#v. colletta

[the-gershomite]

The Defenders #27 -September 1975-

"Three Worlds to Conquer!"

written by Steve Gerber

art by Sal Buscema & V. Collettta

letters by Joe Rosen

colors by Al Wenzel

[savage-kult-of-gorthaur]

OH, THE HORRORS YOU'LL SEE -- BOOKENDED BY VAMPIRES, NO LESS.

PIC(S) INFO: Spotlight on Tumblr cover photo set #2 for the month of November, and one of my all-time favorites yet. Lotsa blood-sucking/blood-spilling action this time around. Featuring finds such as:

Morbius, the Living Vampire à la Todd McFarlanen

CRASS playing a gig in Wales, UK, c. 1981.

A film still of Rina Sawayama in "John Wick 4," c. 2023.

"V for Vendetta" artwork by David Lloyd, c. 1988.

A film still of impaled Ottomans from 1992's "Bram Stoker's Dracula," directed by Francis Ford Coppola.

John Mayall's Bluesbreakers and Eric Clapton, c. 1966.

A panel from the "Forever People" by Jack Kirby & Vince Colletta, c. 1971.

A Dracula-themed print advertisement for Slim Jim all-meat snacks, c. 1977, artwork by Jack Davis.

Sources: Flickr, Pinterest, View Comic Online, X (formerly known as Twitter), Crass (a history), Reddit, Bleeding Cool News, various, etc...

[delectablywaywardbeard-blog]

'Colletta elementare', il Cisom incontra scuole a Paganica

Un incontro conclusivo del progetto di raccolta elementare per la distribuzione di generi a persone bisognose della città è in programma domani, mercoledì 24 gennaio, nella frazione aquilana di Paganica. L’iniziativa, a cura del Cisom – Corpo italiano soccorso dell’Ordine di Malta – si terrà nella palestra della scuola media “Celestino V” di Paganica, alle 10. In questa occasione gli studenti…

[elvain]

Balder the Brave in Thor #206 (speaking of the Norn Queen, Karnilla)

—

Gerry Conway (scripter), John Buscema (artist), V. Colletta (inker), J. Costanza (letterer), Roy Thomas (editor).

[josefavomjaaga]

Helfert, Joachim Murat, Chapter 3, Part 2

(We left Murat claiming to British visitors that he, despite wanting Napoleon to drive the Bourbons out of France, was still totally in the Alies' camp.)

In spite of these assurances, everyone now knew very well what to expect from his side. Moreover, the facts were in stark contradiction with his words. All kinds of armaments were brought to completion with restless haste, throughout the kingdom the press of sailors was ordered to man the vessels; the royal guards, all troops were ordered to be ready to march; his aides-de-camp were constantly on the move in this or that direction. A year earlier Joachim had already begun to give the civil militia a better establishment, this was now continued most assiduously. The capital also received a military guardia di sicurezza, six battalions on foot and an escadron; property and the intelligentsia formed the elements drawn to their service: the wealthy privateers, merchants and tradesmen, professors, civil servants of all grades; a special medal of merit with the motto: "Onore e fedeltà" was created to stimulate their zeal. Ever since the world peace had been concluded, and with explicit reference to this change, Joachim had also tried to create a Sicilian regiment, Neapolitans who had followed Ferdinand IV to the island, but for whom there was now, as Murat thought, no longer any reason to stay abroad; but the influx was very small, the intended regiment never came into being. Among the officers' corps, a very dangerous increase consisted of many Lombards and Romagnoles who had formerly served in the army of the Kingdom of Italy and who, according to the custom of such fugitives from the country, had their mouths full of lofty words, pushed for an immediate upsurge in arms, which would be met with the most brilliant successes: old comrades would flock to them from all parts of Italy, hundreds, thousands of them armed and uniformed, gladly joining the King's army.

These military precautions went hand in hand with some personnel changes in the upper circles of government. The Minister of Finance, Mosbourg, a Frenchman by birth, asked for and received his dismissal - he had made his penny dry and did not want to expose it again to all the storms and rigours of the weather; he became Secretary of State in place of Prince Pignatelli-Cerchiara, who took over the vice-presidency of the Council of State from Cianciulli. The portfolio of finances was given to Baron Nolli, who had to begin his office with the most hateful measures: the merchant class was hit with a compulsory loan of 2 million francs; all the coffers, not excluding those of the hospitals and charitable foundations, were emptied to the last penny. Maghella was once again put in charge of the police; General Manhès became the governor of the capital, two personalities whose very names were disgusting to the people.

The author here in a footnote quotes Mier from a letter of 12 March: "Ces deux individus jouissent de la plus mauvaise réputation et sont détestés comme étrangers".

