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And here to us in a boat
an old, hoary hair,
crying: "Woe unto you, ye souls depraved!

no hope of ever seeing the sky: the
'come to lead you to the other bank
the eternal shades in heat and' frost.

And what if 'there, you soul,
keep well away from these people who are dead.
But when he saw I did not withdraw,

said: "By other ways, by other ports
you come to the shore, not here, for passage
lighter vessel needs must carry thee."

E 'guide then: "Charon, do not fret:
so willed there where is power
what you want, and ask no more. "

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desperately seeking a doctorate international could happen to you in the notice of hitting some of the English school, such as the University of Southampton . This bizarre
universities, ranking 5th among universities in the United Kingdom, will allow you to subscribe to one of her doctors only as long as you pass through the infamous Postgraduate Application Pack, a series of modules which will need to provide vital information to ensure your suitability in that place.

Let's see in detail, for example, what information is absolutely essential need, for their high selection criteria in section 7 can be read

" Your question can not be considered without this information. Please pay attention to the guidance notes when completing this section.

Country:
Country of Birth:
Nationality of parents:
country of permanent residence:
The date of first entry into the United Kingdom:
Declare the place and state of residence during the three years preceding the application: "

It is unclear how far-sighted British apply selection criteria based solely on merit and purity of blood of the candidate, as can be seen even from the "Confidential: Ethnic Origin Form "in this section must state the ethnic group: White Irish, Black Caribbean, Asian Pakistani, hybrid, and so on.
I am truly impressed by the elegance and coolness with which the British show their good sense of superiority over other races as true light.

--------------------------------------- -----------------------------

typical English drawing room, a typical British family, a typical English clock typical shell five strokes, a typical the typical domestic worker pours tea and serves it in the typical service cups, and the typical English husband says, facing the typical wife in a typical British accent:
"You know dear, how true that my ass encrusted shit, because I do not know the function of bidet ... "And she
, typically:
" But dear ... do you like me ... use of the bathroom window curtains, fabric ones ... "

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Clarifications

should express a little 'better than my thinking about certain issues on which I was often misunderstood these days.

To begin with I Nor I do not like sympathy for the Muslims, especially the Islamic fundamentalists.
In particular, the fundamentalists make me vomit, any confession of a mass they are part.
The Koran keep it together with the Gospels and the Bible in the same shelf where I keep Harry Potter, Tolkien, and the whole Fantasy in general.
I find it stupid political structure based on mythology (among other things, mythology to mythology, I prefer the Greek myths to the Gospels or the Koran), but even if I'm stupid, nowadays there are so many wars in which they act as the official reasons the interpretation of certain passages in the so-called sacred texts.

What bothers me though is the mystification of reality and attempts to shape it to support positions rhetorical summarized well in the application manifest "because those can say what they want and instead we have to respect them?"
First, because we fortunately we lay and democratic (and secular democracy in which there would be time for discussion) and this fund would be the only "good" that we can export (and is not a thing to do to the sound of bombs). Then
because if they are in a war zone and geopolitical hot for generations is not our fault that we broke the balls in every possible way, and you can not forget from day to day that passes a virtual wall that divided the world into two parts, and there it is played and you play the whole issue of energy.

Only in Italy the Cold War gave a death toll comparable to that of a war in every way (in thousands of deaths and injuries), and that's because you were in the sandwich between the various blocks of us and gave vent the balance of Yalta and the question Palestinian, let alone what has brought him!

We made them angry, and now we indignamo and interpret any wonder that our insult as a "matter of pride." Who does not see this is blind. However

my rationality compels me a responsibility that is to say that Islamic fundamentalism is the most idiotic expression of incivility can, and another is not that exactly what America and Israel need to perpetuate the regime permanent war in which they have thrown the Middle East. The fundamentalist Muslims of today are nothing more than fish to bite American, and often financed and supported by those who hold the cane Fisheries (who does not think of anything other than a mixed grill!).

