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In the Mahābhārata epic, Madri (Sanskrit: माद्री Mādrī) was a princess of the Madra kingdom and the second wife of Pandu.

On his way to Hastinapur, King Pandu encountered the army of Shalya, King of Madra. Very soon, Pandu and Shalya became friends and Shalya gave his only sister, Madri to Pandu, as a gift of their friendship. Looking at her beauty, Pandu accepted the lady willingly and took her to Hastinapur.

She, alongside Kunti, faithfully accompanied Pandu in his hermetical retreat following his abdication as the king of Hastinapura. One day while hunting in the forest, Pandu accidentally shot an arrow killing a hermit. He cursed Pandu saying that he would die alongside the person he lay with. Both Kunti and Madri were directly affected by the curse on Pandu because they were denied the opportunity to lay with Pandu and thus bear Pandu's children. However, a boon was given to Kunti which enabled her to call upon any God to bear her a child. She had used this boon once before with the Sun God and thus gave birth to Karna, a child which no one was aware of. After Pandu learns of this boon he begs her to call upon Gods to bear her with children. She calls upon Dharma, Vayu, and Indra and bears Yudishtira, Bhima, and Arjuna respectively. Pandu asks Kunti to use this boon for Madri, who then bore twins from the twin Gods Ashvins named Nakula and Sahadeva.

One fateful day, Pandu desired Madri and the memory of the curse briefly eluded him. Death struck Pandu immediately. Madri, filled with remorse, self immolated on Pandu's funeral pyre. Kunti became the mother of five children after the death of Madri.

v t e Mahabharata Kuru Kingdom Shantanu · Ganga · Bhishma · Satyavati · Chitrāngada · Vichitravirya · Ambika · Ambalika · Vidura · Dhritarashtra · Gandhari · Shakuni · Pandu · Kunti · Madri · Yudhisthira · Bhima · Arjuna · Nakula · Sahadeva · Duryodhana · Dushasana · Yuyutsu · Dushala · Draupadi · Hidimbi · Ghatotkacha · Ahilawati · Subhadra · Uttara · Ulupi · Chitrāngadā  · Abhimanyu  · Iravan · Babruvahana · Barbarika · Parikshit  · Janamejaya Other characters Karna · Drona · Amba · Vyasa · Krishna · Satyaki · Dhristadyumna · Sanjaya · Virata · Kichaka · Kripa · Ashwatthama · Ekalavya · Kritavarma · Jarasandha · Mayasura · Durvasa · Jayadratha · Balarama · Drupada · Hidimba · Shalya · Adhiratha · Shikhandi Other Mahābhārata and the Indian caste system · Avatars · Pandava · Kaurava · Hastinapur · Indraprastha · Kingdoms · Kurukshetra War · Bhagavad Gita

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Fabrizio Cristiano De André (18 February 1940 - 11 January 1999) was an Italian singer-songwriter. Known for his sympathies towards anarchism, libertarism and pacifism, his songs often featured marginalized and rebellious people, gypsies, prostitutes and knaves, and attacked the Catholic Church hierarchy hypocrisies.^[1]. Artistically active for almost 40 years and the author of thirty studio albums, he is renowned for the quality of his lyrics and often considered a poet. He contributed to the valorization of the languages of Italy, most notably Ligurian and, to a lesser extent, Sardinian, Gallurese and Neapolitan. Following his early death several streets, places, parks, schools and public libraries were named after him.^{[2][3][4][5][6]}

Biography[link]

De André was born in Genoa, welcomed into the world by Gino Marinuzzi's "Country Waltz" on the home gramophone. Twenty-five years later, Fabrizio De André would set his "Waltz for a Love" to Marinuzzi's waltz tune.

When war broke out, the De Andre' family had to seek refuge on a country farm near Revignano (a little town near Asti), in Piemonte. Fabrizio's father, who was an Anti-fascista pursued by the police, joined the partisans. In 1945 the De André family moved back to Genova. Fabrizio went to primary school, first at the Marcellian Sisters' School and, later, at the Cesare Battisti public school. He went on to the Liceo Classico "Cristoforo Colombo"; after his final examination, he enrolled in the Law School at the University of Genoa, though he did not graduate (he gave up when he had only a few exams left). De Andre' first played the violin, then the guitar, and joined a number of local jazz bands (jazz was his "first love").

