#il mucchio selvaggio

[oldmanpeace]

Bruce Springsteen on the cover of the legendary Italian culture and music magazine Il Mucchio Selvaggio, 1980.

[spilladabalia]

The Wild Bunch | Final Shootout: Battle of Bloody Porch | Warner Classics

[yesterdaysanswers]

Mauro Pagani - The interview (Mucchio Selvaggio n. 307, 26 May/1 June 1998)

Musician, producer and a thousand other things, Mauro Pagani is one of the most serious and significant figures of Italian rock (and beyond) of the last twenty five years: from activism in the former Premiata Forneria Marconi to the various collaborations with Demetrio Stratos and Fabrizio De André, from research in the world music field (well before this had become a fad) to the soundtracks, the multi-instrumentalist and singer was undoubtedly the most authoritative of the possible candidates for the difficult role of Musical Director of 1º Maggio. It is precisely in this capacity that we interviewed him, asking him for information on the workings and intrigues that govern the event

How did you get this artistic direction?

I think that the appointment is due to my friendship with Fabrizio De André, who mentioned my name to Riccardo Corato, the producer of the concert. There was a need to put some order into a chaos due to pressure from record companies to include anyone, to the television that wanted to have their say, to the technical madness caused by too many guests... but I'm sure they also chose me because they hoped that I would be able to convince Fabrizio to come… 

Being a musician, I take it that you were first concerned with technical issues.

Exactly. Having ascertained that it was not possible to obtain two stages, not due to problems of space, but due to the declared unavailability of RAI to double up on equipment and personnel, I convinced the organization to build a revolving stage, in order to reduce dead times to a minimum and avoid having to equip the stage in front of the audience. The one in San Giovanni is a large atypical concert, made extremely complicated by the needs of each artist and by the presence of the TV.

To what extent does RAI intervene on the concert?

The truth is that the TV, slave as it is to audience ratings, has become incapable of being a mere spectator and tends by its culture to "televise" anything, as the Sanremo Festival clearly demonstrates. At RAI they did not want to accept the idea of ​​leaving 1º Maggio the possibility of being itself, that is, a musical review with a political meaning behind it and not just a television event: they proposed Fiorello as presenter, and when they spoke of "inviting others, invite different ones”, they were referring to Cugini di Campagna. For them, starting off with Almamegretta in prime time was blasphemy, they would have liked someone who sang "O sole mio". Luckily the whole Network (the company that manages the concert, N.d.l.) has earned and defended the decisions taken: it was a courageous act, considering that TV still acts as a "timepiece" of what is happening in San Giovanni and serves as a commodity exchange to negotiate the availability of their artists with record companies.

Are you somehow responsible for the TV broadcast idea on one network?

Absolutely not. I don't know why they changed the system, maybe they understood that the old one was too cumbersome. Even so, however, problems were not lacking, given that it was a question of upsetting the schedule of a network for about seven hours, with all its journalistic and advertising needs. Perhaps all these complications also explain why we were denied a connection with C.S.I., who had already made arrangements to perform in Reggio Emilia and therefore could not be physically present in Rome as we would have liked.

How did you move, on the contrary, in terms of artistic choices?

A complicated matter, because in any case the chosen ones would have thought that it was up to them and that I hadn't done anything special except to notice their merits, while I would have had to explain to all the others the reasons for an exclusion that they wouldn’t have willingly accepted anyway; what's more, I also suffered from the handicap of the previous editions, for example the disheveled willingness of the Network to accept everything and to submit to a series of give-and-take games. At the beginning, adopting an almost terrorist tactic, I announced my intention to halve attendance, hoping - as it later happened - to limit them to 60/70% compared to last year: this is not only because of stage changes, but also to ensure that each participant could offer two or three songs and not just the classic "promotional" piece that usually makes it to Sanremo and Festivalbar. As a basic principle I have tried to avoid pop, not out of racism towards the genre but because those who play pop still have many opportunities to appear, while at 1º Maggio - which is not the same as the Festivalbar, whatever enemies and cynical trombones may say marketed like Luzzatto Fegiz - it should be the concert of others, of those who struggle to find spaces outside the specialized circuit. Then I decided to favor groups, and not only because the first two months I was hammered with offers from young soloists, more or less singer-songwriters: groups know how to better protect themselves from the deliberate or unconscious conditioning of record companies, there are more people who keep the job alive and they sow each other's souls. They are like a laboratory, and therefore usually bring more elaborate proposals. I sincerely believe these musicians deserve more official exposure.