So here is that the intervention is to see that idiot Ratzinger's fundamentalist view, act to tighten the aggravation, but then nothing could be expected: as they have rightly said the leaders of the Tehran exchange of his pontificate was revealed for what it is, that is a dangerous change Catholic culture.

Wasting no time to exploit massacres implemented by Al-Qaeda and financed by the CIA (and there will always be there if not Oriana Fallaci someone who will do it for you), putting a bit 'by the rhetoric, we must avoid amenities such as the ideological opposition Muhammad-Christ.

These people can not respond with "Christ."
also because, as Luttazzi, if the answer is "Christ" is the wrong question!

The only reasonable answer, if you really want to solve problems, and secularism.
not be opposed to two religious ideas and then bring the opposition on the political level: everyone has the right to live their spirituality, but you can do so with proper secularization, that every religious thought does not affect others.

"Viva havens of virgin fuck;
I would explode ... but ... big hoes!"
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We are the dead

The other day I found myself in the arms of my girlfriend that I was crying on him.
despair. Desperate
affected by blackmail because of his not-happy economic conditions.
subtle blackmail suffered in the workplace.
inability to leverage funds that exist to provide assistance for the graduates of our Sardinia, due to the lack of "desire" and inability on the part of its teaching. Also due to the barons and power plays bigger than any youthful idealism and enthusiasm.

We are the dead, we are a generation under blackmail, a generation that screams and struggles to get things they have always enjoyed fall out of our "rights", but he lost his voice and silent screams hours.
We are the dead, people who do not know what they will do tomorrow, and tomorrow they will not know what they will do tomorrow, and that when they denounce all this means receiving only smiles and words without understanding.
We are the dead, are the ones who have taught that the rules may violate a pact to trade themselves. The dead lulled into the illusion that efforts to improve themselves in the path of personal growth could one day give us a breath longer than a few seconds, and maybe some 'peace.
We are the dead, victims of a war in which we are unarmed and innocent, that certainly no getting our hands empty and turning, waiting after paying so much, being filled with something.
We are the dead, and it is unnecessary to reiterate that everything will be fine, because everything is wrong, and we are tired of words, we are tired to tell us that we are lucky for no reason.

I have repeated many times that everything will be fine, but really we're just dead with no future.

<< Questo non è rock 'n' roll: questo è GENOCIDIO... >>
Diamond Dogs - David Bowie

<< Spaccheranno la tua testolina, e la riempiranno di aria;
will tell you that you are 80 years old, but brother, do not worry about it.
you will climb on anything, tomorrow never comes. Attentive to the mouth of the barbaric
1984>>
1984 - David Bowie

<< "Ma come posso fare a meno..." piagnucolò "come posso fare a meno di vedere quello che ho davanti agli occhi? Due più due fa quattro."
"Sometimes, Winston. Sometimes it five, sometimes three. Sometimes make five, four and three at once. You try harder. It is not easy to become sane. ">>
1984 - George Orwell

<< "Noi siamo i morti" disse Winston.
" We are the dead "him obediently echoed Julia.
" You are dead, "a metallic voice said behind them.>>
1984 - George Orwell

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Frau Oriana Agitator

Yesterday is dead Oriana Fallaci.
I thought long and hard whether or not to dedicate a post to a person and personality like that, but in the end, without entering into, I decided to spend some time thinking about it.
First
an intellectual takes on the so-called intellectual responsibility, which is what compels always scratch the veneer of superficiality and beyond the surface of the water of truth, it also promises to weigh every word and concept as it has the common weapon of the logic on the side of the handle, and can not afford to throw blows irrational in every direction.
From this point of view I do not see Oriana Fallaci, an intellectual, as in his books (the last period) I have always read a preliminary conditions, shallow and weak, well-argued (this is assuming, of course) until the end, however wacky , irrational and illogical.
Worse perhaps is that the pool of ideas in which it moves is shared by much of the "common people ignorant," and much is already in itself a good reason for not has my respect.
also
Based solely on the most recent declarations, the picture that comes out is nothing short of staggering: provocations for their own sake, delusions of violence, demand for a Reason (with a capital R) closer to the logic of metaphysical reality.

