#davas news

[neonlightsworld]

[lefkosahaberleri]

Trump'ın Anayasa'ya Aykırı Kararnamesine Tepkiler ve Dava Süreci

New Post has been published on https://lefkosa.com.tr/trumpin-anayasaya-aykiri-kararnamesine-tepkiler-ve-dava-sureci-36246/

Trump'ın Anayasa'ya Aykırı Kararnamesine Tepkiler ve Dava Süreci

Trump’ın anayasa’ya aykırı kararnamesine yönelik tepkiler ve dava sürecinin detaylarını keşfedin. Hukuki süreçler, kamuoyunun tepkileri ve politik etkiler hakkında derinlemesine bilgi edinin.

https://lefkosa.com.tr/trumpin-anayasaya-aykiri-kararnamesine-tepkiler-ve-dava-sureci-36246/ --------

[primepaginequotidiani]

PRIMA PAGINA Corriere Adriatico di Oggi lunedì, 06 gennaio 2025

[brainmoss]

yipee : D

Killer - ADAMSKI

MÁS ANIMAL - Rodrigo Cuevas ft. iLe

God is Alive, Magick is Afoot - Buffy Sainte-Marie

MUSIC LOVERS ASSEMBLE!!

i feel like starting a tag chain so i hope this works out :)

reblog this with 3 songs:

the song your listening to right now (or last one you listened to)

your current favourite song

a song of your choice

______________________________________________________________

mine:

its now or never - elvis presley/love in the dark - adele

trastevere - måneskin

nevermore - queen

______________________________________________________________

tagggzzzz: (np ofc) @heartstopper-lover123 @s0lit4ir3 @ali-da-demon @vicwritesfic @skeelly @charliethinks @tori-my-love @chronic-skeptic @toulouseradiosilence @stewpid-soup @nine-frogs-in-a-trenchcoat @pessimistic-gh0st @theshyqueergirl @crowleybrekkers @a-bowl-of-soop @frogfairy444 @robinheaney12 @fairyghostgirlgaming @thatsawesomedontyouthink @venusplanetoflove2 @thelovelyvie @abookishshade @spir4nts-lun4r @i-have-no-idea-111 @kit-the-queer @a-wondering-thought @scatteredraysofhope @coco6420 @softlyunbreakable @givennnnnn @far-beyond-saving @darling-im-wonderstruck @heartstoppernerdsstuff @nonbinary-idiot-obviously @rebelrobinrules1984 @daydream-of-a-wallflower @leonine-elizer @angel-devil-star and anyone else who wants to join!!

[vocaltv]

जाने क्या है, राज्य सरकार की श्री धनवंतरी दवा योजना

श्री धनवंतरी दवा योजना #ChhttisgarhNews #GovtScheme #SarkariJojna

छत्तीसगढ़ के नागरिकों को सस्ती जेनेरिक दवाइयां मुहैया कराने हेतु राज्य सरकार द्वारा  20 अक्टूबर 2021 को श्री धन्वंतरी दवा योजना का शुभारंभ किया गया। श्री धनवंतरी दवा योजना  के माध्यम से प्रदेशभर में 188 मेडिकल स्टोर खोले जाएंगे ताकि लोगों को सस्ते दरों पर दवाइयां मुहैया कराई जाए। आज हम आपको अपने इस लेख के माध्यम से श्री धनवंतरी दवा योजना से जुड़ी संपूर्ण जानकारी जैसे उद्देश्य लाभ  पात्रता एवं…

[sad-boys-book-club]

"&" Ampersand - A Literary Companion

Selected stories with the themes of Bastille's upcoming project "&" Ampersand. And, of course, a love letter to my favourite band.

