Subject In A Thank You

The trash of the trash: A Shot at Love with Tila Tequila

"A Shot at Love with Lila Tequila"

We complain about the Big Brother, which after all is not that of a menage a trois-nothing smutandati passing il tempo a parlarsi addosso. Gli americani, come spesso accade, sono oltre da un pezzo, come ben sa chi s’imbatte a ore strane nella programmazione di Sky. Immaginate una nana sciantosa, un po’ orientale un po’ pellerossa, cantante quanto basta per non cantare, perennemente inguainata in sgargianti vestitini mignon, in grado di flirtare anche con una mensola di sesso non pervenuto, e avrete Lila Tequila, vero nome non so, celebrity sconosciuta da noi, ignoro la situazione oltreoceano, ma nel programma è la star.

Due gruppi, uomini contro donne, passano allegre giornate in compagnia della scaltra fanciulla, che, tra una cena in piscina e una gara di lavaggio macchine, spezza cuori in entrambe le categorie finché di partecipanti ne restano soltanto due: il lui e la lei che l’hanno fatta innamorare di più, perché Tila si innamora ogni volta, poverina.

Licenziato il resto della masnada, sarà solo uno colui, o colei, che si vedrà consegnare la chiave del suo cuore (una chiave in plastica lunga mezzo metro per l’esattezza).

E’ un programma estremamente educativo: non ci si manda a fancù in romanesco e si parla moltissimo di sentimenti, come si evince dalla voce narrante di Tila, che ci rende partecipi di tutti i moti del suo animo, o durante le visite surreali alle famiglie dei candidati-fidanzati, durante le quali Tila, che è a funny girl, ends up improvising a lap dance in the arms of his great-uncle nonagenarian.

Everyone was very fond, in fact.

But here's the enviable job, which is not the oldest in the world but only professional sound made in the USA. Fiction for fiction, ridiculous ridiculous, homo stravaccatus of Big Brother here becomes, by default, homo zerbinus the evil dwarf, or rabiosa woman contending with other females for possession of minimaliarda.

Sensation finish is lightweight, a bubble with a thousand shades, a false introspection milkshake where the apparent purpose is to show some soft porn moment, a scene with lesbian kiss in front of the decanter, the occasional pant peeping in the dramatic moments when the participant does not care for some more details because his heart is too broken by the tests imposed by Tila.

The masterly director even provides the humiliation of the protagonist: the doormat discharged on duty, who leaves the stage saying things like "Will I always be your teddy bear," Tila delivered the fateful key to a statuesque blonde who is moved and said no, that is not ready for this type of relationship, and does not intend to hurt her. Tila undergoes face with tears in his eyes but not too much not to undo the embankment of mascara, it makes a little speech was about being "left back", asks, "cos'avrò strange but I do not I want none, "and goes into the night, leaving behind the fluorescent stairway where the Vikings crushed, the minidress arrivatole now at neck, weeping on his knees, Yolanda visible, perched on a heel 30.

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O-oh: I semblato to hear a piece of chalk ...

Oh-o: I semblato di sentile un gesso

Il doppiaggio di  True Blood

Nota introduttiva: questo brano, particolarmente acido, è opera della maestrina dalla Penna Rossa, che è simpatica come un limone verde.

Tradurre è sempre un po’ tradire, dicono. Quando poi ci si mettono anche le pronunce scorrette, il gesso corre sulla lavagna. Basta seguire una serie straniera in lingua originale per rendersi conto di questa ingombrante verità. Un esempio mirabile è offerto da una nota serie sui vampiri in onda su Hbo: True Blood. La versione originale non doppiata è un capolavoro linguistico denso di turpiloquio sincero e ruspante, talmente sopra le righe da sfondare (volutamente) nella parodia.