I mean, I wonder if it died of disease or if they break down during a crisis due to hydrophobic.

course should be better informed about production before the illness, which by all accounts is also the most devoid raving by violent, racist and classist, once I get a little 'time to read something from him.

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the post-Generation "No Future"

The discomfort is. It's not something
you can fight, but it's rooted in society and individualism; until a few years ago you could grow the awareness of "no future", that is in fact a return to animality.
One of the greatest human achievements was the discovery of farming the land, that gave him stability as a nomad. From the moment you have been able to locate, has had the opportunity to design their own life, and build a future. By nomadic animal and becomes a man.
Late 70's, we will recover the awareness that have no future, they have lost every root and stability, and to our flag of distress.
Oggiogiorno there is not even this consciousness, but remained only the habit of "no future".
are born and grow and develop in a steady eradication of any form of stability, and the abandonment of adolescent life in a tunnel entrance is marked by question marks, no way out.
We often leave without even the knowledge of finding themselves in that tunnel.
Overnight, we do not know how it will be done tomorrow, every day we feel even extended to the senses; today I have the vision or hearing, maybe ten minutes I shall not see the same things, or I will not see more: everything becomes futile and precious at the same time valuable because it is unique, because futile it's just a pile of unique but meaningless. We returned
nomadic, rootless, with nothing but ourselves, each with their own discomfort, which takes us on a continuous drift without planning. And of course our
accumulation of moments without a future.

"bum of the year, the season of the bitch Sashay on the catwalk
, hurries toward the ditch.
Just another future song, lonely and a little 'kitsch.
(There will be about to suffer) and test wake up tomorrow. "
Diamond Dogs - David Bowie

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Autumn is almost here

than ever at this time we were in late summer.
'll play Sunday in a review of which we know nothing yet.

soon will post the flyer is ready.

Edit: Here it is!



Correction: not a review but a concert Sanisickation and we are guests in conjunction with Save Energy.
See you there!

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For Late Summer Iglesias task to continue with a concert organized in Piazza Asquer Gonnesa (Ca) for the Festa de l'Unità, following the gonnesini Misfire. Who knows, a complicit audience too cold (I mea culpa ...), thanks to a service Whether dazzling, confusing the sounds in those with light output for one thing, thanks to a lineup to say the least monolithic in the distribution of tracks on offer, the performance of our unfortunately does not remember as one of the best. But first things first. First, the place where the concert took place. Imagine a stage mounted on one side of the road, with traffic blocked, of course, and the public across the street. This is to make the idea of \u200b\u200bthe coolness of the people, the repeated calls were not enough of Mark (vocals, keyboards, bass and guitar on some tracks) to avvicniare people of the stage, and even that made the jump to get off in the street, only to leap and literally drag him to dance with him during the solo of "Freewill" by Rush. None of that. For the duration of the concert the group was found to interact with the few present near the stage and nothing more. Our start offering a cover of Bowie, "Changes", as always quite successful, that showcases from the outset as one of the points in favor of the music of Late Summer is the chorus of Marco Usai (guitar) and Gianluca Tocco ( low) as will be able to prove even in pieces that follow. Following a block of our pieces, "as has been described by Marco in the presentation. This choice, that is to propose the following six original songs, among other things not being properly easy listening and also quite technical and intricate if you will, no doubt has affected the group, already gone in reverse for the reasons listed above. However, the pieces are very beautiful, well played and very well arranged, the new instrumental Bossa Estate, while departing the now famous "fake prog educated" of us, fall into the mentality of 'intrippo "group .. and then, as Mark said, is a dance piece. Continuing the work of their things from messing up the audience, the TE now propose, again through the mouth of Mark, "a block of covers of Rush," prog rock giants of the '70s, a major source of inspiration for the group. Here you can see the first difficulty: the guys on stage have difficult to hear, because of the almost total absence of light boxes, and try to follow others only looks to get their hands or looking like, it's really hard! It continues with a little "theme", if we are committed to: "The smell of gunpowder" Battiato, the text speaks of the war that followed the creation of the pipeline in Baku, which ended in 2005 (which did has not been given any importance by the Italian media ...). To close the relaxing "Galapagos" Smashing Pumpkins and the enthralling "Walk This Way" by Aerosmith, perhaps the only piece that can a bit 'to drag the audience, at the end of the concert is a bit' music certainly taken aback by the proposal NOT mainstream of late summer. In conclusion, a fair agreement, and certainly not negative, but certainly those who follow the group has seen better. Of note: in addition to technical improvements of all components of the group, a constant will to renew and rearrange the pieces constantly, so it may have some difficulty, after just one concert, to recognize a piece written by them. Blava!