Under these circumstances, Mier's position in Naples became a very unpleasant one, and he urgently begged Prince Metternich "not to forget him". In the face of Joachim's assertion and that of his organs, in particular the government newspaper, maintaining that the King was in full harmony with Austria, that his policy was also that of Austria, Mier took every opportunity to loudly contradict this: "Austria is rather resolutely opposed to having the peace of Italy disturbed; the King, by pursuing his warlike desires and a delusion of greatness, will drag himself and his own to ruin". He sent a confidential letter to the queen, imploring her to do everything in her power to prevent her husband from making a hasty decision. He had discussions with Gallo, to whom he gave his unreserved opinion and drew his attention to the fact that the first step taken by a Neapolitan soldier across the demarcation line agreed on 28 April at Bologna would have the immediate consequence of breaking the Austrian alliance.

As early as the 12th of March it was said that the King would leave for the army, Mosbourg and Zurlo with him, Gallo and Macdonald to follow, and the Duke of Carignano to conduct foreign affairs in the meantime. The Princess of Wales, on hearing this decision, had offered to precede the King to Ancona; but he had sent her his regrets through the Duke of Roccaromana that he would not be able to receive her there, whereupon she angrily departed that very morning for Civita Vecchia, and from thence to Genoa. But the king's departure did not come to pass for the time being. Once again, doubts had intervened: repeated and strong hints from the Austrian envoy, requests and ideas from the queen, insistent advice from serious men who were in Joachim's confidence [footnote see below, as somewhat longer]. For a moment it had seemed as if everything was to be reversed, regiments that were about to march had been ordered to halt, others had even said that they would be recalled from the Marches.

Then new favourable news arrived of Napoleon's advance in France - from the evening of 10 March, when he entered Lyon, which might have been reported in Naples on the 15th - and now there was no more rest and no more peace for Joachim. He hastily summoned the Council of State, which was attended by the Queen, all the ministers, and the top generals, not to hear the opinion of those present, but to win them over to his own, which he did with all the grandiloquent exuberance of a Gascogner: 8,000 of his own troops, 14 battalions of provincial militia, civic militia without number; in addition, appeals from all parts of the peninsula, here a letter speaking of 12 regiments in readiness, of 12,000 shotguns in stock, there a letter with the promise of four fully equipped regiments, another promising the whole mass of the disbanded Italian army. The majority of those assembled listened to these reckless reports in incredulous distrust; with regret they saw the King's self-deception, and urgently advised against a hasty step: "one should rather await the answers from Vienna and London, the last success of Napoleon's enterprise, the resolutions of the Congress of Vienna on this unexpected change of affairs". Joachim suspended the meeting without passing a resolution that he did not like, sent Count Beaufremont to France with the declaration that the Emperor could count on his services, and let the Roman Court know through Cardinal Fesch that he regarded Napoleon's cause as his own and soon intended to prove to the world that it had never been alien to him.

On the evening of March 15, the Austrian envoy had a conversation with the Duca di Gallo, the contents of which left no further doubt. Joachim's minister complained about the obvious cooling in Austrian sympathies; about the neglect of his monarch's interests on the part of the Viennese Cabinet; about the small amount of effort the Cabinet had made to obtain the king's recognition from the other powers; about the humiliating way in which the king's ministers and other trusted individuals sent there by him were treated in Vienna. "The Congress will come to an end," Gallo concluded, "and Austria will not have fulfilled the promise she made to us. From this we can conclude no other than that she will abandon us in an extreme case, from which it further follows that the King must seek assistance where it is offered and resort to those means which he can hope will help him to his goal...". The next day, Mier appeared before the queen, who, as she complained to him, had been brought completely down by her sorrow, as well as by the continual quarrelling and disputes. "The King thinks," she said, "that Napoleon's successes will help to keep him on the throne. You know my opinion on this point. I will not cease to advise him that if the Vienna Cabinet should decide to oppose Napoleon, there is nothing left for him but to join Austria and follow her system and policy. You see, I am sacrificing my personal feelings and the agony of seeing my family persecuted, covered with shame and reproaches, to the duties of a mother, to the duties of a Queen of Naples. Emperor Francis has remained our loyal ally until this moment, and I am convinced that he will continue to do so in the future, if we know how to deserve it. This is his duty: but his own best interests also require him to do so".

