All these documents, excepting the third, are in Machiavelli's handwriting. In document vii. Bracci to Machiavelli, dated 14th August and 7th September, , upon the same question, which complete the series of documents connected with this affair. Nevertheless there was a Potesti exercising authority in civil and criminal suits.
He approves of the Signory having but little authority over the citizens, " for such has always been the practice of good republics, inasmuch as the chief magistrate can easily abuse his power, if he be not held in check. Neither had the Roman Consuls, nor have the Doge and Signory of Venice any power over citizens' lives. For Florentines and their subjects were always excluded in Lucca from every office that had to be held by foreigners. His Summaf-y of Lucchese Affairs.
But at Lucca, on the contrary, these orders are confused, for the medium number, that is the Council of Thirty-six, distributes office ; the Seventy- two and the Signory are partly advisers and partly executants of the law. Yet in practice even this leads to little mischief, for the same reason mentioned above, namely, that the magistrates are slightly considered on account of their lack of dignity, and rich men chiefly concern themselves with their own private affairs.
Never- theless, this order of things is not to be recommended. G 82 The Life and Times of Machiavellu said, "the smaller suits of daily occurrence will be always neglected, much to the harm and peril of liberty.
In fact, even at Lucca it has been found necessary to pass a special law, known as the Scapegrace law, by which in September and March the Councils jointly decree the expulsion from the State for three years of a certain number of the most dangerous young men.
This generally served as a check, but nevertheless proved useless against the insolence of the Poggio family, which was more alarming than any other. He received various letters at this period, and among them one from Cardinal de' Medici, dated the last day of July, and beginning with the words : Spectabilis vir, amice mi carissime.
In vol. And it is also an error to say that it is to be found in the Carte del Machiavelliy case v. L r Tlu "Life of Castriiccio Caslracani. On the 29th August he sent this book to his friend Zanobi Buondelmonti, having dedicated it to him and to Luigi Alamanni siioi amicissimt. By some it was styled a romance, by others an imitation of Xenophon's Cyropoedia, and so on. It certainly is not history, as may be ascertained by all who care to compare it with any narrative of the best known authentic facts.
And it is also an error to say that it is to be found in the Carte del Afachiavellif case v. And as early as the 6th September Buondelmonti replied that he had received and read it with Alamanni and other friends, who were all very much pleased with itf It is a well-known fact that this, like his other works, gave rise to much doubt and dispute. The real Castruccio was a legitimate scion of the noble family of the Antelminelli ; he was bom in , and early went into banishment with his father Geri, at Ancona.
In 13 10 he was fighting in Lombardy on the side of the Visconti. Machiavelli's narrative, on the contrary, begins by asserting that extraordinary men are nearly always of low and obscure birth, because destiny likes to show its might in this way ; and then he goes on to relate how a certain Canon Castracani and his sister Dianora, who lived with him, found a forsaken baby in their garden and brought it up in their own house, and that this child was the famous Castruccio.
Showing an aptitude for arms, he was trained by Messer Francesco Guinigi, and taken by him to the Lombard wars, where from the age of eighteen he began to be distinguished for his valour. Now this Canon and his sister are wholly fictitious per- sonages, and equally fictitious is the fable of the found- ling discovered in the garden.
Besides, the real Castruccio was away from Italy at the age of eighteen ; nor is there any Francesco Guinigi that could have played the part narrated by Machiavelli. But, according to Diodorus Siculus, Agathocles was abandoned by his father. His mother found him after some days, and carried him to her brother, by whom he was reared. Machiavelli continues to relate how, directly after Castruccio's return to Lucca from Lombstrdy, Messer Francesco Guinigi died, and, leaving a son of thirteen named Paolo, chose Castruccio as the boy's guardian and governor of his estates.
Paolo, like his father, and indeed the whole episode, is an imaginary figure borrowed from Diodorus, who narrates that Aga- thocles married the widow of his protector, and thus exchanged poverty for wealth. The method by which Castruccio, little by little, and first with the aid of Uguccione della Faggiuola, lord of Pisa, and then in opposition to his will, succeeded in becoming tyrant of Lucca, is recounted by Machiavelli with greater truth- fulness.
But the battle of Montecatini, where the Florentines were defeated, and Castruccio fought so valiantly under the banner of Uguccione that the latter's jealousy was aroused and his friendship turned to enmity, is described in very arbitrary fashion. And after Castruccio has become lord of Lucca, and head of the Tuscan Ghibellines through the death of Uguccione, there follows a narrative of the stratagems by which he suppressed a rebellion in that city.
According to Diodorus Siculus, Agathocles, having first, as captain of the Syracusans, collected a great army, then summoned the heads of the Council of Six Hundred, under pretext of asking their advice, and put them all to death. He then roused the people against the nobles they hated, and thus about four thousand persons were massacred. Ac- cording to Machiavelli, Stefano di Poggio first joined the rebels in Lucca, then quieted them, so that on Cas- truccio's return from the camp, he presented himself to him, showed him that all was tranquil, thanks to his efforts, and spoke in favour of his friends and relations.
Castruccio gave him a kindly welcome, and invited him to bring his friends with him. But when they came before him, confiding in his pledged word, all were seized and put to death, after which he likewise slaughtered many others who seemed likely to aspire to the highest rank, and thus at last was safely established as lord of Lucca.
Ac- cording to Machiavelli, the tyrant came to terms with the leaders of the two factions dividing the city, making both believe that he would march in on a certain night to oppose their adversaries. The ''Life of Castruccio Castracani! Finding himself too weak to resist Castruccio, the Florentines, and his enemies within the walls, all at the same time, he tricked the second and gave himself up to the first, who appointed him his captain and gave him his daughter to wife.
Such, at least, is the version narrated in the far more credible Storie Pistaiesu Among other things, Machiavelli assigns neither wife nor children to Castruccio, although he was not only married, but the father of a family. The capture of Pistoia was actually succeeded by two battles, forming the most important events of Castruccio s military career.