LADDER COMPLETE :

David Bowie - Changes

Late Summer - Late Summer
Giglio - In a Breath
Late Summer - Late Summer
disgusting people - Cannibalism
Until Late Summer - Late Summer in Indigo
Late Summer - Summer Bossa

Rush - Show Do not Tell
Rush - Free Will
Rush - Natural Science

Franco Battiato - The smell of gunpowder
Smashing Pumpkins - Galapogos
Aerosmith - Walk This Way


Review by Enrico Meloni

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"The mountains are still, the snails always move!"

Antonio Secci

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The applause is all for you


From left: Leandro Misuriello, Santi Pulvirenti, Adrian Walls.
A great concert, Leandro: you have been really great. I hope that Adriano
Walls and other accident victims heal quickly and completely.

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Review of The Passion of the Christ

The year of the Lord 2004, and 9 years have passed since the second film as director Mel Gibson (Breaveheart), try to imagine a scene like this: Jesus sitting comfortably at home, watching television, which Watch "The Patriot", a grim scene every 20 seconds ... Then the news
Mad-Max discovers that Mel Gibson has decided to make a film about the Passion ... BRRRRRRR!
Who knows how to be felt in that moment ...
The film is nothing but a collage of events in a totally subjective extrapolated from the various Gospels (sacred and apocryphal) represented according to their literal interpretation of (the now rejected even by the Roman Church, so to speak), which serve as narrative glue a mixture of fantastic events (invented out of whole cloth by a "witch visionary" of 900, also rejected by the Church) and events completely reworked by Gibson himself (given his previous meet, however, I would say that his personal taste).
The film has the quality to involve the viewer in the "passion" during the course of the last 12 hours of Christ's life, but clearly the passion is not generated by the emotional involvement, but by the real suffering of the viewer, whose intelligence is insulted truculence by splatter & Gore, not far from the rhetoric related cartoon or comic, and falsifying history, in other words it is a film that often degenerates into the so-called self-punishment flagellant film viewer, who hopes to scale the heights of Purgatory and atone for their sins.