I don't think this modus operandi made you very popular.

I know, but what can I do? There was a line to carry and I did it all the way, there was a choice and I chose. The bad thing was having to say no to some friends for whom participation could be important, such as Massimo Bubola: we've known each other for years, we've worked together, but for reasons of coherence with the project I preferred to invite Almmegretta, Subsonica or Afterhours.

In addition to being petitioned, have you also been subjected to bribery attempts?

No, not at all. The only time they offered me money was a few years ago, when I was part of the youth jury for Sanremo. However, I've been subjected to less pressure than I expected, perhaps because of my reputation as a grouch, or because when you always speak your mind people have a harder time breaking your balls.

In the end, those who should have been on your side broke your balls: RAI, Cofferati who wanted songwriters…

The controversy of the songwriters was born fake: Cofferati was afraid that the lack of "big names" could keep the public away, and therefore in good faith he almost decided to say not to "give up" on 1º Maggio because it was something more of a concert anyway. In reality, San Giovanni, beyond the fact that there are those who want to participate for strong personal reasons and those who are less touched by the implications that are not strictly artistic, it is a maxi-musical event with television broadcasting, and the reason why we are talking about it is because it brings fights, altercations, discussions. If it were just the union party in the piazza, no one would worry too much about it, at most you'd read a few reviews in the newspapers.

Do you think you have sown something important for the future?

I hope so. And I hope next year’s artistic director realizes that a new principle has been established which at least has made the participants more protected from a technical and organizational point of view.

You assume it won't be you again.

Since they were all very happy, except perhaps Freccero, they have already asked me if I was interested in repeating. I am very honored and proud of it, but I am a little afraid of being institutionalized as "the one of 1º Maggio". But if I decided to say yes, I'd start working on it as early as September, in order to be sure of having truly exceptional foreign guests and not having to accept what little or much that has finally arrived, also thanks to the bureaucratic delays of the recording world. Furthermore, I would try to open up television prospects at a European level, and perhaps reserve a half hour for five or six "brand new” particularly promising acts.

[instabileatrofia]

Il mucchio selvaggio (The Wild Bunch)

I.S.A.

-

Do not remove the captions pls.

[crazy-so-na-sega]

(...) L'uomo smise di essere un animale selvaggio solo quando costruì il suo primo muro. L'uomo smise di essere un selvaggio solo quando noi costruimmo la Muraglia Verde, quando con questa isolammo il nostro perfetto mondo delle macchine dall'irragionevole e informe mondo degli alberi, degli uccelli, degli animali...

(...) Dentro di me formicolava un pensiero: "E se poi il tizio dagli occhi gialli - nel suo mucchio di foglie insensato e sporco, nella sua vita non precalcolata - fosse più felice di noi?".

[pollicinor]