The first and chief was that of Alto- pascio , in which the Florentines were completely defeated. Here he learnt that the Florentines had retaken Pistoia. Yet Machiavelli has nothing to say of this cam- paign, the second in importance in Castruccio's real life, and narrates sham battles instead.
According to him, Castruccio, having led his army from Lucca, encountered the Florentines at Serravalle, and he gives a most minute description of a battle that never took place there, and in which Castruccio is supposed to have proved the splendour of his military genius by routing the enemy. Thus again master of Pistoia, he hurried towards Pisa, where a conspiracy had broken out On the way he met the Florentines, who fell upon him with a very numerous army at Fucecchio, and then we are treated to a most detailed description of another imagi- nary battle, in which Castruccio's genius is again resplen- dent, and again the Florentines are beaten.
This was always Machiavelli's favourite theory, and it was also a correct one. In the Life of Cos- truccio he tried to bring it within general comprehension by illustrating it with imaginary examples, to which, for the sake of greater effect, he gave an historical colouring. Feeling the approach of death, he sent for his hypothetical successor and addressed him in the follow- ing terms : " Had I foreseen that fate would check my course half way, I would have bequeathed thee a smaller State and fewer enemies.
But fate is arbiter in all things, and has neither granted me sufficient judgment to foresee her will, nor sufficient time to overcome it I abstained from marriage in order to show gratitude to the race of thy father, who was my protector.
It is now thy part to try to maintain the kingdom that I leave thee and that I acquired by force of arms. So runs Machia- velli's tale ; but all this, too, is pure romance, for, as we have already said, Castruccio left several sons, who held the State, although it was not long before they lost it, as neither the paternal sagacity nor valour was included in their inheritance. Signor F. Polidori included an Esame critico delta vita di Castruccuf Castracani in his edition of the Opereminarioi Machiavelli Florence, Le Monnier, , vide page 33 and foL In this study, the author notes the historical blunders contained in Machiavelli's work, and to which other writers had long before begun to call attention.
Many had observed that in this work Machiavelli had borrowed from the ancients. It was believed by many writers that these were nearly all derived from the Apothegms of Plutarch ; but it has been recently proved that a con- siderable number of them are borrowed from the Life of Aristippus of Diogenes Laertius. Being in Lucca, it was only in accordance with his usual habit that he should study the history of that State, and his attention was naturally drawn to the character and career of Castruccio, the daring soldier and acute politician, who was the founder of a new State, and a personage of the stamp of a Caesar Borgia.
Just as this latter, in passing through the crucible of Machiavelli's fancy, had been transmuted into his political ideal, so too, Castruccio, still more easily trans- formed because viewed from a greater distance, became his politico-military ideal.
Making him almost the imaginary hero of a singular historical romance, he C. Triantafillis was the first to prove that the narrative was partly derived from the life of Agathocles related by Diodorus Siculus. Menagio, of the Fabricio Library, had declared that the memor- able sayings attributed by Machiavelli to Castruccio were extracted from Plutarch's Apothegms ; but Signor Triantafillis has quoted eleven that are clearly copied from the life of Aristippus of Diogenes Laertius, an author who— as it may be well to observe — had been already translated in the fifteenth century by Traversari.
It is very probable, that, as many have asserted, the Cyropoedia of Xenophon first suggested the composition of this work. But at all events, it is certain that the Cyropoedia could only furnish general suggestions as to the nature and method of the work. But it is not surprising that a work composed under similar conditions and for similar ends should have given rise to many disputes. Doubts and conjectures, in fact, were started from the first moment of its appearance and are still unended.
Nevertheless, it is clear that this work was written some years later, for in the opening pages the author speaks of the death of Cosimo Rucellai, which certainly did not take place before 15 But in his Curiosith storico-artistiche, both at pp. Both were in the Palatine and are now in the National Library of Florence.
There were sheets, but now several are missing, and those remaining are not in order. They go from Nos. The first sheet, No. The sheets from to contain the tables, preceded by an explanatory notice to the reader. Then follow two double sheets, unnumbered, containing the author's additions and corrections. Included among these fragments is a separate sheet, certainly of Machiavelli's time but not in his hand, containing the Greek alphabet with explanations in Latin.
It seems sufficiently clear that as Machiavelli found it neces- sary to use many different signs when compiling his tables, in order to indicate the disposition of the various portions of his army, and as the Latin letters did not suffice, he must have applied to a friend for the Greek alphabet, with which he himself was imperfectly acquainted. Accord- ingly, his friend forwarded him the alphabet in his own hand, and added explanations of the vowels, consonants, diphthongs, etc.
These three works, in short, being all governed by the same conception, might easily be fused into one. The Dis- caurseSy containing the germs of both the others, and therefore the entire political system of the author, chiefly treat of the means of establishing the liberty of the State ; the Prince of the mode of founding a new and absolute monarchy, in order later to obtain by its aid the unity and independence of the whole country ; while the Art of War teaches how the nation should be prepared for the defence of liberty and independence.
And in all three works, even when treating the question theoretically and in general terms, Machiavelli always keeps Italy specially in view. Other and stouter ob- stacles have to be encountered in entering on an accurate critical study of the Art of War, Even military men can scarcely estimate the historic value of a work that is incomprehensible if regarded apart from its time, and it is impossible for civilians to fix the measure of in- trinsic and technical worth that it undoubtedly possesses.
Nor are these difficulties lessened by the fact of Machia- velli never having been a practical tactician. Indeed, the science of tactics was as yet unknown and un- imagined. Machiavelli was the first to venture to attempt it, thereby showing an audacity equal to that which incited him to found a science of statecraft How far did he succeed in his attempt? This is the question to which we are bound to reply ; and it is exces- sively difficult to do so, especially when quite unversed in military science.
We shall therefore consult more competent judges, and profit by the counsels and sug- gestions of the military men to whose aid we have frequently had to recur in the course of this chapter. By means of our friend, Professor Karl Hillebrand, we addressed a few questions to this gentleman.