PART 1

Intros & Narrators: Wallace, David Foster. Oblivion: Stories. Little, Brown and Company, 2004./ Nancherla, Aparna. Unreliable Narrator: Me, Myself, and Impostor Syndrome. Penguin Publishing Group, 2023.// Eve & Paradise Lost: Bohannon, Cat. Eve: How the Female Body Drove 200 Million Years of Human Evolution. Knopf Doubleday Publishing Group, 2023. / Milton, John. Paradise Lost. Alma Classics, 2019.// Emily & Her Penthouse In The Sky: Dickinson, Emily. Emily Dickinson’s Poems: As She Preserved Them. Harvard University Press, 2016. /Dickinson, Emily. Emily Dickinson: Letters. Edited by Emily Fragos, Knopf Doubleday Publishing Group, 2011.// Blue Sky & The Painter: Prideaux, Sue. Edvard Munch: Behind the Scream. Yale University Press, 2019. / Knausgaard, Karl Ove. So Much Longing in So Little Space: The Art of Edvard Munch. Random House, 2019.//

PART 2

Leonard & Marianne: Hesthamar, Kari. So Long, Marianne: A Love Story - Includes Rare Material by Leonard Cohen. Ecw Press, 2014./ Cohen, Leonard. Book of Longing. Penguin Books Limited, 2007.// Marie & Polonium: Curie, Eve. Madame Curie. Knopf Doubleday Publishing Group, 2013./Sobel, Dava. The Elements of Marie Curie: How the Glow of Radium Lit a Path for Women in Science. Atlantic Monthly Press, 2024.// Red Wine & Wilde: Wilde, Oscar, et al. De Profundis. Harry N. Abrams, 1998./ Sturgis, Matthew. Oscar: A Life. Head of Zeus, 2018.// Seasons & Narcissus: Ovid. Metamorphoses: A New Verse Translation. Penguin, 2004./ Morales, Helen. Antigone Rising: The Subversive Power of the Ancient Myths. PublicAffairs, 2020.//

PART 3

Drawbridge & The Baroness: Rothschild, Hannah. The Baroness: The Search for Nica, the Rebellious Rothschild. Knopf Doubleday Publishing Group, 2013./ Katz, Judy H. White Awareness: Handbook for Anti-racism Training. University of Oklahoma Press, 1978.// The Soprano & Her Midnight Wonderings: Ardoin, John, and Gerald Fitzgerald. Callas: The Art and the Life. Holt, Rinehart and Winston, 1974./ Abramovic, Marina. 7 Deaths of Maria Callas. Damiani, 2020.// Essie & Paul: Ransby, Barbara. Eslanda: The Large and Unconventional Life of Mrs. Paul Robeson. Haymarket Books, 2022./ Robeson, Paul. Here I Stand. Beacon Press, 1998.//

PART 4

Mademoiselle & The Nunnery Blaze: Gautier, Theophile. Mademoiselle de Maupin. Penguin Classics, n.d./ Gardiner, Kelly. Goddess. HarperCollins, 2014.// Zheng Yi Sao & Questions For Her: Chang-Eppig, Rita. Deep as the Sky, Red as the Sea. Bloomsbury Publishing, 2023./ Borges, Jorge Luis. A Universal History of Infamy. Penguin Books, 1975. // Telegraph Road 1977 & 2024: Kaufman, Bob. Golden Sardine. City Lights Books, 1976./ Wolfe, Tom. The Electric Kool-Aid Acid Test. Pan Macmillan Australia Pty, Limited, 2008.

Original artwork created by Theo Hersey & Dan Smith. Printed letterpress at The Typography Workshop, South London.

[mariapaulaaah]

After a morning at the park, the family went to Henford for a visit. Akemi: Uncle Kaito! Kaito: *laughs and hugs his niece* There's my favorite adventurer! I missed you, shorty. Akemi: I missed you too! Uncle, can you teach me how to ride a bike? Kaito: Want me to teach you? *smiles as he sees Akemi nod excitedly* Okay, let's go outside and I'll teach you. And then I want to introduce you to someone. Akemi: Deal! Akemi did her best as she followed her uncle's instructions, but it was much harder than she imagined! As she practiced, a new face approached them. Alicia: Do you think she'll like me? Kaito: Hey, don't worry. She'll love you, Alicia. Alicia is Kaito's fiancée.

PREVIOUS 《🐎》 NEXT

Translation below (PT-BR)

Depois de uma manhã no parque, a família foi até Henford fazer uma visita.

Akemi: Tio Kaito!

Kaito: *solta uma risada levantando a sobrinha num abraço* Aí está a minha aventureira favorita! Senti sua falta, baixinha.