[Footnote] Among them, in the first row, Pietro Colletta who, on March 11, "in his capacity as Councillor of State", sent a letter to the King urging him against any daring enterprise. The unification of Italy was a dream, "un filone di uomini caldi si abbandonerà a questa idea lusinghiera, ma la massa degl' italiani o la spregerà o la riguarderà con indifferenza o si armerà contro di essa". Twenty-five years of war and revolution had created a deep need for peace; the fine phrases used to flatter the passions of the people had lost their power. And how much preparation was needed to bring the war power up to the proper level! "L'armata di V. M. potrebbe esser battuta prima che aiutata!" The King should keep calm, so that time would pass which would only benefit the existence of his dynasty ... F. Palermo who published the letter in Arch. stor. ital. 1856 III p. 62-65, declares himself unable to state whether the letter really reached the king's hand or not.

Okay, this seems huge to me. I had no idea how much Joachim had suffered from being branded a traitor and how much it had weighed on his conscience. "[...] he regarded Napoleon's cause as his own and soon intended to prove to the world that it had never been alien to him." I guess the need to prove to both himself and to the world that he was not a dishonourable being played a huge role in his disastrous decision. (This actually reminds me of a dissertation on Austrian general Mack - the one from the campaign of 1805 - that claimed that similar mental stress led to the latter's irrational behaviour during the time auf Ulm.)

"Onore e fedeltà" may actually be a direct reference to Eugène's (at the time often quoted) proclamation to the people in the Kingdom of Italy, dated February 1, 1814, which publically announced Murat's defection and declared the Neapolitans an enemy to Napoleon's cause. ("Français! Italiens! j'ai confiance en vous; comptez aussi sur moi! Vous y trouverez toujours votre avantage et votre gloire. Soldats! ma devise est Honneur et Fidelité! Qu'elle soit aussi la vôtre; avec elle et l'aide de Dieu nous triompherons enfin de nos ennemis.") Murat basically claims that phrase - that had been directed against him - back.

Naturally I'm also interested in those "fugitives" from Lombardy who had come to Naples and may have presented a highly misleading picture of people's attitude in Northern Italy at the time. In truth, the different political factions there seem to have agreed pretty soon in their dislike of their new Austrian masters (I believe it is in August 1814, only four months after taking over, that Bellegarde has to send military to the Scala of Milan because riots were about to break out) but that does not necessarily mean they were friendly towards the Neapolitans - who by most were considered as foreigners just as much as the French had been. Also, the Austrians seem to have taken immediate measures to remove all rebellious elements from the country; I believe it is Méneval who mentions how all the Lombardian officers suspicious of still being too attached to the old regime, were transferred to Hungary and, on their way there during the Congress in Vienna, stopped by one by one to see their old viceroy. And to probably reproach him for not having marched on Milan in April when the riots broke out.

[ryanahmed]

App for Peer Supported Substance Use Recovery

Published research at ACM CSCW 2021, AHA innovation award 2018

Many organizations in the healthcare industry have adopted a peer supported care delivery process for individuals recovering from substance use. Peer Mobile App (PMA) for smartphones was envisioned as a tool to support secure communication, virtual check-in and resource sharing among coaches and clients, designed through a user-centered research process working closely with potential users and stakeholders.

Team: Victor Cornet, Ryan Ahmed, Sarah Colletta, Jessica Pater, Tammy Toscos (Parkview Research), Connie Kerrigan (Parkview Behavioral Health), Chanda Phelan (University of Michigan)

The existing peer supported recovery program utilizes phone calls and text messaging for most coach-recoveree communication including requesting urgent support, coordinating future appointments and sharing useful resources in addition to regular wellness check-in correspondence. 

Objective

The user-centered design process aimed to establish and integrate the following core features of PMA: 1) Secure messaging, voice and video calls with end-to-end encryption, 2) Personalized shared resource library and appointment calendar, 3) Automated redirection of urgent requests and scheduled substitute coach delegation, and 4) Timeline and logged communication for reference.

Process

Focus Group and Card Sorting

Two focus groups utilizing a card sorting activity within a session were conducted respectively with individuals in recovery (clients) and with coach-client pairs to elicit requirements and prioritization of features within the envisioned PMA app.

Prototyping

Interactive app designs were created using Adobe XD from the focus group and card sorting findings with separate interfaces for clients and coaches.

Usability Testing

5 coaches and 5 clients tested the interactive prototype in individual usability testing sessions for usability assessment and feedback for improvement which were integrated in a second design iteration.

Outcome

PMA is in development to be used initially in multiple test sites for a pilot trial following positive responses from both clients and coaches.

Publications

Pater, J. A., Phelan, C., Cornet, V. P., Ahmed, R., Colletta, S., Hess, E., ... & Toscos, T. (2021). User-Centered Design of a Mobile App to Support Peer Recovery in a Clinical Setting. Proceedings of the ACM on Human-Computer Interaction, 5(CSCW1), 1-31.

