. Sotos si rivela una geniale monade devotamente genuflessa alla regia sovranità negative, a talent at the service of his majesty the bad, and not care about any overdetermination exorcistic cathartic saves in the corner, and without resorting to cowardly satirical screens (of values \u200b\u200bthat have always borrowed fake revile choke intensity, extremism and radicalism . It 's a simple matter of (awareness of) taste, and the desire to satisfy him, and walk in content.

Total Abuse is a virulent, visceral, monolithic bible of sadism, a feverish evangelization of the most unimaginable brutality, and a witty Treaty pornologico respectable. The first one, no less: the universe never pornography had met so far like deconstruction, never had been so deeply apocalyptically deftly dismantled as a toy to find out what they deride Squaderno olia mechanisms, never X-rayed and dissected in a surgical skills so great, and with a look so decidedly polished / games / slippery.
This is an uppercut that shatter your delicate and ever-vulnerable, despite what the jabber-jaws modesty. It will be a difficult fracture healing: venture into this ring and cash out to c (r) ivy.

From the notes on the back cover (including a plea hagiographic and defensive signed by Steve Albini) pacts are translucent: "This book contains material that is extremely unpleasant tax described with graphic precision. It would be an edict of black humor to warn you that this compendium is not for the squeamish (...). The followers of the gentle and true-crime and moralistic the seasoned collectors of horror fiction will not find that to satisfy their tastes, here ... " . Understood?
to say: give it to the spot the faint of heart, stomach, nerve, spirit, the pacifist of one piece, the pseudofemministe, the bigots with a vengeance, and the poseur-all-children under 18 years (and forget it, I would add, those of English and American slang has a rudimentary knowledge almost). I repeat, right?!?
due proclaimed 'stop right!' A little 'background to the initiation of dutiful virgins. Peter Sotos fanzinari was the first to come forward in 1985 with a true-crime magazine amateur. It was also the first to be monitored by the FBI and consequently put in jail for what he wrote. Better to say: how to writing.
addition to offering his flattery / partisanship as a huge ultra criminals which holds forth, terrified Sotos disasters and calamities because of some sordid collages he architected, basic but effective in terms of impact: crossfading between penises in ejaculation and faces of children / and Violante / ee killed / and the brute of the moment.
Federal agents, believing that you have to do with a dangerous boss of marketing child pornography, arrested him after nine months of stalking and of urgent mail and telephone surveillance. At the time of the search that brought him to stop, were all confiscated numbers -Pure is the name of Zine-and a number of Incest , a magazine containing pictures of sexual violence to children. This was the cherry on the cake: Sotos was the first human being to be tried and convicted for possession of pornographic material deemed illegal abruptly. Our
was almost immediately released, as a mere graphomaniac obsessed with a taste bit 'heavy. There were no indications or evidence of murder, rape or business of child pornography against him. So will his defense
the apocalyptic Adam Parfrey : "It 's clear that Sotos is being prosecuted not for his interest in violence, but by flattery than outside the level of safety standards mass media for the violence in pornographic comic books, action films and stories of crime. The ordinary consumer of violence is, of course, sanctioned by the actions moralizing about 'crime does not pay' or sanctifying dall'aureola state-sponsored criminals. Sotos, celebrating outsiders psychotic, is all that is more disturbing and uncontrollable for the bands that maintain the status quo ".

This Volume, tripartite, has the overwhelming force of a tracked vehicle right from the opening lines of by Jim 'Answer Me' Goad (maybe I will tell another gentleman in the near future), creator editor publisher of the book. Despite the subject matter is disturbing, unacceptable, repugnant beyond danger levels, the pathos, ethos and ruthmos of writing is far from trivial, coarse or vulgar (in case the defect of this volume is to be a bit tautological: advice to the parties concerned to read in drops, to be sipped).