Il doppiaggio italiano, in questo caso, non solo appiattisce la recitazione fino a farla sembrare recitazione, per l’appunto, ma arriva a snaturare alcune parole ricorrenti attraverso pronunce sbagliate che rendono il tutto piuttosto ridicolo, mistificando il valore dell’intera serie. Un esempio? Il nome della protagonista, la cameriera Sookie Stackhouse, vivace fanciulla concupita da tutti gli esseri sovrannaturali nel territorio di ben due Stati, in grado di captare i pensieri della gente e perciò moralmente sospetta in un paesino dove peraltro nessuno riesce a farsi gli affari propri.

  Interpretata dall’ottima Anna Paquin, già premio Oscar per Lezioni di Piano (1994), Sookie – già gravata del suo handicap di telepate - soffre altresì di un cognome pericoloso: quel che in inglese suona, correttamente, “Stæckhouse”, con la “a” della prima sillaba pronunciata come una “e” aperta, nella versione italiana la stessa “a” diventa ostinatamente una “ei”: in sintesi, “Suki Steikaus”, cioè Sookie Griglieria. E la ragazza lavora in un pub.

Ma ci sono esiti anche peggiori, che toccano addirittura lo spiritus loci. Il ridente paesino sunk in the swamps of Louisiana, the plaintiff scene of disgraceful crimes, has, as usual, a French name: Bon Temps. That with clear intent ironic, recalls alleged "good / good times" (what? The age of the slaves? The time in which to kill a vampire does not constitute a criminal offense?). Good people, those of Bon Temps: the party "some things do not happen to us", and instead make it worse Bertoldo. In the original version is the correct pronunciation and Gallican nasal bon-tom, with the emphasis on "tom". In Italian it is made with a sound offensive Bontemps. Where all the consonants are fully pronounced and the nose does not exist. BONTEMPSS . Perhaps those who direct the dubbing is deeply convinced that we Italians are so dumb that he could not understand what you are saying when we are exposed to a correct pronunciation. It is not over. An excess of misguided zeal, the simple name of a character, the vampire Bill Compton, inexplicably becomes "Bill Caampton. But why? Who said that? Campton an accident.

We come to the allocation of voice actors: the flaw here is not the voice actor, of course, but if you distribute the roles. Every fan of the TV series knows the drama of having to replace the usual voice actor of a character. Imagine the dismay of those who, after appreciated the original recitation, he finds himself not only with a questionable decision, but also with a voice that has nothing to do with the actor's home.

Once again the Italian version of True Blood in water on all sides: Sookie, who can be a good tritaballe, has displaced an item from Little Red Riding Hood, with a questioning inflection perennial threatened by Ursuline. The scenic Eric, played by Alexander Skarsgård, has a low tone, insinuating and sexy. In the Italian version has been assigned to Gianluca Crisafi, that despite the undoubted professionalism has nothing to do with Eric, even risking to sound like a petulant child and vaguely what is a manic super undead played a thousand years. Same problem for the aforementioned Mr. Bill "Caaampton," voiced by Fabio Boccanera (good too, but unsuitable): the hoarse voice of the old Southern gentleman turns into a prudent engineer logos from a distortion of Bill's accent, particularly so in the series to be the subject of jokes metanarratives within the same series (the famous scene in which Sookie makes the verse).

Bill agrees, among other things, the voice actor with Sawyer in Lost, another fair competition, the deep voice and drawl, in Italian, poor, becomes a kind of adolescent with problems in the authority.

A correct pronunciation and voice suits are not frivolous "plus", but essential components of a television show. If the voice actors in the situation of our country is not very happy - and it's a shame - it should at least be reconciled to the idea that there is a correct pronunciation, and that it would not hurt to adapt.

Signed: The schoolteacher from the Red Pen

The Italian version.

And the original version.