[incamminoblog]

Figlie della Chiesa Lectio V Domenica di Quaresima (Anno C)

Figlie della Chiesa Lectio V Domenica di Quaresima (Anno C)

V Domenica di Quaresima (Anno C)  (03/04/2022) Vangelo: Gv 8,1-11 Tutta la liturgia di questa quinta domenica di quaresima è una supplica a Dio perché perdoni le nostre colpe e faccia rifiorire nel nostro cuore il canto della gratitudine e della gioia; per questo facciamo nostre le parole della Colletta: Dio di bontà, che rinnovi in Cristo tutte le cose, davanti a te sta la nostra miseria: tu…

[motherboxing]

Like... this is Orion and Lightray as Kirby wrote (and drew*) them, in New Gods v. 1, issue 1. This is why I find Tom King’s Mr. Miracle troubling! You know? It’s not even like when Truman and Ostrander edgified the Hawks, because Truman and Ostrander had really specific ideas about what they were doing with that and why - it was about politics, it was about America from the perspective of the writers through the eyes of these literal alien characters... the grittiness of Hawkworld, which was fairly superficial, was secondary to its analysis of the Hawks and the ways it transformed them into more three-dimensional characters. Tom King’s Mr. Miracle feels like a joke at the expense of scenes like this in Kirby’s original stories, and it feels mean, and I don’t like it. 

*Inks by Vince Colletta!

[ramonaillustrationtwo]

Exercise: Girl meets boy

I started this exercise by considering how I wanted to retell ‘Girl meets boy’. I considered a few ideas, stick insects who meet and then loose each other in the brambles, a girl who meets a ghost...I found it tricky to think of the part of the story where ‘girl wins boy back’. I then thought of Hercules and Meg from the Disney film ‘Hercules’ (This may be due to drinking my coffee out of Hercules mugs). In the film adaptation of the Greek Myth, Hercules rescues Meg (Megara) from the underworld. Meg has died has to be pulled from the river Styx. This animation fascinated me as a child and I found the ageing of the characters captiviating. 

(Disney, 1997)

I wanted to use this as the basis for my sequential illustration but subvert the story so that the female character is the one doing the rescuing. This wouldn’t necessarily be Hercules and Megara specifically but similar character types. I wanted the male to still be muscular in order to heighten the juxtaposition of her saving him. I began to think about how she would face the challenges of the underworld. Cerberus the three heading dog, the river styx, saving him. 

As I researched both Greek Mythology and the history of sequential illustration I began to look at how Greek pottery was used to retell stories. Often depicting either key moments or the development of the story around the pot. I thought it would be interesting to incorporate elements of greek pottery style within my illustration. Primarily, a limited colour scheme focusing on black, white and the red/terracotta colour of the pots. I would also (in most but not all of the frames) use side profile and exaggerated body language and add flourishes of traditional greek pattern and drawing style.  

Initial Sketches and Layout Ideas

Visual Research

(Heracles and Athena. Tondo of an Attic red-figure kylix, 480–470 BC. From Vulci, 2020)

(Terracotta volute-krater (bowl for mixing wine and water), ca. 450 B.C. Greek, 2017)

(Theseus killing the Minotaur of the Cretan labyrinth Late 6th, early 5th century BCE. (Archaeological Museum, Milan)., 2012) 

(Container for Oil, fifth century, 2008)

(Ancient Greek Footrace, c.550 BCE, 2020)

I also looked through some of my vintage comic books for style ideas but also to explore the body language of ‘heroes’.

(Conway, Newton and Alcala, 1983)

(Buckler and Colletta, 1978)

I liked the stylised way this book interpreted Greek myths. The pointier angles and exaggerated body language. 

(White, Provensen and Provensen, 1964)

Layout

I had a clear idea of the layout but was concerned about the establishing the framing myself, to help with this I opted to use the computer software Comic Life. Using my sketches I created this layout. I printed the layout to help consider the sizing my drawing would be. 

After I had drawn all the key elements of the illustration I scanned them into my comic life template. This allowed me to visualise if the images would read well within the size. I used this rough version as a guide which I traced to clean up my line work, develop the backgrounds further and generally tweak the illustration.

  I scanned this new ‘cleaner’ version back to my laptop and coloured it. I then added lettering using Comic Life.

Within my design I included some of the story telling features outlined in ‘Understanding Comics, The Invisible Art’, some intentionally after reading the book and some I used without realising prior to reading the book. 

Breaking the boarder in frame two with an arrow adds to the surprise of the attack to the character. The arrows are so out of the blue they haven’t even made it into the frame.