We take this oppor- tunity of expressing our deepest gratitude to the kind and learned author. We have also repeatedly applied to Major Valentino Chiala, an Italian Staff officer, and it is impossible to speak too highly of his unfailing' kind- ness in replying to the numerous questions we have addressed to him during the last two years. We will only state that, but for his ready and valuable advice, we might frequently have gone astray in our examination of Machia- velli's Arte delta Guerra, But, fortunately for our country-, it is a well- known fact that the officers of the Italian army unite to the manliest qualities the most exquisite kindness and courtesy.
The art of war, as indeed everything else in Europe, was then undergoing a great and rapid transformation. During the Middle Ages, men-at-arms with horses iron- clad, like themselves, from head to foot, had shown how easily they could overthrow foot-soldiers by the thrust of their prodigious spears ; infantry, therefore, had fallen into discredit, and heavy cavalry was the chief strength of every armed force.
Accordingly, the mercenary bands by which Italy was overrun were principally com- posed of these mounted men-at-arms, and little attention was paid to the militia bands of the old Communes, formed of artisans, who fought on foot and had neither time nor money for training in the harder manoeuvres of mounted troops. However, in the fifteenth century the foot-soldiers of Switzerland marched down from their mountains in defence of their own liberty.
And as these men, massed in numerous and compact battalions, with simple breastplates for their sole body-armour, and equipped with enormously long pikes, which they rested we were ignorant at the time that both the German and the Italian officer entertained the greatest admiration and esteem for Machiavelli's Art of War, even when judging it from a military and technical point of view.
This, we trust, will give no offence to the modesty that accompanies his learning. H 98 The Life and Times of Machiavelli. Thus at the same time they won their own independence and the reputation of being the best soldiery in the world, and it was henceforth believed that no victory could be gained without the help of a good number of Swiss. The first to imitate them were the German Landsknechts, next the Spanish infantry, and both with great success.
Thus, little by little, the chief strength of an army came to consist in the infantry ; the Free Com- panies, whose extinction for many other reasons was only a question of time, began to lose their power and prestige, and even the much lauded men-at-arms of the French were no longer deemed invincible against foot- soldiers.
Machiavelli gained some knowledge on these points from his earliest experience of military matters at the camp before Pisa, and became more and more convinced of them during his subsequent travels in Switzerland and Tirol. And he gave prolonged study to the ques- tion. In fact, the fundamental idea of his Art of War is that the best militia is to be formed by arming the people, that at all periods the infantry forms the back- bone of an army, and therefore the greatest care should be given to its organization and discipline.
It is possible, he says, that in countries where, as in certain tracts of Asia, there are immense plains with a nomad population, cavalry may play the chief part in war ; but in Europe, The ''Art of Warr 99 mounted troops, though useful in skirmishes, reconnais- sances, in supporting the infantry at need, and pursuing the beaten enemy, can never decide the fate of a battle.
And this he asserts and repeats with so much decision and firmness, that leading military writers declare his expressions to be precisely those of a modern tactician. And he was not mistaken in this belief For many centuries later the legion remained the study and admiration of all great army reformers. And this concep- tion of a novel infantry system was joined to another of greater importance, from which, indeed, it was derived, and which had also been suggested to him by Roman and Swiss examples ; namely, the conception, that forms the chief aim of his book, and one of the most constant objects of his whole life ; that the armed nation is the only national and invincible army, the true military strength of the modem State.
It is not without reason that some writers have styled this idea prophetic, for although actually a discovery of the Romans, it has only attained triumph in our own days in the Prussian military system now more or less imitated throughout Europe. Nor did he by any means alter this opinion in the Art of Jfor, where, although making very valuable remarks on the manner of employing artillery in the attack and defence of strongholds, he sometimes goes so far as to say that, in the open field, cannon produce little besides smoke.
And as to portable firearms, he makes so little account of them, that more than once we plainly perceive that he would be ready to abolish them altogether, but for his fear of showing too great hostility to what he considers the prejudices of his time.
Nevertheless, it is requisite to clearly determine the nature and motives of Machiavelli's blunder, as it is called, in order not to magnify it to an unjust degree.
In fact, not only were archers and crossbowmen still employed in all the battles of that century, but more than a hundred years later we find Montecuccoli suggesting that only two-thirds of the infantry should be armed with muskets and the remainder with pikes, which were not relinquished until the invention of bayonets in the eighteenth cen- tury.
This weapon had been adopted by the Prussians as early as ; its efficacy had been firmly established during the war with Denmark, in , and nevertheless Austria only made preparatory trials of it, and had not yet adopted it in the war of The colossal disaster of Sadowa was required to secure its introduction into the armies of Europe. How great, therefore, must have been the obstacles encountered by the first portable fire- arms, that, with all their early imperfections, seemed only fitted to upset the best traditions of warfare, the whole military tactics of the most renowned armies!
But as regards artillery it is a very different question, and these remarks cannot entirely exonerate Machiavelli on that score. Indeed, from that moment the latter's infantry began to lose their prestige of invincibility.
The real cause of Machiavelli's disregard for firearms must also be sought in the narrowness of his military experience at the camp before Pisa and in organizing the Florentine militia.
It is true that he had enjoyed a near view of the Swiss and German infantry ; but only at hurried moments and several years earlier than 15 12 At the time of the battle of Ravenna, he was entirely absorbed in preparing for the defence of Prato and Florence ; the battles of Novara and Marignano occurred later, when he was removed from his sphere of activity and living in his country retirement, where only a distant echo of these events reached him through political and literary friends.
Major Chiala holds that at the battle of Ravenna the artillery had not yet shown all its capability, and is more indulgent, therefore, towards Machiavelli. But he adds that after the battle of Marignano, Machiavelli's blunder became far less excusable.
I04 The Life and Times of Machiavelli. Had he been actually a military man, he would certainly have had better opportunities of gaining accurate knowledge of the great battles that took place in his time, and would perhaps have had a clearer presentiment of the future reserved for firearms. Spear and pike, sword and bow, are weapons too simple to be susceptible of great improvement, so that they are little different in modem times from what they were in the ancient ; but firearms, being infinitely more com- plicated, were naturally capable of enormous improve- ments, of whTch the importance might have been fore- seen, but of which it was impossible to calculate the extent Certainly Machiavelli had no opportunities for calculations of this kind, and therefore in judging the value of his military theories, we have to remember the conditions in which they were elaborated and expounded.