Akemi: Eu também senti! Tio, você pode me ensinar a andar de bicicleta?

Kaito: Quer que eu te ensine? *sorri vendo a Akemi acenar com a cabeça, empolgada* Tudo bem, vamos lá pra fora que eu te ensino. E depois quero te apresentar alguém.

Akemi: Fechado!

Akemi dava o melhor de si enquanto seguia as instruções do tio, mas era muito mais difícil do que imaginava! Enquanto ela praticava, um novo rosto se aproximou deles.

Alicia: Acha que ela vai gostar de mim?

Kaito: Ei, não precisa se preocupar. Ela vai te amar, Alicia.

Alicia é a noiva do Kaito.

[diceriadelluntore]

Storia Di Musica #345 - Buzzcocks, Spiral Scratch, 1977

L'Extended Play ha avuto un momento di grande successo durante la stagione del punk. Nell'era d'oro del movimento (1976-1980) la facilità e i minori costi di produzione resero il formato piuttosto amato dalle giovani band punk, che così, in pieno stilema del movimento, potevamo mettere sul banco quel poco che erano capaci di suonare all'inizio: lo spirito ultimo del punk era, soprattutto all'inizio, la ribellione (fittizia a volte, ma è un altro discorso) ai canoni del musicista preparato, per virare in una sorta di spontanea espressione personale, a volte al limite del dilettantismo (principio che se allora poteva apparire rivoluzionario, ai giorni nostri ha tutt'altro significato). La storia musicale di oggi riguarda una band che non solo esordì con un Ep, ma, cosa davvero storica, fu la prima ad autoprodurselo, dando il via alla strada delle etichette indipendenti in Gran Bretagna.

Tutto nasce nel 1975 quando due ragazzi di Bolton, vicino Manchester, Peter McNeish e Howard Trafford, appassionati di musica, decidono che vogliono fondare una band. Si cambiano il nome in Pete Shelley e Howard Devoto, Shelley suona la chitarra e canta, Devoto canta soltanto, e chiedono in giro chi vorrebbe unirsi a loro. Hanno un accordo con un batterista, e leggendo sul New Musical Express che i Sex Pistols stanno iniziando un Tour in Inghilterra vanno a Londra per incontrare la band. Prendono accordi con il manager Malcom McLaren per aprire la data di Manchester, ma malauguratamente tutti i batteristi che contattano sono indisponibili. Ci riescono alla seconda data, nel luglio del 1976, quando vennero reclutati il bassista Steve Diggle e il batterista John Maher, e la loro esibizione d'apertura è possibile rivederla in un documentario su quel primo tour dei Sex Pistols, nel documentario Punk: Attitude diretto da Don Letts.

Quella sera si presentarono al pubblico con un nome decisamente punk: Buzzcocks, che è un misto tra il nome dialettale di quelle zone per chiamare i ragazzi (cocks) e una battuta di un celebre telefilm molto famoso in quei tempi, Rock Follies, che aveva una sorta di battuta tormentone in "that's the buzz, cocks" che vale più o meno "è la voce che gira, ragazzi". Tra l'altro Pete Shelley come lavoretto era commesso in un sexy shop a Bolton, particolare che dava una vena ironica alla scelta.