First recordings[link]

In 1961 De André recorded his first two songs, "Nuvole barocche" ("Baroque Clouds") and "E fu la notte" ("And There Was Night"); in 1962 he married Puny Rignon, a Genoese woman nearly ten years older. That same year the couple had their first and only son, Cristiano, who would follow in his father's footsteps and become a musician and songwriter as well.

In the following years De André wrote a number of songs which made him known to a larger public, soon becoming classic hits: "La guerra di Piero" ("Peter's War"), "La ballata dell'eroe" ("The Hero's Ballad"), "Il testamento di Tito" ("Titus's Will"), "La Ballata del Michè" ("Mike's Ballad"), "Via del Campo" (literally "Field Street", a famous street in Genoa), "La canzone dell'amore perduto" ("Song for Lost Love"), "La città vecchia" ("Old Downtown"), "Carlo Martello ritorna dalla battaglia di Poitiers" ("Charles Martel on His Way Back from Poitiers", written together with actor Paolo Villaggio, one of De André's closest friends), and "La canzone di Marinella" ("Marinella's Song").

Volume 1[link]

De André's first LP, Volume 1, was issued shortly after (1968), followed by Tutti morimmo a stento ("We All Died Agonizingly") and Volume 3; both LPs soon reached the top of the Italian hit-parade. The former contained a personal version of "Eroina" ("Heroin") by the poet Riccardo Mannerini, entitled "Cantico dei drogati" ("Canticle of the Junkies").

[edit] La buona novella

In 1970 De André wrote La buona novella ("Glad Tidings" - a literal rendition of the etymology of gospel), a concept album based on Christ's life as told in the Apocrypha. The album was very controversial, especially the song "Il testamento di Tito" ("Titus's Will"), in which one of the thieves crucified with Jesus violently refutes the Ten Commandments. He had written a number of songs (like "Preghiera in Gennaio", "Prayer in January", and "Si chiamava Gesù", "His Name Was Jesus") in which he showed a Christian-like open-minded spirit and in the meantime invited the audience in his own delicate way to think about the manipulation of the church.

[edit] Non al denaro non all'amore né al cielo

In 1971 he wrote another celebrated concept album, Non al denaro non all'amore né al cielo ("Neither to money, nor to love, nor to Heaven"), based on Edgar Lee Masters's Spoon River Anthology; in an interview the LP was introduced to Fernanda Pivano, the first Italian translator of the "Anthology" and one of Cesare Pavese's most intimate friends. Fabrizio De André's name began to be associated with literature and poetry, and some of his songs found their way into school books.

[edit] Storia di un impiegato and Canzoni

In 1973 he wrote his most "political" album, Storia di un impiegato ("Story of an Employee").
The following year, De André issued Canzoni ("Songs"), a collection of his translations from Georges Brassens, Leonard Cohen and Bob Dylan. The album also included a number of his old songs from the 1960s.

[edit] Volume 8

In 1975 De André (who in the meantime had divorced his wife Puny and begun a relationship with the folksinger Dori Ghezzi) wrote Volume 8 with another famous Italian singer-songwriter, Francesco De Gregori. With this album, he broke with "tradition" in order to find a new approach to poetry and music. The lyrics show how deep the influence of modern poetry is on De André's work. 1975 marked a real change in De André's life: he began to perform in a series of memorable concerts (after his first performances of the early 1960s, he had always refused to appear in public, except for a couple of TV broadcasts) and planned to move to Sardinia with his new love. For this purpose, he purchased the Agnata homestead near Tempio Pausania in the northern part of the island, where he could devote himself to farming and cattle breeding.

In 1977 the couple had a daughter, Luisa Vittoria (nicknamed "Luvi"). The following year De André issued a new LP, Rimini. Most songs included on this album were written together with Massimo Bubola, a young singer-songwriter from Verona.