At any rate, he was the first who tried to formulate a logical and scientific theory of the tactics used in the wars of his day, and of the improvements that might be made in them. His suggestions are based upon that which may be called the fundamental and normal branches of the military art, and on that account possess an undeniable value truly marvellous on the part of a man who was never a soldier.
For he unhesitatingly indicated the only possible road to progress, without the intervention of an element so subversive of the old tactics. In this way the soldier becomes violent, threatening, corrupt, the enemy of all quiet life. It behoves us therefore to revert to the old systems of the Romans, who recognized no difference between the citizen and the soldier, and maintained that of the two the latter should show himself the more faithful, pacific and God-fearing.
For truly from whom need we demand more faith, more honesty and virtue, than from him who should be always ready to die for his country? More than others he suffers by war, and being in continual danger, has more need than others of the help of God. Desiring therefore to essay to revive among us the virtue of the ancients, the which I cannot deem impossible, and in order not to spend my leisure in idleness, I have deter- mined to transcribe all my knowledge of the art of war.
I know well that it is somewhat bold to treat of a matter that has never been my business ; nevertheless, writers cannot do so much serious mischief by their words as clumsy captains may frequently effect by their deeds. With a degree of emotion rarely exhibited by him, he says that he cannot mention without tears the name of the deceased, who had all the qualities friends could possibly desire in a good friend, or the country desire in a citizen.
Fabrizio Colonna, the renowned captain, just returned from the Lombard war, is invited by Cosimo to join the circle in the Oricellarii Gardens, and directly he appears, begins to discourse of military matters. The first of the seven books into which the work is divided, is chiefly devoted to discussion on the kind of men of which an army should be composed. Inflamed by the greatest admira- tion for the Roman soldiery, Colonna, who is in fact the mouth-piece of Machiavelli and the expounder of his doctrines, remarks that all are now desirous of imitating the ancients in superficial matters, whereas it would be better to try to imitate them in substantial things, namely, in habits of life and soul.
We should do as they did, he said, " by honouring and rewarding virtue and having " no contempt for poverty ; by esteeming the rules and " regulations of military discipline ; by compelling the " citizens to love one another, to live without splitting " into factions, to have less respect for private than for "public interests.
These must of necessity be bloodthirsty, rapa- cious and dishonest, must always desire war or commit deeds of theft and violence for their subsistence in times of peace. In the days of our forefathers, Francesco Sforza not only deceived the Milanese in whose service he fought, but dc5 rived them of their liberty and made himself lord over them.
His father, Attendolo Sforza, compelled the Queen Giovanna, whose pay he took, to throw herself into the arms of the King of Aragon in consequence of his sudden desertion. Braccio di Montone, by means of the same artifices, would have gained possession of the Neapolitan king- dom, but for meeting his death at Aquila. And all this because these men traded in war, and could live by war alone.
So long as the Roman Republic preserved its purity, its captains were satisfied with winning victories for their country and then retiring into private life.
At the end of the Carthaginian war the times changed ; men arose who made fighting their trade, and Rome soon experienced the same dangers into which we have fallen, as in the case of Caesar and Pompey. For this reason no well-organized State ever permitted its citizens to practise war as a trade.
Nor can any existing king- dom be cited as a proof to the contrary, since none observes any good rule. All well-organized States grant their princes absolute power over their armies solely when in camp and during war, since only at such times are sudden decisions imperative, and consequently The ''Art of War! If things be not ordered in such wise that in times of peace soldiers be willing to go home and work at some trade for their bread, it neces- sarily follows that the State must come to ruin in one way or another.
You are forced either to be always at war, or to continue the pay of your soldiery, or to live in danger of their depriving you of your kingdom. Per- petual war is impossible, neither can you keep up a per- manent army, so either way you must go to destruction.
Men-at-arms were frequently nobles, and therefore, especially in France and Germany, able to live at their own expense. The next point discussed is that of how to make the best choice of men, the delettOy as Machiavelli puts it, or as we should now say, the military conscription.
I lo The Life and Times of Machiavellu say : " that it is best to choose natives of temperate climes, since these are men both of courage and prudence, whereas hot climates generate prudent but timid men and cold countries give birth to daring but imprudent men.
To form rules available for all, some mode must be found of selecting the best men of every province, and, like the ancients, training them by discipline, which is worth more than nature.! From Vegctius, too, is borrowed the following descrip- tion of the physical and moral qualities desired in a soldier: "the eyes quick and lively, the neck sinewy, " the chest broad, the arms muscular, the fingers long, " the stomach small, the hips round, the legs and feet "lean, the which things always give a man strength " and agility, the two things that above all others are " required in a soldier.
Contra, "septentrionales populi remoti a solis ardoribus, inconsultiores quidem, seJ "tamen, largo sanguine redundantes sunt ad bella promtissimi, etc. Nata a Torino il 14 aprile del , nel partecipa a Miss Italia. Segue una fitta serie di collaborazioni con programmi di grande successo tra cui Risatissima e Festivalbar. Non stupisce quindi che qualcuno abbia proposto al duo di incidere un disco, operazione di prammatica nella decadi passate quando si diventava particolarmente conosciuti.
I ballerini si trasformano in cantanti. Marcello per un paio di mix set a base di italo disco obsoleta e misconosciuta ma ricercatissima dai collezionisti. Nel sposa il giornalista sportivo Amedeo Goria e nello stesso anno incide il suo primo ed ultimo? Il lato a mostra arrangiamenti della italo disco in stile Spagna, usata e sfruttata a ciclo continuo dalla televisione per sigle di programmi, il b invece gira su una trascurabile ballata pop dalle venature latine.