Decidono, con una mossa che farà scuola, di autoprodursi il primo lavoro, che è l'Ep di oggi. Fondano una propria casa discografica, la New Hormones, che è stata la prima etichetta indipendente di punk in Gran Bretagna. Producono, insieme al mitico produttore Martin Hannet (il capo produttore della Factory di Manchester, fido collaboratore dei Joy Division e di altre storiche band del periodo) questo Ep, che sin dal titolo, Spiral Scratch (a ricordo del suono della puntina sul vinile quando non funziona bene) è un inno al loro punk che sin da subito prende una strada diversa: abbandona i toni "politici" che in parte avevano i Sex Pistols e in seguito i Clash, per scegliere una vena ironica ma non meno devastante, parlando, per primi, dei problemi di droga dei giovani del tempo, della loro solitudine, del sesso. Chiesti 500 sterline a parenti ed amici, affittano con Hannett il 28 Dicembre del 1976 gli Indigo Sound Studios di Manchester, e in tre ore registrano 4 brani, che diventeranno loro icone e piccole perle del primo punk. Breakdown apre il lavoro, con il suo ritmo sostenuto e la chiara devastazione di essere non ancora formato in nulla di una generazione per la prima volta allo sbando (Whatever makes me tick it takes away my concentration\sets my hands a-trembling, gives me frustration\I'm gonna breakdown, I'm gonna breakdown yes). La nervosa Time's Up ha un piccolo refrain che è una dichiarazione d'intenti (Your time's up and me too\I'm out on account of you) prima che si apra la prima canzone icona del gruppo: Boredom prende alla lettera il titolo sviluppandosi in una canzone che in pratica utilizza solo due note, ed è il manifesto di una generazione apatica che ripete come un mantra "noia, noia noia" e, per la prima volta nella musica, ha paura nel futuro. Devoto, che lascerà la band dopo questo Ep dicendosi stanco del già sentirsi "definito e stereotipato" cambierà idea poco dopo fondando una nuova band, i Magazine. Friends Of Mine, con la voce diabolica di Devoto, è molto più estrema del resto, e rimarrà una sorta di unicum del gruppo, he nei lavori successivi amplierà il lato pop-punk, molto ironico, diventando la risposta europea ai Ramones.

Il disco, che fu stampato in sole 1000 copie, divenne una sorta di piccolo culto, e con il passaparola e con l'aiuto decisivo del manager del Virgin Records Store di Manchester, che lo consigliò ad altri negozi del gruppo, fu ristampato tantissime volte, fino a vendere nelle edizioni New Hormones oltre 16 mila copie. La casa discografica, che ebbe tra le mani i primi lavori di band poi eccezionali come The Fall, Cabaret Voltaire, Gang Of Four, in un primo momento non poté produrre nulla per mancanza di soldi. Solo dopo che la band, nel 1980, ebbe dissidi e non produsse niente l'etichetta iniziò a realizzare lavori, in tutto 21 dischi, ma a Manchester lo scettro era arrivato nelle mani della Factory, che produsse i dischi più innovativi e belli del periodo. Devoto una volta uscito, verrà sostituito spostando Steve Diggle alla chitarra, al basso Garth Smith, che venne ben presto rimpiazzato da Steve Garvey. Pur essendo stati i fondatori della prima piccola etichetta DIY (Do It by Yourself, termine coniato dal critico Simon Reynolds in un capitale saggio sul punk) la band siglerà un accordo con la United Artist per distribuire gli ultimi dischi della band. Con una formazione a 4 pubblicheranno nel 1978 Another Music In A Different Kitchen, uno dei migliori lavori del biennio punk '77-'78, decidendo di curare molto di più la produzione e a brani come Fast Cars, You Tear Me Up e I Don't Mind. Nello stesso anno pubblicano Love Bites, che doveva essere il nome del loro secondo Ep, che contiene la loro canzone più famosa, Ever Fallen In Love?, 2 minuti e 39 di chitarre e cori che sono un'apice del pop-punk, e vi consiglio di ascoltare anche la cover che anni dopo fanno del pezzo i Five Young Cannibals. Poi si sciolgono, e si riuniscono nel 1993, senza lasciare granchè. Una band punk ma non troppo questi Buzzcocks.

[justforbooks]

The Elements of Marie Curie by Dava Sobel

A fresh and feminist study of the pioneering Nobel laureate reveals her impact on the women she mentored and set on the path to prominence

Marie Curie carried out some of her most pathbreaking work under an actual glass ceiling and the toxic particles that swirled beneath it eventually killed her. What Dava Sobel wants to convey to us in this unabashedly feminist account of the great woman’s life is that the metaphorical glass ceiling was just as toxic to the society over which it was clamped.

Each occasion the two-time Nobel laureate had a new advance to announce to the world, she had to beg a male colleague to present it to France’s scientific academy, which barred women from its ranks. This iron-clad rule outlived Curie, hobbling her daughter Irène – another Nobel laureate – in her turn, and by the time a woman was finally granted full membership, in 1979, not only were both Marie and Irène more famous than most of the men who had blocked them, but that first female member gave her affiliation as the “Pierre and Marie Curie University”, Paris.