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Recitar singing, especially the first snow

Recitar Cantando, especially the first

circulating on the network since 2008, but it was only ten days which is regularly used to frighten children who do not want to go to sleep. "It 's your and my dignity," the song says. They certainly do not. We are talking about the group of politicians singing the PDL embarked in an undertaking as to fade even at the last performance of Emanuele Filiberto di Sanremo Festival. One says, impossible. But yes. The correct offending compound Note from the jet set ... er, the Italian political scene, among them Renato Schifani, Denis Verdini, Daniela Santanché, Ignazio La Russa, Clemente Mastella, Letta and Maurizio Sandro Bondi, was born in 2008 to sponsor the 'Association of Private of the faithful "Project Gemma" - Prenatal Adoption at a distance ", whose purpose is to help mothers in need to carry their pregnancies to term. Flying sull'involontaria irony of the name of the association (such as, "private faithful?" And then who's left? And if so private, why members of the government who feel called to sponsor?), One can not remain indifferent fronte allo spottone anti aborto e anti eutanasia, riemerso a pochi giorni dalle critiche alla partecipazione di Welby a “Vieni via con me”, in cui i sopracitati politici si misurano con un testo evidentemente al di sopra delle loro possibilità, composto da Bondi in un momento di particolare indigenza linguistica e populismo concettuale. Il titolo della canzone è, naturalmente, “Per la vita”.  

L’impressione globale dopo aver visto il video è quella di una parodia di programmi tipo Ciao Darwin o Chi ha incastrato Peter Pan. Perché uno pensa: no, dai, non è possibile, si vede che non ci credono. Chi mai può averli costretti a questa humiliating performance? What have they done to force this hilarious flash auto exposure? The cues to repeat the mayor of Rome Alemanno are nothing compared to the yelps of the President of the Senate Schifani, all'afonia acclaimed by the Minister of Culture Bondi, to smile a bit 'incredulous Clemente Mastella (for the series "want to see that we can take my ass once again? ") under the Mossette Santanché embraced at that diavolone Defense Minister La Russa, the only truly believe so because the boy has talent stage, and just making noise that he enjoys, it hardly matters that it is an essay or a Christmas revival of the eighties Patuscino.

the distinguished madrigal to have his hands one of those texts that you do not forget . "Life is freedom, life is creativity, is that you make me smile, the hands that stretch." Not only that life is the friend who does not frequent, but then, when you need it, "is already there." It 's my and your dignity, we said, but also passion and attention, "complicity". It 'a child eating a sandwich ... no, a child with a ball in the backyard of a city (and learned quotations from Vecchioni Romina Power). E '- and here are involved powerful figures of speech, which combine a virtue in a visual sensation, an embodiment in an optical stimulus - "look of kindness" (even the acronym Candy Candy had come to much). E 'bold sincerity, the light that comes after the darkness, taratatatatà. Not to mention that "life is freedom, solidarity, bla bla bla. It is' to build a better world together you and me. " Eh? But above all, remember paternally Mastella, "is the greatest gift you have." And ok,.

You can tell a lot about the bias of Lombroso theories, but one thing is undeniable: the politician, except in some cases, it is positively bad. When he is bad, can not sing and is clearly embarrassed by his own song, the effect is a terrific goal. Warbling with the aggravating circumstance that the parliamentarians are accompanied by a chorus of children, innocent by definition, they are in tune: a case Telefono Azzurro.

Men In Tight Girdles Vids

Maybe I was a sled dog

Or a wolf boreal forest

Or simply a part of the great silence

Why really love this di neve

E’ qualcosa d’incomprensibile,

Questa gioia di correre nel candore,

Gridare nell’aria ovattata.

Forse solo il ricordo di un tempo perfetto

O almeno del suo desiderio;

Nonostante l’incertezza del meteo

Continuo a credere nelle fate

E c’è in me un agitarsi di gente allegra

Se nel   mistero del mattino

Vedo scendere una manna stellata.

Weakness After Throat Infection

Wind Falcon

Isola di Wight. Sono i giorni del grande festival di musica rock del 1970. Fuori dei cancelli del festival "istituzionale", a sudden a band concert, perhaps in protest against the high cost of tickets, maybe just because they invited the big event. The " Hawkwind" is the name of the group, they are so known to the public for what they are and always will be: Alternative, independent, spontaneous, underground, always on the edge.