Brigitte Nielsen Negli anni Ottanta la Nielsen lavora come modella e prende parte ad alcuni film tra cui Yado, al fianco di Schwarzenegger. I due si sposano dopo soli nove mesi di fidanzamento. Jean Paul Gaultier Tra e la house prende piede in Europa. Nel gli viene affidata la conduzione di un programma tutto suo, il MegaSalviShow, trasmesso in seconda serata su Italia 1. Sono sempre gli N. Giorgio Panariello Attore comico e showman televisivo, Panariello comincia come cabarettista alla fine degli anni Settanta.
Nel scrive un libro, La Filosofia Di Moana, autoprodotto pare per sessanta milioni di lire, in cui racconta di personaggi famosi con cui avrebbe avuto rapporti sessuali occasionali. Altrettanto costose le sue apparizioni discografiche. Il brano imita in modo piuttosto evidente lo stile che decreta la fortuna della citata Salerno, a cui la Cavagna viene peraltro paragonata per le generose forme.
Si batte la stessa strada anche per il suo alias artistico optando per Angela. Non a caso in copertina campeggia il logo della trasmissione di successo di Antonio Ricci. In Italia diventa popolare nel partecipando al programma Emilio. Sulla copia promozionale appare anche il cognome ma nella versione ufficiale si opta solo per Nina. Clarissa Burt Attrice e modella statunitense naturalizzata italiana, Clarissa Burt diventa un volto noto in Italia tra gli anni Ottanta e i Novanta.
I pezzi furono scritti da Orlando Johnson ed Elvio Moratto. Cantai i due brani durante le mie serate e ricordo che il pubblico apprezzava molto. Non fu sicuramente un successo di vendite ma fu bello mettermi alla prova anche come cantante. Ad attrarre in modo particolare i DJ sono i suoni tipici della progressive house britannica abbinati a ritmi breakbeat. Pare che la voce adoperata fosse quella del brano originale della vocalist Alison Williamson.
Fu lui a mettermi in contatto con Giorgio Tramacere, produttore di musica house. Iniziai quindi a frequentare costantemente gli studi di registrazione conoscendo e lavorando al fianco di tanti professionisti. Il disco fu subito licenziato in molti Paesi, in Europa e in Canada, ma una cosa che non mi piacque affatto fu la scelta di Gianfranco Bortolotti, boss della Media Records, e di Tramacere, di mettere Lou tra Amy e Charles.
Lou stava per Louise, il mio secondo nome. Nel la Charles abbandona la Media Records e passa alla B. Successe tutto in un attimo e posso dire con orgoglio di essere stata la prima artista in assoluto nel mondo ad uscire su Dance Pool. Si trattava di un medley ma alcune parti le scrissi anche io.
Per poterlo pubblicare fu necessaria una montagna di permessi! Poi fu la volta del remix, altrettanto fortunato, per il quale ho potuto usare il nome Amy Charles. Tantissimi gli aneddoti legati a quel periodo.
Le sessioni in studio ad esempio, anche se impegnative, erano sempre divertenti. Questa cosa mi faceva ridere ma poi capii che era fondamentale. Non ho mai ricoperto ruolo di turnista, anche quando realizzavo backing vocal ero citata tra i credit, o almeno credo.
Purtroppo non riuscivo a recuperare le copie di tutti i singoli stampati in ogni Paese. Nonostante i buoni risultati ottenuti, Amy Charles sparisce dalle scene intorno al Registrare in quei mega studi ricavati nella vecchia stazione dei tram fu veramente il massimo. Negli anni successivi continuai comunque a scrivere e lavorare ma soltanto per le cose che mi piacevano veramente.
No War! Diverse le versioni, realizzate da Joe T. Vannelli e Mr. Le versioni per i club sono curate ancora da Vannelli e Mr. Charme uscito nel Nel la Cadeo inizia a lavorare nel mondo del cinema ed accantona la musica.
Pino Campagna, comico e cabarettista foggiano diventato noto nei primi anni Duemila partecipando a Zelig Circus col personaggio Papy Ultras. Sullo sfondo, per creare la giusta atmosfera, le sirene della polizia. Giorgio Bracardi Fratello del musicista e attore Franco Bracardi, Giorgio Bracardi viene ricordato anche per Lucio Smentisco, uno degli innumerevoli personaggi creati dalla sua fantasia, inviato speciale di Striscia la Notizia e portavoce immaginario di Silvio Berlusconi.
Quando poi si seppe in giro, chi veniva in studio per registrare parti vocali mi chiedeva ragguagli sul microfono temendo che fosse proprio quello usato da Bracardi.
Puliti ovviamente! Justine Mattera Nasce a New York da una famiglia di origini italiane e nel si trasferisce a Firenze. Impegnata come cubista in discoteca, viene notata da Joe T. Il primo singolo lo incide nel insieme ad Alberto Girardi ed Antonio Albertini coi quali forma il trio cabarettistico dei Tuicc.
In quel periodo ero preso, insieme a Giovanni Bianchi, dal disco di una cantante dance messa sotto contratto dalla Sony, Donna J, ma Bonsanto ci propose di dedicarci al progetto di Roberto la domenica, giorno in cui eravamo liberi dagli altri impegni.
Il brano non spiccava certamente per idee innovative, suoni e riff ricercati, non aveva alcuna ambizione stilistica. Una volta terminato, proponemmo il progetto alla Energy Production che forse intravide un possibile business. Roberto era un personaggio molto popolare che, col suo respiro affannoso ed esagerato, avrebbe potuto far sorridere anche in discoteca. Pertanto non ho proprio idea di quante copie abbia venduto. Disponevo di un computer Atari ST, molto diffuso negli studi di registrazione, un campionatore Akai S, un E-mu Proteus, una batteria Roland a rack ed un mixer giocattolo, un Boss a 16 canali.
Presi appuntamento e gli feci ascoltare alcuni pezzi. Con quelle basi avrei dovuto creare brani nuovi. Tornai dopo un mese con pezzi inediti e ricevetti i primi assensi. In Time conobbi Claudio Varola, che faceva parte del team degli U. Inizialmente arrivava in studio cavalcando una bicicletta ma poi, coi soldi guadagnati da quel disco, veniva a bordo di una Harley-Davidson.