The academy couldn’t even claim that Marie was riding on her husband’s coat-tails, since Pierre had died tragically early in their marriage and she went on to great things – including a second Nobel prize – alone. A true scientist, she was never really alone, though. There were individual men – Pierre first among them – who recognised her brilliance and whose support for her never faltered. The physicist Paul Langevin, briefly her lover once she had been widowed, remained loyal long after the affair and accompanying scandal had fizzled out. That much we knew. What wasn’t so well known, and which Sobel brings out in her new biography, is that Curie created her own school and that many of those she mentored and set on the path to prominence were women. Each of those women inspired many others, in a radioactive cascade that would have lit up one of Irène’s cherished cloud chambers.

These were, necessarily, unconventional careers – and all the more inspiring for that. It’s hard to imagine a young woman arriving in France or any western country today, as Marie Skłodowska did in 1891, penniless, lacking a university degree, barely speaking the local lingo and going on to win a Nobel prize just over a decade later – and credit must go to the institutions and individuals who made that possible. There were women who passed through the Curie lab whose discoveries were feted around the world before they had obtained their baccalaureate, let alone a PhD. These “laboratory daughters” were fiercely loyal to Curie, and when her real daughter showed intellectual promise, she assembled a version of the “flying university” that she had benefited from in her youth in Russian-occupied Warsaw to help realise that promise. Irène was home schooled by some of the most respected thinkers of their generation. This is how scientific dynasties are born.

There were enough holes in the periodic table in the early 20th century to keep Curie in the lab for several lifetimes, but she didn’t hesitate to step outside it when the world called. The first world war having created a demand for mobile X-ray units, she built the units and learned to drive, then enlisted the ever-willing Irène as her aide-de-camp. If the book has a fault, it’s that the world doesn’t get the same attention to detail as Dmitri Mendeleev’s brilliant ordering of the elements. In the spring of 1919, the Curies’ otherwise healthy second daughter, Ève, came down with double pneumonia, aged 14. Sobel doesn’t mention that this happened against the backdrop of a flu pandemic – a disaster that claimed many more lives than the war.

Overall, though, her short and well-paced book succeeds in dispelling the dust that clings to some accounts of this most famous of lives and makes it fresh again. Her explanations of the science allow the reader to grasp how one experiment led logically to the next in the search for radioactive elements and particles, and to puzzle or rejoice with the scientists as the results come in. Their thirst for knowledge might have come close to an addiction, because even after they knew how toxic their workspace was, they were drawn ineluctably back into it.

They paid the price. We knew that too, but perhaps not to what extent. In an appendix entitled The Radioactivists, Sobel provides potted biographies of the dramatis personae. It’s shocking how many died of the effects of radiation exposure – effects that were sometimes recognised at the time, sometimes only later – and of course they weren’t the only ones. But then there were the countless others whose lives were saved or prolonged thanks to Curie’s discoveries – as well as the discoveries of the many women (and some men) who, but for her, would never have seen the inside of a lab.

Daily inspiration. Discover more photos at Just for Books…?

[junkyard-gifs]

have you heard about this ballroom-style production happening in nyc this summer? i'm so intrigued!

https://www.instagram.com/reel/C6EnK7xuf8_/

Yes! It's been on my radar for a while though I don't think I've posted anything about it yet - at least, I haven't decided on a tag for the production.

Honestly, going by my usual tagging system it should probably be '2024 pac' or '2024 nyc' but. For these guys. I sort of want to name it after its most prominent attribute which is. '2024 ballroom' 😌

Anyway have a promo clip, from their official insta, and some random cast photos out of costume.

(We don't have a lot of costume photos yet but we do know that these Jellicles will be fully humans, not feline: they are people existing within the ballroom cultural milieu of the period and 'jellicle cats' is just the pride name they use for themselves and each other. So if you strongly prefer your cats as cats, this might not be the show for you—but it's certainly a show that speaks to somebody else!)

(Also I'm just really enjoying the flurry of excitement from former Jellicles in comments on this production's posts.)

Dudney Joseph: Munkustrap (Emcee) (he/him).

