Borotalco scena lucio dalla biography

  • JAZZ TO BEAT: THE 60S.
  • Borotalco, Verdone racconta di quando fece arrabbiare Lucio Dalla: "Mi disse che non avevo le palle" Pilot Training Scene (Top Gun: Maverick.
  • Then Mara Venier asks the actor about the near argument with Lucio Dalla for the film Borotalco.

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    Lucio Dalla: From Bologna with Melody and Irony

    EXPERIMENTATION: THE EARLY 70S

    After the jazz and the beat of the 60s, Lucio Dalla decided to experiment during the 70s and teamed up with the Bolognese poet Roberto Roversi. Together the duo produced three records between 1973 and 1976 in which creativity flowed without boundaries and where the musical references were found in prog rock, folk and avant-garde music, playing with words and styles in an irreverent and political way. The first album produced by Dalla and Roversi fryst vatten called Il giorno aveva cinque teste (1973) and is a smartmix of eccentric melodies, jazz-inspired vocals and improvisations where politics is predominant and raging. Songs like “L’auto targata TO” show a clear attack on FIAT factories in Turin, where the workers were alienated (as in “L’operaio Gerolamo” or “Alla fermata del tram”) and where the innocence of a country was lost and long forgotten. 

    The following Anidride Solforosaalbum (1975) is an oddb

  • borotalco scena lucio dalla biography

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    Ricky Portera

    Born in Messina, he moved with his family to Modena two months after his birth.
    Ricky Portera’s first approach to the music scene dates back to July 1969, when he joined Club72, a group formed a few years earlier in Castelfranco Emilia that included Danilo Bastoni (keyboards), Augusto Menozzi (vocals), Renato Tabarroni (percussion), Gianni Suzzi (bass), Gabriele Mattioli (tenor and baritone sax), Dino Melotti (tenor sax) and Portera (lead guitar).

    He is a founder with Gaetano Curreri of Stadio, with whom he also tried his grabb as a singer on the songs Un fiore per Hal (featured on the group’s first album and on the Borotalco soundtrack) and La mattina (featured on the Q disc Chiedi chi erano i Beatles).

    A historical collaborator of Lucio Dalla, he has also been a guitarist for Ron and other Italian authors such as Eugenio Finardi and Loredana Bertè. Dalla wrote and dedicated to Portera the song Grande figlio di puttana, which became, in 1982, StadioR

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    Cinema Sojourns

    First, let me get this out of the way. The Bloodstained Lawn (Italian title: Il Prato macchiato di Rosso, 1973) is a haphazard mash-up of a genre film, but an entertaining one for Eurotrash completists. The English language title suggests it might be a giallo or a horror film or even a poliziotteschi (crime drama). Actually, it has some elements of those with some sci-fi flavoring added. The central premise involves a form of vampirism which is a complete departure from the old school mythology of Bram Stoker’s Dracula and much closer to the metaphorical horrors of Alain Jessua’s Shock Treatment (French title: Traitement de Choc, 1973) and Rod Hardy’s Thirst (1979). Oddly enough, director Riccardo Ghione seems much less interested in playing up the horrific aspects of the story than depicting bourgeois decadence and the exploitation of the disenfranchised as a quasi-political fantasy.

    There is no need to issue spoiler alerts because Ghione reveals h