The ‘jump to action’ lines in frame four to imply a sudden burst of energy. This is common within superhero comics.  

Motion lines to indicate the path of travel of the bone. The blurred tail to describe a wagging motion. 

Panel six is much longer than any other frame. This is to convey a sense of more time passing, our protagonist is working hard, rowing, it’s not a quick nip across the pond. 

I wanted to experiment to see if I could convey the narrative without the use of any spoken language and I think this has been successful. I included τέλος which is Greek for ‘End’ as I wanted to use this element of action comic convention but with a twist making it more fitting for my Ancient pottery style. 

References

2008. Container For Oil, Fifth Century.. [image] Available at: <https://www.nytimes.com/2008/12/19/arts/design/19wome.html> [Accessed 14 April 2020].

2012. Theseus Killing The Minotaur Of The Cretan Labyrinth Late 6Th, Early 5Th Century BCE. (Archaeological Museum, Milan).. [image] Available at: <https://www.ancient.eu/image/623/theseus--the-minotaur/> [Accessed 14 April 2020].

2017. Terracotta Volute-Krater (Bowl For Mixing Wine And Water), Ca. 450 B.C. Greek. [image] Available at: <https://www.metmuseum.org/blogs/metkids/2017/greeks-vs-amazons> [Accessed 14 April 2020].

2020. Ancient Greek Footrace, C.550 BCE. [image] Available at: <https://www.britannica.com/sports/pentathlon> [Accessed 14 April 2020].

2020. Heracles And Athena. Tondo Of An Attic Red-Figure Kylix, 480–470 BC. From Vulci.. [image] Available at: <https://en.wikipedia.org/wiki/File:Athena_Herakles_Staatliche_Antikensammlungen_2648.jpg> [Accessed 14 April 2020].

British Museum.org. n.d. Collection Online The Siren Vase. [online] Available at: <https://research.britishmuseum.org/research/collection_online/collection_object_details.aspx?images=true&objectId=399666&partId=1> [Accessed 14 April 2020].

Buckler and Colletta, 1978. Wonder Woman, The Terrorist Dooms, (244).

Cartwright, M. and Cartwright, M., 2012. Theseus & The Minotaur. [online] Ancient History Encyclopedia. Available at: <https://www.ancient.eu/image/623/theseus--the-minotaur/> [Accessed 14 April 2020].

Cartwright, M. and Cartwright, M., 2013. A Visual Glossary Of Greek Pottery. [online] Ancient History Encyclopedia. Available at: <https://www.ancient.eu/article/489/a-visual-glossary-of-greek-pottery/> [Accessed 14 April 2020].

Conway, G., Newton, D. and Alcala, A., 1983. Batman, The Bat and the Cat, (355).

Disney, 1997. Except From Disney's Hercules. [video] Available at: <https://www.youtube.com/watch?v=LS1bftiDhdU> [Accessed 14 April 2020].

Khan Academy. n.d. Ancient Greek Vase Production And The Black-Figure Technique (Video) | Khan Academy. [online] Available at: <https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/greek-pottery/v/ancient-greek-vase-black-figure-technique> [Accessed 14 April 2020].

McCloud, S., 1994. Understanding Comics, The Invisible Art. NY: HarperCollins Publishers.

Metmuseum.org. 2020. [online] Available at: <https://www.metmuseum.org/blogs/metkids/2017/greeks-vs-amazons> [Accessed 14 April 2020].

Museum of Fine Arts Boston. 2020. Vessels Of The Ancient World. [online] Available at: <https://collections.mfa.org/search/Objects/*/greek/images?filter=allClassifications%3AVessels%3BcollectionTerms%3AThe%20Ancient%20World&page=2> [Accessed 14 April 2020].

THE SHIELD OF ACHILLES. 2018. Thetis And Nereids Riding Sea Creatures, Delivering Achilles’ New Armor. [online] Available at: <https://theshieldofachilles.net/2018/08/14/thetis-delivering-achilles-shield-in-art-through-the-ages/side-b-of-greek-apulian-red-figure-pelike-in-the-style-of-the-gravina-painter-ca-425-400-bce-depicting-thetis-and-nereids-riding-sea-creatures-delivering-achilles-new-armor-non-commerci/> [Accessed 14 April 2020].

White, A., Provensen, A. and Provensen, M., 1964. Myths And Legends. Adapted From The World's Great Classics By A.T. White. Illustrated By Alice And Martin Provensen. London; printed in Czechoslavakia: Paul Hamlyn LTD.

[ildiariodibeppe]

Convertire… la festa

Sabato – V settimana T.Q.