Dava Huesca: Rumpelteazer (she/her)

Jonathan Burke: Mungojerrie (he/him)

Andre Deshields: Deuteronomy

Sydney Harcourt: Rum Tum Tugger

Baby: Victoria

Choreographers Arturo Lyons and Omari Wiles. (Obvs we're not going with Dame Gilly's choreo here.)

"A radical reimagining of Andrew Lloyd Webber’s iconic musical based on T. S. Eliot’s Old Possum’s Book of Practical Cats. Inspired by the Ballroom culture that roared out of New York City over 50 years ago and still rages around the world. Staged as a spectacularly immersive competition by Zhailon Levingston (Tina: The Tina Turner Musical, Chicken & Biscuits) and PAC NYC Artistic Director Bill Rauch (All the Way), with all-new Ballroom and club beats, runway-ready choreography, and an edgy eleganza makeover that moves the action from junkyard to catwalk.  Come one, come all, and celebrate the joyous transformation of self at the heart of Cats and Ballroom culture itself." (X)

[primepaginequotidiani]

PRIMA PAGINA Corriere Adriatico di Oggi lunedì, 06 gennaio 2025

[kaiyves-backup]

2024 Reading Wrap-Up

In 2024, I read 43 books for fun! (My previous record was 34 in 2023.) This year, I finally got around to reading many books that I'd wanted to read for a decade or more.

30 were nonfiction, 13 were fiction.

23 were by a woman or women (previous record was 11 in 2023), 18 were by a man or men, and 2 were written under collective pseudonyms making the actual authors unknown. I achieved my goal of half or more books read this year being by women.

30 books were by American authors, the rest by non-American authors. (Of those, 4 were by Brits and 3 were by Australians.)

Oldest: The "Mary Celeste" and Other Strange Tales of the Sea, J.G. Lockhart (1952)

Newest: Murder at Beacon Rock, by Alyssa Maxwell (2022)

4 were from the National Geographic Explorer Academy series.

Best: The Wave, in Pursuit of the Rogues, Giants, and Freaks of the Ocean, by Susan Casey (2010) I read the first two chapters in my High School library shortly after this book came out, and I bought my current copy at @strandbooks in 2015, but this one was absolutely worth the wait. It deserves every accolade it got when it came out.

Other Favorites:

At Sea in the City: New York from the Water's Edge, by William Kornblum (2002)

The Endurance: Shackleton's Incredible Voyage, by Alfred Lansing (1956)

No Horizon Is So Far: Two Women and Their Historic Journey across Antarctica, by Liv Arnesen, Ann Bancroft, and Cheryl Dahle (2003)

The Orbital Perspective: Lessons on Seeing the Big Picture from a Journey of 71 Million Miles, by Ron Garan (2015)

The Planets, by Dava Sobel (2005)

Seeing in the Dark: How Amateur Astronomers are Discovering the Wonders of the Universe, by Timothy Ferris (2002)

Starlight and Storm: The Conquest of the Great North Faces of the Alps, by Gaston Rébuffat (1954)

Taking on the World: A Sailor's Extraordinary Solo Race Around the Globe, by Ellen MacArthur (2003)

Taking the Helm: One of America's Top Sailors Tells Her Story, by Dawn Riley (1995) (Ms. Riley signed my copy when we met back in April! I interviewed her here!)

Worst: The "Mary Celeste" and Other Strange Tales of the Sea, J.G. Lockhart. The title of this book made me expect some fun nautical ghost stories, of variable truth, but really only four of the stories told could be considered "mysterious". Most of them are just "brutish-and-dimwitted mutineers of heavily-emphasized ethnicity speaking broken English as they kill their captains and then wreck the ship because they can't navigate" stories that become kind of uncomfortable in aggregate. (As a Greek-American, it struck me that every Greek seaman described in the book is one of these "shifty mutinous brutes".) Eeeesssh.

[t-annhauser]

Qui è dove ho fatto le superiori, la vecchia sede dell'Istituto Commerciale Greggiati a Ostiglia. La statua è di Cornelio Nepote, biografo e storico romano, nato a Hostilia, per l'appunto. Ostiglia insomma c'era dai tempi dei romani e già allora dava i natali all'intellighentia romana. La scuola era meravigliosa, vecchia, con le mie aule che davano su un ballatoio interno e i termosifoni marroni stile ottocento, molto neoclassica.