In Italia Rock House vendette tra le e le copie, non moltissimo. Nella musica bisogna avere anche tanta fortuna, quella che ebbero i citati U. Talvolta capitava che qualcuno bocciasse un pezzo dopo appena cinque secondi mentre ad altri andava a genio.
Ci mandarono le tracce originali su bobina che passammo in digitale. Tra e Bolzoni lavora anche ai primi due album di Mikimix, il futuro Caparezza, ma non ottenendo gli stessi responsi dei lavori che il rapper pugliese incide nel nuovo millennio. Go Unlimited Start your day free trial. Add to MP3 Cart. Add gift card or promotion code.
That long black cloud is comin' down I feel like I'm knockin' on heaven's door. Originally posted by Kiara rulleggia ma c'avrei messo Hurricane.
Parte centrale visionaria in cui Jimmy Page suona la chitarra con un archetto da violino. Been Dazed and Confused for so long it's not true, Wanted a woman, never bargained for you. Lots of people talk and few of them know, Soul of a woman was created below. You hurt and abused tellin' all of your lies, Run around sweet baby, Lord how they hypnotize.
Sweet little baby, I don't know where you've been, Gonna love you baby, here I come again. Every day I work so hard Bringin' home my hard earned pay Try to love you baby, but you push me away. Don't know where you're goin' Only know just where you've been, Sweet little baby, I want you again. Been dazed and confused for so long, it's not true, Wanted a woman, never bargained for you.
Take it easy baby, let them say what they will. Will your tongue wag so much when I send you the bill? I say you don't show Don't move, tide is low I say I say you don't know You say you don't know I say JPG Peace is what they tell me Love am I unholy Lies are what they tell me Despise you that control me The peace is dead in my soul I have blamed the reasons for My intentions poor Yes I'm the one who The only one who Would carry on this far Torn, I'm filthy Born in my own misery Stole all that you gave me Control you claim you save me The peace is dead in my soul I have blamed the reasons for My intentions poor Yes I'm the one who The only one who Would carry on this far Peace in my head Love in my head Lies lies lies lies in my head.
Titolo: Just get up and dance. Autore: Afrika Bambaataa. Durata: 6' 30". Genere: Dance anni ' Se non ve la ricordate vi suggerisco di procurarvela: la riconoscerete. He made it to the ocean Had a smoke in a tree The wind rose up, set him down on his knees A wave came crashing like a fist to the jaw Delivered him wings - "Hey, look at me now" Arms wide open with the sea as his floor Oh!
Oh, HIGH! He floated back down cause he wanted to share His key to the locks on the chains he saw everywhere But first he was stripped, and then he was stabbed By faceless men, well fuckers And he still gives his love, he just gives it away Originally posted by lateralus Titolo: Open Sesame. Autore: Leila K. Durata: 3' 24". Album: Carousel. Un ritmo molto coinvolgente e trascinante, condito dalla voce di Deep Fried, rende questo pezzo veramente micidiale e irrefrenabile. They may call me, Leila K I mean I take it easy Drop raggamuffin, Like me sitting pretty Me got me chased, come on And contest me Abrakadabra me say Open sesame 1 2 3 now catch it, Now licky licky, come down Lyrics a flash From the girlie, girlie Abrakadabra me say Open sesame 7x Me say Jump around if your mind can't work Zongazon, zongazongaze 4x Bom, say this a say that say Widdely dang ding 3x , come Me say abrakadabra Me say open sesame Born catch, them call me, Leila K, I mean I take it easy Drop raggamuffin Like me sitting pretty But they can't catch me Abrakadabra me say Open sesame 1 2 3 now catch it, Now licky, licky Come down lyrics a flash From the gerlie, gerlie BOunce back and catch up They can't catch me Abrakadabra me say Open sesame's Gonna let ya 3x Dengaza dengazadeddely Deng ding come mi say Abrakadabra me say open sesame's gonna let ya 3x Dengazo dengazodiddely deng ding Come mi say Jump around If your mind can't work 14x Abrakadabra me say Open sesame Me say.
And the violence caused such silence, Who are we mistaken? But you see, it's not me, it's not my family. In your head, in your head they are fighting, With their tanks and their bombs, And their bombs and their guns. In your head, in your head, they are crying In your head, in your head, Zombie, zombie, zombie, Hey, hey, hey. What's in your head, In your head, Zombie, zombie, zombie? Another mother's breakin', Heart is taking over. When the vi'lence causes silence, We must be mistaken.
It's the same old theme since nineteen-sixteen. In your head, in your head they're still fighting, With their tanks and their bombs, And their bombs and their guns. In your head, in your head, they are dying Rimpiangi le cose che non sei e tutti i sogni che non hai senza una casa un cuore di pietra giace sanguinante.
Se leggendo genere: metal fate: "blah questa non l'ascolto" , commettereste un errore. Questa canzone merita, merita tantissimo. Look here brother, Who you jivin' with that Cosmik Debris?
Now who you jivin' with that Cosmik Debris? Look here brother, Don't you waste your time on me The Mystery Man got nervous An' he fidget around a bit He reached in the pocket of his Mystery Robe An' he whipped out a shaving kit Now, I thought it was a razor An' a can of foamin' goo But he told me right then when the top popped open There was nothin' his box won't do With the oil of Afro-dytee An' the dust of the Grand Wazoo He said: "You might not believe this, little fella, but it'll cure your Asthma too!
Now what kind of a geroo are you anyway? Look here brother, Don't you waste your time on me Don't waste yer time. Now is that a real poncho or is that a Sears poncho? Don't you know, You could make more money as a butcher, So don't you waste your time on me Don't waste it, don't waste your time on me. Jynweythek 2. Vord hosbn 3. Klatfvgbung micshk 4. Omgyjya-Switch 5. Strotha tynhe 6. Gwety Mernans 7. Bbydhyonchord 8. Avril 14th Gwarek 2 Orban c4 trx 4 Aussois Hy a soullyas lyf adhagrow Kesson da lef Btoum - roumada Lornaderek Meltphace 6 Bit 4 Prep g warlek 36 Father Taking control Petiatil cx htdui Ruglen holon Atx v.