(Ez 37, 21-28 / Sl: Gr 31, 10-13 / Gv 11, 45-56)

L’ultima parola del Vangelo di questo sabato, che precede la domenica delle Palme e l’inizio delle celebrazioni di una nuova Settimana Santa, è <festa> (Gv 11, 56). In realtà l’ultimo segno non è una parola, ma un punto interrogativo che non va per nulla sottovalutato perché significa un’attesa nel popolo che dovrebbe contagiar anche il nostro cuore di discepoli mentre ormai le feste pasquali sono imminenti. La Liturgia, con la scelta di questo testo del quarto Vangelo, è come se volesse offrirci una modalità per entrare nel mistero di questi giorni: <Essi cercavano Gesù e, stando nel tempio, dicevano tra loro: “Che ve ne pare?” Non verrà alla festa?>. Dall’altra parte di questo testo – propriamente all’inizio – troviamo un’altra nota: <molti dei Giudei che erano venuti da Maria, alla vista di che Gesù aveva compiuto credettero in lui> (11, 45).

Si tratta della risurrezione di Lazzaro che sembra portare un frutto particolare: la casa di Betania sembra non essere più principalmente la dimora di Marta o di Lazzaro, ma pare che la padrona di casa sia ormai Maria. La risurrezione di Lazzaro sembra aver cambiato gli equilibri di questa particolare famiglia mettendo al primo posto l’atteggiamento di Maria che, ben presto, aprirà la Passione del Signore con il gesto profetico della profumazione dei piedi del Signore, gesto che comincerà a smascherare Giuda costringendolo a venire allo scoperto con i suoi pensieri. Ma non è tutto! La folla che conclude il testo e i Giudei che visitano Maria che lo ha aperto, non fa che dare ancora più profondità e drammaticità a ciò che avviene al cuore del racconto, là dove l’evento descritto suona come un vero ultimatum: <Gesù doveva morire per la nazione; e non soltanto per la nazione, ma anche per riunire insieme i figli di Dio che erano dispersi. Da quel giorno dunque decisero di ucciderlo> (11, 52-53).

A questo punto possiamo intonare il canto di Geremia che riprendiamo nel salmo responsoriale: <Chi ha disperso Israele lo raduna e lo custodisce come un pastore il suo gregge> (Ger 31, 10). Si compie così – solo così! – la profezia di Ezechiele: <farò di loro un solo popolo nella mia terra, sui monti di Israele; un solo re regnerà su tutti loro> (Ez 37, 22). Questo re annunciato dal profeta regnerà dalla croce dove sarà insultato fino all’ultimo, ma da cui ci rivelerà come l’amore è capace di amare fino all’estremo. Anche noi ci stiamo preparando alla festa di Pasqua che è, ancora una volta, <vicina> (Gv 11, 55). Pertanto siamo chiamati ad esaminarci rigorosamente sul modo di vivere questa festa perché sia autentica. Possiamo fare più che mai nostre le parole oranti della Chiesa: <guarda con bontà alla tua famiglia, custodisci nel tuo amore chi attende il Battesimo e assisti chi è già rinato alla vita nuova> (Colletta).

Ti supplichiamo, Signore Gesù, non solo di venire alla festa, ma di aprire i nostri cuore alla grande festa della tua Pasqua: è festa di perdono, di pace, di riconciliazione, di gioia…! Sia festa per tutti, per i vicini e per i lontani! Sia festa indubitabile, i cui colori, sapori e suoni, possano essere inconfondibili e contagiosi di speranza. Kyrie eleison!

http://www.lavisitation.it/index.php?option=com_users&view=registration&layout=complete&Itemid=142&lang=it

[theradiodude]