La statua è stata girata, ai miei tempi Cornelio guardava la facciata, e su quegli scalini, alle spalle della statua, facevamo le foto di classe che ho portato con me qui in Calabria.

Arrivavamo nel piazzale delle corriere, facevamo un pezzo di strada e ci ritrovavamo tutti alla mattina davanti al portone della scuola, quel portone che la prima volta che l'ho varcato mi sembrava che dovesse introdurre nel mondo dei grandi, come il portone del liceo di Aristotele.

Quell'orologio sulla facciata non me lo ricordo, forse ce l'hanno aggiunto nel restauro, mi ricorda un po' Ritorno al Futuro, mentre io sono qui che vorrei tutto trepidante ritornare a quel passato, il mio passato new wave (a Ostiglia ho comprato Violator dei Depeche Mode e le prime cassettine dei Litfiba, Desaparecido e Litfiba 3, perché di 17 Re avevo il CD).

Mi viene voglia di abbracciarla. Certi giorni, sotto i portici laterali, c'era il mercato.

[lunamagicablu]

Il maestro era sceso verso la riva del fiume. Il sole si era appena alzato e dava luce al risveglio del mondo intorno al corso d'acqua. Il silenzio di quelle acque era ricoperto dalle grida degli uccelli, mentre ogni altro suono si armonizzava con gli altri in una musicalità che era solo di quel posto, in una bellezza che era unica nel suo accadere. IL maestro rimase in piedi davanti al fiume, abbandonò le braccia lungo i fianchi, fece alcuni respiri e le sue braccia cominciarono ad alzarsi mentre le gambe sembravano accompagnare quei movimenti, disegnando insieme alle braccia una forma che non aveva fine. L’armonia guidava i suoi movimenti. L'allievo aveva raggiunto anche lui quel luogo, fermandosi però a distanza, aspettando che il maestro desse conclusione a quella preghiera. Quando il movimento del maestro si raccolse per trasformarsi in immobilità il discepolo si avvicinò: - Maestro, vorrei fare come voi dite - Non puoi fare come dico io, perché saresti solo la mia imitazione e come tale non saresti tu. - Come posso allora diventare come voi - Non puoi diventare come sono io. Puoi però vedere come sei e da questa osservazione potrà accadere di incontrare ciò che tu sei, non diverso da me. Il maestro si rivolse ancora al giovane guerriero: - Se sei così ci sarà un motivo, aspetta di incontrarlo prima di buttarlo via... … ed insieme entrarono nel movimento appena concluso per un nuovo inizio, così che fine e inizio sono solo momenti di ciò che non ha mai fine… la vita. Sembrava che i suoni della natura cantassero insieme alla forma che stavano eseguendo, non esistevano in quel momento singolarmente ma esisteva una unica unicità… l’adesso. Franco Piccirilli *************************** The master had gone down to the river bank. The sun had just risen and was giving light to the awakening of the world around the watercourse. The silence of those waters was covered by the cries of the birds, while every other sound harmonized with the others in a musicality that was only of that place, in a beauty that was unique in its occurrence. The master remained standing in front of the river, he abandoned his arms along his sides, took a few breaths and his arms began to rise while his legs seemed to accompany those movements, drawing together with his arms a shape that had no end. Harmony guided his movements. The student had also reached that place, but he stopped at a distance, waiting for the master to conclude that prayer. When the master's movement came to become stillness, the disciple approached: - Master, I would like to do as you say - You cannot do as I say, because you would only be my imitation and as such you would not be you. - How can I then become like you - You cannot become as I am. However, you can see how you are and from this observation it may happen to meet what you are, not different from me. The master turned again to the young warrior: - If you are like this there must be a reason, wait to meet it before throwing it away... ... and together they entered the movement just concluded for a new beginning, so that end and beginning are only moments of that which never ends... life. It seemed that the sounds of nature were singing together with the form they were performing, they did not exist in that moment individually but a single uniqueness existed... the now. Franco Piccirilli