Ziggomatic 17 Beskhu 3epnm Originally posted by Fipe Dum Dum. Butthole Surfers. Psychic Powerless. Hardcore Punk. Titolo: Strike it up. Autore: Black Box. Durata: 5' 17". Album: Dreamland. One of the leading exponents of a wave of Italian house music that flourished on the dancefloors of the late 80s and early 90s, Black Box comprised three Italian studio musicians Daniele Davoli, Mirko Limoni and Valerio Semplici , collectively known as Groove Groove Melody. Catherine Quinol, Paris, France, of Guadelope descent.
Davoli was a well-known Italian club DJ known as DJ Lelewel , largely at the Marabu Starlight Club, while Limoni was the computer and keyboard whizz kid of the trio and had previously engineered for Italian pop act Spagna. The Groove Groove Melody team were established as one of the top two production outfits in Italian dance music, churning out more than a dozen singles a year in their native country. Katrine was spotted by Spagna's guitarist at a club, and, after introductions, featured as vocalist on "Ride On Time".
The single became the first of a series of Italian house records to crossover to the UK charts, staying at number 1 for six weeks in Controversy reigned when it was realized that the single had sampled the voice of singer Loleatta Holloway from the "Love Sensation" single she made with Dan Hartman in the late 70s. An agreement was eventually worked out with Salsoul who owned the rights as both companies benefited from , UK sales. Under seven or more pseudonyms, they turned out numerous further records.
Strike it up, this band is gonna play my tune Strike it up, I wanna I wanna tell you so Strike it up, nobody's gonna stop my sound Strike it up, you know how lonely one can feel Waiting on my feeling, yeah yeah Strike it up, your band is tapping on my skin Strike it up, and keep me and keep me standing on Strike it up, nobody's gonna let you down Strike it up, you know how lovely one can be.
I sense a new scent that's innocent and spent. I feel good. Not so good. I feel kinda misguided. Very Sleepy River A very sleepy place Very Sleepy River A very sleepy place kinda thing very sleepy river very sleepy river it's just a thing very sleepy river just a thing a very sleepy thing..
Questa e' una delle poche canzoni che riesce a tenermi attento per tutta la sua durata: non per via di cambi di ritmo o di particolari accorgimenti che sorgono durante il suo procedere, ma perche' possiede una melodia quasi ipnotica e ammaliante, che aumenta d'intensita' verso la meta' della canzone per poi riattuenarsi nel finale. Come potete intuire dalle liriche non possiede una struttura molto varia, eppure la canzone riesce a non risultare banale; sara' per merito del canto a "singhiozzo" e delle trasognanti atmosfere new age.
Questo album e' stato molto probabilmente una delle maggiori ispirazioni per gruppi come Sigur Ros. Oh yeah, well ard! You may pronounce us guilty a thousand times over, but the goddess of the Eternal court of history will smile and tear to tatters the brief of the State prosecutor and the sentence of this court, for she acquits us Condemn me Condemn me Condemn me History will absolve Singing this will be the day that I die.
Yeahhhhhaaaa if your grandmother or any other member of your family should die whilst in the shelter, Put them outside, but remember to tag them first for identification purposes. Go to war Go to war Go to war Heh Just think, war breaks out and nobody turns up. Yeah When two tribes go to war A point is all you can score. Io non intendo soffermarmi Ma posso aiutare me stesso Quando sento la vibrazione E sento un ricordo Di un tempo nella vita Quando gli anni sembravano essere fermi Chiudo i miei occhi E sprofondo dentro me stesso Rivivo il dono di preziosi ricordi Nel bisogno di un dilemma chiamato innocenza.
Il cambiamento che stava avvenendo era impercettibile Le ferite aperte espongono l'importanza della Nostra innocenza. The killer awoke before dawn He put his boots on He took a face from the ancient gallery And he walked on down the hall He went into the room where his sister lived And then he paid a visit to his brother And then he walked on down the hall And he came to a door And he looked inside Father Yes son?
I want to kill you Mother, I want to. Let me remember things I love, Stopping at the log where catfish bite, Walking along the river road at night, Barefoot girls dancing in the moonlight. I can hear the bullfrog calling me.
Wonder if my rope's still hanging to the tree. Love to kick my feet 'way down the shallow water. Shoefly, dragonfly, get back t'your mother. Pick up a flat rock, skip it across Green River. Up at Cody's camp I spent my days, oh, With flat car riders and cross-tie walkers Old Cody, Junior took me over, Said, "You're gonna find the world is smould'ring.
And if you get lost come on home to Green River. Come on home. Da brividi. Il Giardino Del Mago. Stan cantando al mio funerale chi mi piange forse non lo sa che per anni ho cercato me e passo dopo passo con le spine ormai nei piedi tanto stanco stanco.
Io sono arrivato nel giardino del mago dove dietro ogni ramo crocifissi ci sono gli ideali dell'uomo. Grandi idee invecchiate nel giardino del mago io sto appeso ad un ramo dentro un quadro che balla sotto un chiodo nell'aria sono la' che ho bisogno di carezze umane piu' di te.
E il tempo va', il tempo va' passa e il tempo va,' il tempo va' passa e va' E tu che fai e tu che fai e tu e tu che fai e tu che fai che fai? Sono finito ormai quaggiu' ma vieni via, ma vieni via vieni via!
Non posso tornare restero' se resterai se resterai che farai? Ogni creatura del giardino del mago vive tutto il suo tempo dentro in un albero cavo C' e' chi ride chi geme chi cavalca farfalle chi conosce il futuro chi comanda alle stelle come un re.