Let's set something straight here. The father-son duo of murderers who murdered Ahmaud Arbery (and I use the word "murder" because that's exactly what it was) CLAIM that they were conducting a "citizen's arrest." That's bullshit. Here's why. Firstly, in Georgia (as with almost every other state where citizen's arrest laws are in place), "A private person may arrest an offender if the offense is committed in his presence or within his immediate knowledge. If the offense is a felony and the offender is escaping or attempting to escape, a private person may arrest him upon reasonable and probable grounds of suspicion." (https://ift.tt/3c8rTzR) The murderers in this case, Gregory McMichael and Travis McMichael, did not witness Arbery commit any crime. They had no immediate knowledge of Arbery committing any crime. They claim that Arbery resembled a person who is suspected in a series of break-ins. (https://ift.tt/2WmUM4L) That does not meet the mandatory criteria for conducting a citizen's arrest. In fact, the Georgia Bar cites a case called Winn Dixie Stores Inc. v. Nichols, in which the court held that "the limited rights of merchants to detain or arrest a person reasonably believed to have committed a shoplifting offense do not authorize a merchant to detain or arrest indi-viduals accused by store patrons of committing crimes against other patrons. To make the arrest, an employee would have had to actually see the criminal act committed. Therefore, it was ruled that management had no authority to arrest the alleged criminal. The court suggested that the only person who could have made the citizen’s arrest was the robbed customer herself." (https://ift.tt/2L0Ly91) That means that if Arbery WERE the robbery suspect, only someone who had actually WITNESSED him committing the crime would have had the legal authority to conduct a citizen's arrest of him. Secondly, and also according to the Georgia Bar, "When making a citizen’s arrest, a person may not use more force than is reasonable to make the arrest. Deadly force is limited to self-defense or to instances in which such force is necessary to prevent certain felonies." Arbery was unarmed. He was doing nothing other than jogging down the street. The murderers followed him in their vehicle, pulled ahead of him, stopped him, then shot him. At no point was use of a firearm necessary, let alone deadly force. Arbery was not a threat, so the murderers have no valid claim to self-defense. In fact, even if Arbery had been armed, THEY stopped HIM and instigated the entire situation without any valid legal justification for doing so, so their claim to self-defense would still be invalid. On top of that, the murderers claim that Arbery attempted to grab a gun that Gregory McMichael had pointed at him, which is why Travis McMichael began firing on Arbery. Now, for one thing, Gregory McMichael is a former police officer, so he knows full well that you don't point a gun at someone unless you intend to pull the trigger. If he was close enough for Arbery to grab the gun and he DIDN'T pull the trigger, then he's a chickenshit who doesn't belong owning guns in the first place, let alone wearing a fucking badge. But for ANOTHER thing, Gregory McMichael's admission that he intentionally pointed a gun at an unarmed man COMPLETELY NULLIFIES ***ANY*** claims that he or Travis McMichael have to self-defense OR justifiable use of force. Because again, refer to the Georgia Bar: "When making a citizen’s arrest, a person may not use more force than is reasonable to make the arrest. Deadly force is limited to self-defense or to instances in which such force is necessary to prevent certain felonies." They had no reason to believe Arbery was armed and dangerous. The guy was doing nothing but jogging. The murderers stopped him, and he attempted to continue jogging away BEFORE either of his killers pointed firearms at him. He did not pose a threat, and he was not in the process of committing any felonies. Travis McMichael shot and killed him anyway. This was not a citizen's arrest. This was murder. Open, plain, and simple. Nothing else.

[tmnotizie]

SAN BENEDETTO – Alcuni alunni della scuola secondaria di primo grado “Curzi” hanno, per il secondo anno, dato prova della loro creatività attraverso le forme espressive della danza, del canto e della recitazione, con la rappresentazione teatrale “Canticando”, liberamente tratta dall’opera “La Divina Commedia” di Dante Alighieri al Teatro Concordia di San Benedetto. Coordinato dalla docente Maria Perla De Fazi, il progetto ha visto coinvolti ventitré alunni delle classi IIG, IIH, IIIF, IIIG, la docente Lara Di Sante per il canto e la musica dal vivo e il  maestro di recitazione Daniele Vittori come esperto esterno.

Lo spettacolo è stato una rivisitazione dell’opera restando, tuttavia, fedele alla struttura e al ragionamento storico ed esegetico del messaggio dantesco. I versi dei canti, trascritti in prosa e alcuni tradotti in lingua francese e inglese, hanno trasportato gli spettatori in una dimensione ancora più attuale. I balletti sono stati coreografati su basi musicali modernissime, come “Los Infernos” del gruppo musicale Emisferi Paralleli, e resi suggestivi dalle proiezioni in movimento appositamente studiate. Anche molte delle scene recitate sono state accompagnate da proiezioni dinamiche e da alcuni effetti sonori tali da rendere i personaggi più vicini alla descrizione dantesca.

Le figure di Dante e Virgilio sono state interpretate in maniera egregia da quattro alunni: Daniele Silvestri e Stefano Merlini (Dante), Samuele degli Esposti e Giorgia Travaglini (Virgilio).

Di notevole intensità il Canto V dell’Inferno che è stato recitato in lingua francese dagli alunni Mishel Zhuka, nel ruolo di Francesca e Valerio Spina nel ruolo di Paolo, inoltre cantato sull’Aria di Francesca di Marco Frisina dall’alunna Anna Graci che, accompagnata al flauto traverso dalla docente Lara Di Sante, ha conferito alla rappresentazione scenica una profonda liricità. Mentre il Canto XXVI dell’Inferno, che vede come personaggio l’eroe omerico Ulisse è stato riproposto in lingua inglese dall’alunno Stefano Colletta.