Born in 1969 under the name Group X, later Hawkwind Zoo, and finally the definitive Hawkwind (named after a sci-fi saga by Michael Moorcock, who later became one of their occasional collaborator) were Dave Brock and Mick Slattery on guitar, Nik Turner on flute and saxophone, Dik Mik (Michael Davies) on keyboards, John Harrison on bass, Terry Ollis on drums. Difficult to explain in words their music: blues, folk and roots starting from psychedelic rock to visiting what they call themselves space-rock. The result is music that can fit a full progressive in the galaxy, in a mini-solar system together with Gong, Magma and Sun Ra.

declared aim of their art is to recreate the effects in the listener to a trip without taking hallucinogenic drugs, using only the music, assisted by those developed light shows that will become an integral part of their shows. Prior to record their primo 33giri (Marzo 1970), suonano nelle comuni di Notting Hill Gate, nei raduni hippie, praticamente in tutti i free-concerts (dentro e fuori i cancelli...) dell'Inghilterra del 1970. Durante la registrazione di HAWKWIND (1970), Huw Lloyd-Langton prende il posto di Mick Slattery. Il disco si apre con "Hurry on Sundown", uno dei loro brani più famosi. Tra questo brano ed una dilatata versione di "Mirror of Illusion" posta in chiusura, si srotola un intricato e intrigante viluppo di suoni a metà tra psichedelia ed elettronica povera. Se l'impasto sonoro è palesemente influenzato dai Pink Floyd di Interstellar Overdrive e A Saucerful of Secrets, tra le probabili fonti di ispirazione aggiungerei gli esperimenti musicali di Terry Riley and John Cale.

Before the release of their second album, IN SEARCH OF SPACE (1971), Hawkwind have to their credit a historic performance at the Glastonbury Fayre Festival, which featured for the first time the dancer Miss Stacia, who will become part of their stage-show . Meanwhile, Dave Anderson of Amon Duul II, replaces John Harrison on bass, Del Dettmar, former sound engineer, combines and replaces occasionally Dik Mik on keyboards and guitarist Huw Lloyd-Langton left the group. Electronic sounds and texts of science fiction have become the trademark of this band on this record found a maturity and an awareness their means extraordinary. For some it is the masterpiece of the group. To note the long "You Should not Do That" built on a single note, one of the historical parts of their concerts, "Masters Of The Universe" by Black Sabbath and the dark atmosphere of the two sides of a single successful - "7 BY7" / "Silver Machine" - not included in the original version of the album of 1971, but recovered in this edition on CD. During the execution of work, there's the singer and poet Robert Calvert who sings and composes some songs, bassist Ian Fraser Kilmister, Lemmy said, which will replace Dave Anderson and Simon King on drums in place of Terry Ollis.

This education, year after entering the studio for the creation of Doremi Fasol Latido (1972). The artist Barney Bubbles, who also wrote the cover of IN SEARCH OF SPACE , creates metal emblem that will become the official logo of the band. The sound itself has become more metallic in this work (hey, Lemmy Kilmister Motorhead a few years after the merge), so that some will become one of the sources of the metal-rock . To remember the songs long "Brainstorm" and "Time We Left This World Today" and the delicate "Down Through The Night." In the remastered version on CD there are four extra tracks, which include "Urban Guerrilla", a single large successo in Inghilterra.

Ultimo di questo omaggio ad una band (troppo) poco conosciuta, è il quarto album, il doppio dal vivo SPACE RITUAL (1973). Tratto principalmente da due concerti del Dicembre 1972 a Liverpool e Brixton, è una precisa testimonianza (sonora) dei loro stupefacenti live-show dell'epoca. La versione su doppio CD oltre a tre brani extra, restituisce un suono più pulito rispetto alle prime versioni originali su vinile.