Plot:
For those unfamiliar with the plot (ahah!), the story begins in Gethsemane, the Garden of Olives.
Jesus weeps blood and sweat.
interpreting canonical preludes that the Passion and Martyrdom, which is torn by the knowledge of Christ to face the torment and suffering is likely to be symbolically identified in tears and bleeding in one syncretized act that gives the dramatic start to the Passion.
Given the sequel, and found that Jesus will lose at least 200 liters of blood, but we understand the real reason why the blood spurting from his eyes and the pores, because a human body contains no more than 6 liters of blood, that's all is absolutely clear! Jesus is not weeping at Jesus are bursting with the 194 liters of blood in excess of the orifices of the body! It's a pressure problem! Nearby
appears a kind of Marilyn Manson (Satan in the director's intent), that from this moment on, will play for nothing veiled tempter in the darkest moments of the Passion.
Symbolically, the Devil is identified by such a being, sexually ambiguous, and (as classical iconography) from snakes, goblins and childish sudden appearance of demons (in Hollywood suspense should never fail), which will appear every time the characters will give the side more "human."
The scene cuts to Judas that he receives from Jewish priests its 30 pence, and is forced to pick them up from the ground, as alms, and to deliver his master's death.
You return to Gethsemane, Jesus is exhausted, his disciples leave him alone. Even Peter, the most faithful, the nostril of Satan (?) Comes a snake, which is ominously close to Jesus completely exposed and prone to temptation ... kick a sudden, the snake is crushed, and the first round is concluded, God first, Satan, 0.
In my opinion, here ends the most beautiful scene of the film, which until now (despite the obvious stucchevolezza of shooting techniques and set design intent) even manages to be evocative, and in the hands of another director might have given the go- to something more. But there
Gibson behind the camera, do not forget! The event
topic of Gethsemane, which is the kiss of Judas, is launching a sarabande barrel, the gaze of the viewer will certainly wise to bring a ispiratorio "We're Mad," in which Peter Segal Black Mamba (between shots "The Matrix") manages to extricate himself, steal the sword and injuring a staff-Smith. Here the first miracle of Jesus hangs up his ear to the enemy who falls into a trance. The story
classical interpretation in the key of "turn the other cheek" in the film is highlighted by "Who lives by the sword, dies by the sword" spoken by the Savior.
More than a second proposal eschatological Gibson is to be understood then in a pedagogical education, and the soldier then miraculously provides the key role of "good kid who has learned their lesson." I wonder if he understood the viewer, or if ricascherà into a trap like that movie!
Following an incredible tone that adds the definitive fall of the inability to provide an interpretation History of organic, but insists that the intentions of the director to accompany the journey of the grim sadism Son of Man to Calvary: Jesus is mocked and beaten by soldiers during the trip, and flew (slung between chains) off a bridge (all completely invented and outside of any documentation, which is sacred or apocryphal), at the end of the fall CROCK Gibson does not spare us a bone and fractured and dislocated a fleeting encounter with Judas looks, interrupted only by a sort werewolf (?) who apparently passed through there and that appears suddenly with a loud gasp of the audience (the rest is impossible not to accompany the splatter with horror elements). Before
a summary of the interrogation flashback takes us back to the youth of the Savior, in which he still had the body building and muscle-oiled, and becomes the protagonist of a humorous moment with Mary (invented by the director) who probably has the sole purpose of making more sharper contrast with the violence that will explode shortly thereafter.
Just in time for a breath, we are a 20-minute film, and that's Pontius Pilate, the wife who wakes up from the nightmare, and a centurion, who warns him of a riot at night.
summary trial, many have criticized the scene for the strong anti-Semitic, but I must be honest in admitting that it had found both the anti-Semitic intent but rather the attempt to recreate subspecies of a summary trial, "the Taliban" and I'll explain: everything is made in a caricaturist (Christians beautiful and sweet, ugly and bad Jews), in which the opposition between good and evil is so banal as to give rise easy to accusations of anti-Semitism, as an attempt to rebuild it is not technically botched, but this is just a consequence of the inability to know how to implement the story with the proper caution. The result is a Sanhedrin composed of rich, ugly and nasty and sputazzano Jews who beat and humiliate the Messiah, all dressed in clothes of the trigger-happy as a subspecies of the Magi ... Not everyone, however: the pathos of certain scenes is such that the three Jews "redeemed" or better to say "pass on the good side," are so caricatured that (as claimed by Umberto Eco) it seems that speak forth, facing the viewer, "but we'll mica exaggerating!?"
Oh well, poor Jesus, ends up being summarily condemned by some members of the Sanhedrin bad guys, who would have thought?!
take the stage the Roman soldiers, who are not real Roman soldiers, but the idea that an avid reader of Asterix's Roman soldiers, accompanied by "gubernator" (not Arnold Schwarzenegger but Pontius Pilate, as would Vittorio Zucconi ), warned by his wife, Pilate decides to fight at all costs avoid the death of the Nazarene, and in hope to please the wicked and deformed Jews, bring the protagonist to "flagellum" (I think inspired scene from "Jesus Christ Superstar", as they do not remember reading anything like this in the Gospels).
Since flagellation on the author's own imaginary film is an introduction on the different types of meat used in McDonald, visually represented in the transformation of the Son of God in a hamburger.
Two scenes of note (in terms of comic): a raven worthy of the best Hitchcock quarry Dimaco a rude awakening, the unbelieving thief on Calvary, a scene that might be expected in a slash movie ... but basically this is just a slash movie with all the trappings like that. Second key scene: the drilling of the cost of the Savior is followed by a sickening spray of blood not far from those that can be admired in Jap-movie by Takeshi Kitano, Takashi Miike and Kinji Fukasaku. Whatever the Australian director has understood the Scriptures beyond me how he can visually recall the massacre of the "88 crazy" in the first volume of Kill Bill.
In a parenthesis, not so much visually influenced by the paintings of the Renaissance as the cinema of George Romero, for lovers of the surprise ending Jesus was resurrected.