Il balletto e le parole di Beatrice (Angelina Di Monte) sulle note di “Perfect” di Ed Sheeran, hanno trasmesso al pubblico un messaggio di speranza e di redenzione per tutti gli uomini. Ha terminato lo spettacolo San Bernardo (Alessandro Capecci) che annuncia Maria Santissima, la quale è apparsa simbolicamente sul palco attraverso l’emozionante canto della “Preghiera alla Vergine” sulle musiche di Marco Frisina interpretato dalla voce solista Sofia Traini e arrangiato al violino da Anna Graci e al flauto traverso dalla docente Lara di Sante.

Il laboratorio teatrale didattico, arricchito dalla musica dal vivo e dalle scenografie filmate, si è concluso con grande entusiasmo da parte degli alunni, della docente, delle famiglie e della dirigente, la quale ha manifestato al pubblico il suo apprezzamento per il viaggio nel mondo del teatro anche quest’anno intrapreso dai giovani attori dell’Istituto.

[puroquore]

English Video available @ https://www.facebook.com/fabmrleatheritalia/videos/2155643431335767/ Fabrizio Mr Leather Italia 2017 per #IDAHOBIT #IDAHOBIT2018 la GIornata Internazionale contro l'omotransfobia, con il progetto Se Mr Leather Italia è il mio babbo gay presenta i valori della sessualità positiva e della comunità gay leather-fetish-kinky-bdsm nel contesto delle relazioni affettive e come valori positivi di educazione alla cittadinanza, ai diritti, alle relazioni adulte e consensuali. #mrleatheritalia #mrleatheritalia2017 Un progetto che affronta i pregiudizi di petto e li spezza dalla radice. https://www.collettiamo.it/colletta/40nw16mu Fund Raising per la partecipazione all'Internanational Mr Leather di Chicago 2018 #IML40 e in favore di Rete Genitori Rainbow e Il Giardino dei Padri, ( MenCare Italia ) www.puroquore.it/mr-leather-italia-babbo-gay.html soundtrack: Debussy 'Clair de Lune' - Paul Barton, FEURICH 218 grand piano @ https://www.youtube.com/watch?v=4fvo_iOuSck

[tuttolionssicilia2015]

Lotta alla fame

Sabato 18 febbraio i Lions Clubs della Zona 1, Palermo Host, Palermo Federico II e Palermo Mediterranea, hanno contribuito alla Celebrazione per il Centenario, Area Lotta alla Fame, realizzato il Service Nazionale Colletta Alimentare per la prima infanzia presso il punto Crai di via Serradifalco di Palermo.

I soci dei tre club aderenti all’iniziativa si sono turnati durante tutta la giornata con addosso i nostri gilet gialli  e nutrita è stata anche la partecipazione del Leo Club Palermo Host.

Notevole è stata la sensibilizzazione dei cittadini del quartiere che con grande umiltà hanno donato qualcosa per i bambini bisognosi di Palermo.

Grazie ai gilet gialli ed ai volantini preparati per la giornata tutti i clienti del Crai hanno potuto rilevare la presenza di noi Lions nel quartiere, potendo conoscere, anche se nelle linee generali, chi sono i Lions, quali temi affrontano e come operano nel territorio.

Il ricavato, circa 2000 omogeneizzati, 200 pannolini, 500 confezioni di pasta e pastina, 20 confezioni di biscotti, 500 blister di succhi di frutta e tanto altro materiale per l’igiene della prima infanzia è stato raccolto, con grande soddisfazione di tutti i 3 Club e del Presidente di Zona, Giovanni Piero Brillo, promotore dell’iniziativa.

Tutto il materiale raccolto verrà devoluto a tre associazioni della città di Palermo:

La Caritas cittadina, che noi tutti conosciamo; L’associazione “Danza delle Ombre” che si occupa dell’assistenza e dell’inserimento in società dei senza tetto e delle loro famiglie; l’associazione “Stare iniseme Onlus” che si occupa della prevenzione del disadattamento e del disagio minorile nella V circoscrizione di Palermo.

Zona 1 Lotta alla fame Sabato 18 febbraio i Lions Clubs della Zona 1, Palermo Host, Palermo Federico II e Palermo Mediterranea, hanno contribuito alla Celebrazione per il Centenario, Area Lotta alla Fame, realizzato il Service Nazionale Colletta Alimentare per la prima infanzia presso il punto Crai di via Serradifalco di Palermo.

[theradiodude]

Someone needs to assault Corey Lewandowski's "executive privilege" the same way he assaults female journalists.