Psyco (1960) Alfred Hitchcock Il mago di Oz (1939) Victor Fleming Il padrino (1972) Francis Ford Coppola Quarto potere (1941) Orson Welles Pulp Fiction (1994) Quentin Tarantino I sette samurai (1954) Akira Kurosawa 2001: Odissea nello spazio (1968) Stanley Kubrick La vita è meravigliosa (1946) Frank Capra Eva contro Eva (1951) Joseph L. Mankiewicz Salvate il soldato Ryan (1998) Steven Spielberg Cantando sotto la pioggia (1952) Stanley Donen e Gene Kelly Quei bravi ragazzi (1990) Martin Scorsese La regola del gioco (1939) Jean Renoir Fa' la cosa giusta (1989) Spike Lee Aurora (1927) Friedrich Wilhelm Murnau Casablanca (1942) Michael Curtiz Nashville (1975) Robert Altman Persona (1966) Ingmar Bergman Il padrino - Parte II (1974) Francis Ford Coppola Velluto Blu (1986) David Lynch Via col vento (1939) Victor Fleming Chinatown (1974) Roman Polanski L'appartamento (1960) Billy Wilder Tokyo Story (1953) Yasujirō Ozu Susanna! (1938) Howard Hawks I 400 colpi (1959) François Truffaut Gangster Story (1967) Arthur Penn Luci della città (1931) Charlie Chaplin La fiamma del peccato (1944) Billy Wilder L'impero colpisce ancora (1980) Irvin Kershner Quinto potere (1976) Sidney Lumet La donna che visse due volte (1958) Alfred Hitchcock 8 1/2 (1963) Federico Fellini Ombre rosse (1939) John Ford Il silenzio degli innocenti (1991) Jonathan Demme Fronte del porto (1954) Elia Kazan Io e Annie (1977) Woody Allen Lawrence d'Arabia (1962) David Lean A qualcuno piace caldo (1959) Billy Wilder Fargo (1996) Joel e Ethan Coen Il mucchio selvaggio (1969) Sam Peckinpah Moonlight (2016) Barry Jenkins Shoah (1985) Claude Lanzmann L’avventura (1960) Michelangelo Antonioni Titanic (1997) James Cameron Notorious - L'amante perduta (1946) Alfred Hitchcock Mean Streets (1973) Martin Scorsese Lezioni di Piano (1993) Jane Campion Non aprite quella porta (1974) Tobe Hooper Fino all'ultimo respiro (1960) Jean-Luc Godard Apocalypse Now (1979) Francis Ford Coppola Come vinsi la guerra (1926) Buster Keaton In the Mood for Love (2000) Wong Kar-wai Interceptor - Il guerriero della strada (1981) George Miller Il lamento sul sentiero (1955) Satyajit Ray Rosemary's Baby (1968) Roman Polanski I segreti di Brokeback Mountain (2005) Ang Lee E.T. - L'extraterrestre (1982) Steven Spielberg Senza tetto né legge (1985) Agnès Varda Moulin Rouge! (2001) Buz Luhrmann La passione di Giovanna D'Arco (1928) Carl Theodor Dreyer La vita è un sogno (1993) Richard Linklater Bambi (1942) David Hand Carrie - Lo sguardo di Satana (1976) Brian De Palma Un condannato a morte è fuggito (1956) Robert Bresson Parigi brucia (1990) Jennie Livingston Ladri di biciclette (1948) Vittorio De Sica King Kong (1933) Merian C. Cooper e Ernest B. Schoedsack Beau Travail (1999) Claire Denis 12 anni schiavo (2013) Steve McQueen Il matrimonio del mio migliore amico (1997) P. J. Hogan Le onde del destino (1996) Lars von Trier Intolerance (1916) D.W. Griffith Il mio vicino Totoro (1988) Hayao Miyazaki Boogie Nights (1997) Paul Thomas Anderson The Tree of Life (2011) Terrence Malick Agente 007 - Missione Goldfinger (1964) Guy Hamilton Jeanne Dielman (1975) Chantal Akerman Sognando Broadway (1966) Christopher Guest Pixote - La legge del più debole (1981) Héctor Babenco Il cavaliere oscuro (2008) Christopher Nolan Parasite (2019) Bong Joon-ho Kramer contro Kramer (1979) Robert Benton Il labirinto del fauno (2006) Guillermo del Toro Assassini nati - Natural Born Killers (1994) Oliver Stone Close Up (1990) Abbas Kiarostami Tutti insieme appassionatamente (1965) Robert Wise Malcolm X (1992) Spike Lee Bella di giorno (1967) Luis Buñuel The Shining (1980) Stanley Kubrick Scene da un matrimonio (1974) Ingmar Bergman Pink Flamingos (1972) John Waters Frank Costello faccia d'angelo (1967) Jean-Pierre Melville Le amiche della sposa (2011) Paul Feig Toy Story (1995) John Lasseter Tutti per uno (1964) Richard Lester Alien (1979) Ridley Scott Donne sull'orlo di una crisi di nervi (1988) Pedro Almodóvar La parola ai giurati (1957) Sidney Lumet Il laureato (1967) Mike Nichols

Dall’articolo "I 100 migliori film della Storia del Cinema secondo Variety: 1° Psyco, 5° Pulp Fiction, 33° 8 1/2, 45° Titanic" di Antonio Bracco

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Il Mucchio Selvaggio - Il Mio Nome è Nessuno

[delectablywaywardbeard-blog]

Senza Riscaldamento – Il Bologna di Thiago Motta e il "mucchio selvaggio" per il quarto posto

Nella puntata del 19 febbraio di “Senza riscaldamento”, condotto da Marco Lollobrigida e in onda il lunedì alle 20.30 su RaiNews24, si parla della grande stagione del Bologna di Thiago Motta, dell'”incompiuta” Fiorentina e del “mucchio selvaggio” il quarto posto che vale la Champions League. source

[aroundtable]

Torna dopo una lunga assenza il #TGTable, il telegiornale di around the table, anche per quersto mese ci prendiamo l'improbo compito di segnalare tutti i #giochidatavolo in uscita per il mese di Ottobre, ancora una volta ringrazio Hirtemis Giochi da Tavolo , per la preziosa collaborazione!