Comanda le stelle, comanda le stelle, comanda le stelle, comanda le stelle, ma chi e' che comanda da se' Com'e' strano oggi il sole non si fa scuro chissa' perche' forse la sera non verra' a uccidermi ancora ha avuto pieta' solo ora. Per pieta' della mia mente che se ne va il giorno aspettera' per me si fermera' un po' di piu' vedo gia' foglie di vetro alberi e gnomi corrersi dietro torte di fiori e intorno a me leggeri cigni danzano a che serve poi la realta'.
Coi capelli sciolti al vento io dirigo il tempo il mio tempo la' negli spazi dove morte non ha domini dove l'amore varca i confini e il servo balla con il re corona senza vanita' eterna e' la strada che va'. Frank Zappa. Weasels Ripped My Flesh. Blow your harmonica son! Snot running down his nose greasy fingers smearing shabby clothes. Drying in the cold sun Watching as the frilly panties run.
Feeling like a dead duck spitting out pieces of his broken luck. Sun streaking cold an old man wandering lonely. Taking time the only way he knows. Leg hurting bad, as he bends to pick a dog-end he goes down to the bog and warms his feet. Aqualung my friend don't you start away uneasy you poor old sod, you see, it's only me. Do you still remember December's foggy freeze when the ice that clings on to your beard is screaming agony. And you snatch your rattling last breaths with deep-sea-diver sounds, and the flowers bloom like madness in the spring.
On reservations A hopeless situation Respect is something that you earn Our indian brothers' getting burned Original American Turned into second class citizen Forced out - Brave and Mighty Stolen land - They can't fight it Hold on - To pride and tradition Even though they know how much their lives are really missin' We're dissin them Territory, It's just the body of the nation The people that inhabit it make it's configuration Prejudice, Something we all can do without Cause a flag of many colors is what this land is all about!!!!
Forced out - Brave and Mighty Stolen land - They can't fight it Hold on - To pride and tradition Even though they know how much their lives are really missin' We're dissin them Originally posted by NewBusterSword grande traccia grande album grande gruppo Something small falls out of your mouth And we laugh A prayer for something better A prayer For something better Please love me Meet my mother But the fear takes hold Creeping up the stairs in the dark Waiting for the death blow Stroking your hair as the patriots are shot Fighting for freedom on the television Sharing the world with slaughtered pigs Have we got everything?
She struggles to get away The pain And the creeping feeling A little black haired girl Waiting for Saturday The death of her father pushing her Pushing her white face into the mirror Aching inside me And turn me round Just like the old days Just like the old days Caressing an old man And painting a lifeless face Just a piece of new meat in a clean room The soldiers close in under a yellow moon All shadows and deliverance Under a black flag A hundred years of blood Crimson The ribbon tightens round my throat I open my mouth And my head bursts open A sound like a tiger thrashing in the water Thrashing in the water Over and over We die one after the other Over and over We die one after the other after the other It feels like a hundred years One hundred years And the music plays on, as the bride passes by Caught by his spell and the mariner tells his tale.
Driven south to the land of the snow and ice To a place where nobody's been Through the snow fog flies on the albatross Hailed in God's name, hoping good luck it brings. And the ship sails on, back to the North Through the fog and ice and the albatross follows on. The mariner kills the bird of good omen His shipmates cry against what he's done BUt when the fog clears, they justify him And make themselves a part of the crime.
Sailing on and on and north across the sea Sailing on and on and north 'til all is calm. The albatross begins with its vengeance A terrible curse a thirst has begun His shipmates blame bad luck on the mariner About his neck, the dead bird is hung. And the curse goes on and on at sea And the curse goes on and on for them and me. Death and she Life in Death, They throw their dice for the crew She wins the mariner and he belongs to her now.
She lets him live, her chosen one. Then the spell starts to break The albatross falls from his neck Sinks down like lead into the sea Then down in falls comes the rain. Hear the groans of the long dead seamen See them stir and they start to rise Bodies lifted by good spirits None of them speak and they're lifelesss in their eyes And revenge is still sought, penance starts again Cast into a trance and the nightmare carries on.
Now the curse is finally lifted And the mariner sights his home spirits go fromhe long dead bodies Form their own light and the mariner's left alone. And then a boat came sailing towards him It was a joy he could not believe The pilot's boat, his son and the hermit, Penance of life will fall onto him.
And the ship sinks like lead into the sea And the hermit shrieves the mariner of his sins. The mariner's bound to tell of his story To tell this tale wherever he goes To teach God's word by his own example That we must love all things thaat God made.
And the wedding guest's a sad and wiser man And the tale goes on and on and on. Tornano gli anconesi vedi! Yuppie Flu. The Who. They believe in dreams and all they mean Including heaven's generosity. Peeping round the door To see what parcels are for free In curiosity.
And Tommy dosen't know what day it is. He dosen't know who Jesus was Or what praying is. How can he be saved From the eternal grave? Surrounded by his friends He sits so silently And unaware of everything. Playing poxy pinball, Picks his nose and smiles and Pokes his tongue at everything.
I believe in love But how can men who've never seen Light be enlightened. Only if he's cured Will his spirits future level ever heighten. Tommy, can you hear me? How can he be saved? See me, feel me, touch me, heal me! Tommy non sente. Tommy non parla. Everybody hurts. Automatic for the People. Now it's time to sing along When your day is night alone, hold on, hold on If you feel like letting go, hold on When you think you've had too much of this life, well hang on 'Cause everybody hurts.
Take comfort in your friends Everybody hurts. Don't throw your hand. Oh, no. Don't throw your hand If you feel like you're alone, no, no, no, you are not alone If you're on your own in this life, the days and nights are long, When you think you've had too much of this life to hang on Well, everybody hurts sometimes, Everybody cries.Fulvio Perniola 0lLzaCQ9dUyBCucUvAH Boss In My Life 0lMhr8Ziv4covn5J6eXtja Êh Vida Gianni Bini Tore 10GBro2O9xF2V4fAEBJUvB Sélection de chansons d'amour DJ Lulu & DJ Gas Physical Beats Mix 1P2exp2UkqRM1L5vzbDjct Tempo .