HAWKWIND

   1. Hurry on Sundown – 4:50 – (Brock/Hawkwind)
   2. The Reason Is? – 3:30 – (Brock/Hawkwind)
   3. Be Yourself – 8:09 – (Brock/Hawkwind)
   4. Paranoia (part 1) – 1:04 – (Brock/Hawkwind)
   5. Paranoia (part 2) – 4:11 – (Brock/Hawkwind)
   6. Seeing It As You Really Are – 10:43 – (Brock/Hawkwind)
   7. Mirror of Illusion – 7:08 – (Brock/Hawkwind)

Bonus tracks aggiunte nel 1996:

   1. Bring It On Home – 3:18 – (Willie Dixon)
   2. Hurry on Sundown (Hawkwind Zoo demo) – 5:06 – (Brock/Hawkwind)
   3. Kiss of the Velvet Whip – 5:28 – (Brock/Hawkwind)
   4. Cymbaline – 4:04 – (Roger Waters)

http://www.megaupload.com/?d=3MQ7KK1Z


IN SEARCH OF SPACE

   1. You Shouldn't Do That – 15:42 – (Turner/Brock)
   2. You Know You're Only Dreaming – 6:38 – (Brock)
   3. Master of the Universe – 6:17 – (Turner/Brock)
   4. We Took the Wrong Step Years Ago – 4:50 – (Brock)
   5. Adjust Me – 5:45 – (Hawkwind)
   6. Children of the Sun – 3:21 – (Turner/Anderson)

Tracce aggiunte nel 1996:

   1. Seven By Seven – 5:24 – (Brock)
   2. Silver Machine – 4:40 (Live at the Roundhouse) – (Calvert/Brock)
   3. Born to Go (Live At the Roundhouse) – 5:04 – (Calvert/Brock)

http://www.megaupload.com/?d=GEJO965C


DOREMI FASOL LATIDO

   1. Brainstorm – 11:33 – (Nik Turner)
   2. Space Is Deep – 5:10 – (Dave Brock)
   3. One Change – 0:49 – (Del Dettmar)
   4. Lord of Light – 6:59 – (Brock)
   5. Down Through the Night – 3:04 – (Brock)
   6. Time We Left This World Today – 8:43 – (Brock)
   7. The Watcher – 4:00 – (Lemmy Kilmister)

Tracce aggiunte nel 1996:

   1. Urban Guerrilla – 3:41 – (Robert Calvert/Brock)
   2. Brainbox Pollution – 5:42 – (Brock)
   3. Lord of Light – 3:59 – (Brock)
   4. Ejection – 3:47 – (Calvert)

http://www.megaupload.com/?d=X58GDR47


SPACE RITUAL

Disc 1

   1. "Earth Calling" (Robert Calvert) – 1:46
   2. "Born To Go" (Calvert, Dave Brock) – 9:56
   3. "Down Through The Night" (Brock) – 6:16
   4. "The Awakening" (Calvert) – 1:32
   5. "Lord Of Light" (Brock) – 7:21
   6. "Black Corridor" (Michael Moorcock) – 1:51
   7. "Space Is Deep" (Brock) – 8:13
   8. "Electronic No. 1" (Dik Mik Davies, Del Dettmar) – 2:26
   9. "Orgone Accumulator" (Calvert,Brock) – 9:59
   10. "Upside Down" (Brock) – 2:43
   11. "10 Seconds Of Forever" (Calvert) – 2:05
   12. "Brainstorm" (Turner) – 9:20

Disc 2

   1. "7 By 7" (Brock) – 6:13
   2. "Sonic Attack" (Moorcock) – 2:54
   3. "Time We Left This World Today" (Brock) – 5:47
   4. "Master Of The Universe" (Nik Turner, Brock) – 7:37
   5. "'Welcome To The Future" (Calvert) – 2:03

Bonus tracks on 1996 Remasters CD

   1. "You Shouldn't Do That" (Turner, Brock) / "Seeing It As You Really Are" (Brock) – 6:55
   2. "Master Of The Universe" (Turner, Brock) – 7:26
   3. "Born To Go" (Calvert, Brock) – 13:04

http://www.megaupload.com/?d=PEMU186Y

http://www.megaupload.com/?d=A21BBHYM


Enjoy.