In attesa di #LuccaComics, ottobre vede l'uscita di alcuni interessanti #bordgame e varie espansioni per titoli molto amati.

In coda commenteremo il terzetto di giochi che si contenderanno il Gioco dell'Anno dutante la prossima edizione di #LuccaComicsandGames.

In qursta ediziione vedremo:

@Asmodee (Casting Shadows, Classic Art, Cortex Challenge Disney Edition, #DisneySorcerersArena, Forest Shuffle, Il Signore degli Anelli LCG – Espansione Saga Le Due Torri, #NightmareBeforeChristmas, Perspectives, Soldati (+ espansione Agli Ordini), Unstable Unicorns espansione Christmas Special, Unstable Unicorns espansione Nightmares, Waterfall Park, ristampa espansione Dune Imperium L’Ascesa di Ix)

@DVGiochi (Bonsai, Paper Dungeon espansione Side Quests)

@ghenosgame (Great Western Trail – Nuova Zelanda, Terraforming Mars Dice Game, Trio)

@pendragongamestudio (#TheWitcher - Il Vecchio Mondo)

@CranioCreation ( #EscapeRoom “Ladri di Tombe” + “L’Oro di Barbarossa” + “Il Colpo” + “Il Dentista, Le Rovine Perdute di Arnak espansione “La Spedizione Perduta”, Sagrada espansione 5-6 giocatori)

@msedizioni (Sherlock “L’Intruso” + “Stanza 208” + “Frida”, Western Legends + espansioni “Ante Up” e “Il Selvaggio Mucchio di Extra” e “L’Uomo in Nero”)

@studiosupernova (Yucatan + espansioni 5-6 giocatori + solo mode)

@boardgamesinvasion (Small Samurai Empires seconda edizione 2023)

@Ravensburger (Escape The Room – Omicidio di Mafia, Scotland Yard 40° Anniversario)

@Tambu (Explorers of the Woodland e Whakaari di Sonia e Stefano - Dal sogno allo scaffale )

@HELVETIQ (On The Road)

#boardgaming#boardgamegeek#boardgameaddict#giocodatavolo#tabletopgaming#tabletop#bgg#BoardGamesOfInstagram#boardgames#tabletopgames#gamestagram

[pensierinidellabuonanotte]

I luoghi del ritorno - 11

Marzo 77 Una lapide ricorda l’incontro della carne col piombo, il ministro da mesi l’aveva promesso ai sedicenti tupamaros. Sarebbe arrivato casuale nel mucchio selvaggio avrebbe seppellito ogni risata, il fatto era serio, se si doveva combattere non c’era più posto per i buffoni. Il centro di Bologna è un teatro di rovine per chi le sa vedere. Si sentono ancora gli schianti delle vetrine e le…

[thebooksareinthehouse]

Il Forum del Cazzo

Un pezzo di storia del Mucchio Selvaggio.

[oldmanpeace]

[vocenarrante]

"Il Mucchio Selvaggio", girato da Sam Peckimpah nel 1969, segna la fine del Western vecchia maniera. E' grandioso, crepuscolare, truculento. Sotto quest'ultimo aspetto anticipa i film di Tarantino di qualche decennio più avanti. Non ci sono buoni che vincono in questo film, non ci sono buoni di nessun genere, nemmeno quando apparentemente combattono per una giusta causa. I protagonisti sono un gruppo di pistoleri feroci e attempati (gli attori principali sono William Holden, Robert Ryan, Ernest Borgnine), che si comportano come se, consapevoli di essere ormai fuori dal loro tempo, cercassero nella battaglia finale una sorta di catarsi autodistruttiva. Tecnicamente eccellente e innovativo, questo film è considerato il capolavoro di Peckimpah e, forse, può essere annoverato fra i dieci migliori Western di sempre. — view on Instagram https://ift.tt/ITCVD1A

[instabileatrofia]

Il mucchio selvaggio

I.S.A.

-

Do not remove the captions pls.

[fallimentiquotidiani]

Afterhours sul Mucchio Selvaggio, Novembre 1997

[mtonino]

Il mucchio selvaggio (1969) Sam Peckinpah