Comment:
Beyond repellent maneuver crowned commercial exploitation of a free advertising in the course for the past 2000 years, and I want to clarify one thing from the standpoint of technical achievement the film is shot flawlessly. Also positive choice, in my opinion, to give back to people's own language context in which they "carried" the story hypothetically.
My criticism on anything moving in front.
First, how can we frame the film? It is a historical film? It is a religious movie?
is clearly not a historical film, as the clearest source of inspiration is a mixture of the Gospels, which do not constitute any form of historical documentation. Today, only a fool
fundamentalist like Mel Gibson can get to an interview in which he argued that the Scriptures represent evidence of those who have experienced and seen things with his own eyes, and almost all historians are in fact agreed that the Gospels are many generations after the alleged role of "Christ" (itself non-historical figure). When the director says publicly that its project is the construction of a historical film, you can not help but smile at this fact: it is not historical "Troy," "Alexander" or "Tiramolla. Moreover
seems absurd to try to frame it in religious perspective, for several reasons: first, the events are narrated with the knowledge of an altar boy who has just made his first sacraments, and with the finesse of Mike Tyson with a severed ear and bleeding in the mouth, and secondly it is not highlighted any underlying message of Christianity, and maybe ... just maybe ... only the most fundamentalist message of Catholicism: Gibson psychologically humble the viewer by showing a whole (imaginary) as the Savior suffered for him, and makes the suffering of codetermination, the "real" Catholics and then pushed to take on the suffering atone for their sins just as Jesus did this for us, "BEING MEAN TO BE CATHOLIC scourge."
Giving in this way but so little space to the theme of redemption, leaving the bare message of any kind of transcendence, Gibson makes miracles happen, it seasons the story with appearances the devil, and makes things happen "transcendent" in very short and devoid of transcendent symbolism and meaning, if not properly trivialized by nothing short of grotesque scenes, rather than transcendence we can speak of "magic", and is a confusion in terms that typically is found in fundamentalist spiritual visions.
Perhaps the film should be seen in its key unconsciously grotesque: a Mel Gibson Bravehearth completely irreverent, over and beyond its absurd statements, has in fact decided not to spare narrative techniques to represent the most violent cathartic key in the "massacre of children of God, "a Grand Guignol of splashes of blood, bone fractures and dislocations. Assuming
also that this is so, the next problem is quite serious, that is the disconnect between the artist and the public user, by means of a work of art misdirected: the cause of this failure is ignorance on the topics of (if not director, at least) the public it serves. Ignorance of the director can be seen, assuming that is not a public relations maneuver, in the reckless statements and interviews on the "historicity of his film" rather than the public has repeatedly occurred after the release of the film, those users really convinced of the veracity and "Christianity" of the message, and the excessive media phenomenon that ensued.
If the referent the message is correspondence with the author through the work, the lens has to be seen where the film is close to a "triumph" of ignorance, otherwise if it is so clear the disconnect between the intentions of the director and the public , then the film is nothing but a "no idea", or even worse, a simple business operation.

Country: USA
Cast: James Caviezel, Maia Morgenstern, Monica Bellucci
Genre: Horror
Who Should: To the fundamentalists, lovers of the "splatter & gore."
If you enjoy watching as well: Jesus Christ Vampire Hunter, Ultrachrist
Availability:
Highest Rated: sv