Let endoscopy of the work. How about
written, opens the dance as well as an insightful introduction to hagiography Goad, who then together with Sotos sdilinquirà in a long, interesting even funny interview where together, galvanizing one another, to knock out everything and everyone with casual malice (but would be more correct start calling frankness) and corrosive irony.
No one is saved from their fury, not the police and psychiatrists who dealt with her case, proved to be more vicious and dangerous person concerned, nor the reporters and neighbors who have grossly and summarily demonized (irresistible in this regard, the following statement: "There seems to be un grosso problema con l'intera nozione di oscenità... E' gente che pensa che Schwartzenegger è un grande attore e Norman Rockwell un eccelso pittore, e il Reader's Digest un magazine eccezionale, e vengono arruolati come gli arbitri dell'arte e della cultura. Se tutto si arenasse al loro pessimo gusto, niente da eccepire. Ma queste persone sono in una posizione che consente loro pericolosi giudizi sul tuo conto, e il bello è che tu hai trascorso l'intera tua vita evitando questa marmaglia..." ); anche i genitori fanno scheletrica figura, al pari di sette sataniche e neonaziste ( "...noiose, per dire il minimo. E' gentucola che non ha proprio niente d'interessante da offrire" ) e di impudenti fans che osano importunarlo with "bullshit type Crowley, Manson or piercing . Concluded
chat, start the vacuum that will make you fall in Hades, the fall in carroll well. No group will be spared. That the vertigo is with you. Abandon all hope, if you really want to enter.

Pure . This first part contains almost entirely the work of the pestilential clerk Small chicagoese (the 'almost' is for these collages, self-censorship for reasons here, I think, of cunning social), including the issues of the zine confiscated at the click of handcuffs, and never published presented here in a world exclusive for you.
Sotos glorifies love reveres honor gives thanks to architects of cruelty (Scab of rape, infanticide and the Nazi hierarchy in the first place), with a maximum transport indulgent pleased joyful playful whimsical, and not content to cheer on the criminals in review; to square the circle, here it is raging on the faces of pain contracts and streaked with tears of the victims' families, and enjoying speculating as I could on every face, tears, heartbreak motion, mere protocol, desperate appeal to the kidnappers.
Among the first fruits of his heart, reserve preferred seats in the sun and Ian Brady & Myra Hindley, Peter Sutcliffe, Bianchi & Buono, since the first few paragraphs reveal a red-hot telluric sehensucht uncontrollable insatiable sadist, which would devastated the most invasive Divine Marquis (with whom she shares the experience of jail because of criminal significance of writing) and brought flowers to the wildest of pallor Octave Mirbeau-I could not really tell you if you found more to envy or sense of decency ... -. Pure
comes along with the relentlessness of a shock wave, and I challenge anyone to continue to interpret the world the same way again after reading it.

The central part Tool, is a training of psycho-narrative Sexualis (Sotos will be directed later in this sense, giving substance to the novels Index, Tick, Lazy, Special , less inspired of these its still unsurpassed and unsurpassable beginning, but still deadly), the first chapter of which caused serious legal headaches to the already mentioned Answer Me! . There Peter and mocking rant ultracattivo on his arrest, abuse of minors and the legal system, the strippers of peep-show, the massacres against the prostitute; on any kind of sexual dysfunction, and to close a lord improvised pedostupratore with stunning results even camouflage, and a deck of correspondence with parents of Lesley Ann Warren, little raped, tortured and strangled by the pair Brady / Hyndley. The open letter to travelers on a thin teasing tone that suddenly rears up in storm surges of what we euphemistically define merciless sarcasm.

The exploration of the common sense of envy and malice of an unusual finds a way to detonate further Parasite , the final third part of the saga, which contains 20 newsletters for categorical, vexatious, uncompromising, unyielding criticism Music, literature, films. Film, pentagrams and manuscripts relating to the theme his favorite topic, the author saves very little: his Oscar goes to Gitta Sereny and Whitehouse, which is No.1 fan and with whom has repeatedly found to work ... On
hail of considerations relating to industrial and death-metal fanzines of true-crime, pornography extreme respectability of certain films and books about serial killers, there's every color and shade. Like it or not the content, you must admit that I rarely can a critic ricapitare equally salacious and smart.

For the vehement verbal brutality, for his turn in the language of fist-fuck bazooka muriatic acid caterpillar thermonuclear device for his outstanding courage (assuming he passes a red light, however, the responsibility for the incident), because of the implicit synthesis of soul and hot fund these 244 pages ( "the world is a huge ball of dung, you all'insettume paw above two possibilities: coprophagous or garbage collectors ".'s proclamation million, boosted by Sotos Squaderno properly supported), for the casual deference to dispel cupio and tabula rasa, I feel-a cost of being targeted by the most colorful and offensive expletives and being penalized by 99% of readers-backed e-oooops! - absolve him: as soon as prone newfound spirituality and pacifism forced, so suspicious and disgusting, which follows with conviction who knows how much the angel, the fairy, the Divinity, the honey and cotton candy, this grueling repository of casus belli, heroism and humor of Atomic erostratico sounds like a masterpiece.
Buy it, acquisitelo, before it goes out of print.

O again and finally outlawed.

(1997)