Concerts with PFM and kidnapping[link]

1979 was another milestone in De André's life. The year began with a series of distinguished live concerts from which a double LP was compiled; De André was accompanied by one of the most renowned Italian progressive rock bands, Premiata Forneria Marconi (PFM); the albums were released as In Concerto (1979), and In Concerto - Volume 2 (1980). At the end of August, however, De André and Ghezzi were kidnapped for ransom by a gang of bandits in Sardinia and held prisoner in the Alà dei Sardi mountains. The couple were released four months later with a ransom reportedly being paid. As De André stated in some interviews, he was helped by his father to find the money and had to start a tour shortly after the release of the "Indiano" album in order to repay him. When the bandits were apprehended by the police, De André was called as a witness before the Court. He showed compassion for some of his kidnappers, since he had been well treated by his "guardians" and declared his solidarity with them. "They were the real prisoners, not I", he said. This declaration is a good example of De André's viewpoint and approach.^{[citation needed]} He said he understood they were driven by need, but he did not show any compassion for the higher echelon of the group that organized his kidnapping, since they were already rich.

This incident, and the hard life of the Sardinian people, gave him inspiration for his following album, released in 1981. The album is untitled but, due to the image of Native American on the cover, the mass-media called it "The Indian". In De André's poetical vision, the American Indians merge with the poor Sardinian shepherds as an allegory for the marginalization and subjugation of people who are "different". The song "Hotel Supramonte", is dedicated to the kidnapping and to Dori Ghezzi, who was with him during those days. The album also contains one of his most famous songs, "Fiume Sand Creek" ("Sand Creek River"): in De André's unique, allusive way it tells the story of the massacre of defenseless Native Americans by US Army troops on 29 November 1864.

[edit] Crêuza de mä

In 1984 he turned to his native Genoese dialect; in collaboration with former PFM member Mauro Pagani he wrote one of his most celebrated albums, Crêuza de mä ("Path to the sea", the term "Crêuza" actually means a narrow road bordered by low walls, typical of Genoa and Liguria in general). The songs are a tribute to the traditional music from the Mediterranean basin. The album was awarded several prizes and was hailed as "the best Italian album of the 1980s".^{[citation needed]} David Byrne named it as one of his favourite albums, and Wim Wenders said that it was this album that introduced him to the music of De André, whom the director names as one of his favourite artists.^[7] As Pagani has repeatedly stated, De Andrè wrote the lyrics for the album, while the music was almost entirely Pagani's.

1990s[link]

In 1989 De André married Ghezzi; the following year a new album was issued, Le nuvole ("The Clouds"), which included two more songs in the Genoese dialect, one in the Gallurese dialect of Northern Sardinia ("Monti di Mola") and one in the Neapolitan dialect, the highly ironic "Don Raffaè". A new series of well received live concerts followed, from which a double LP, 1991 Concerti ("Concerts 1991"), was issued. In 1992 he started a new series of live concerts, performing in a number of theatres for the first time.

De André's last original album, Anime salve ("Saved Souls"), was issued in 1996. Written in collaboration with Ivano Fossati, it represents a sort of "spiritual will", and includes songs such as "Khorakhané" (dedicated to the Muslim Roma people), "Disamistade" (a return to his beloved Sardinian themes, which has been translated into English and sung by The Walkabouts) and "Smisurata preghiera" ("An Infinite Prayer"), based on the Colombian writer and storyteller Álvaro Mutis's The Adventures and Misadventures of Maqroll. De André also sang a Spanish version of this song, Desmedida plegaria.

In 1997, he undertook a new tour of theatre concerts and a new song collection called M'innamoravo di tutto was issued ("I Used to Fall in Love with Everything", a quote from one of his older songs, Coda di Lupo - Wolf's Tail) . The Anime salve concert tour went on up to the late summer of 1998, when De André stopped after the first symptoms of a serious illness, which was later diagnosed as lung cancer.

De André died in Milan on 11 January 1999, at 2:30 am. Two days later, he was buried in his native town, Genoa; the ceremony was attended by a crowd of about 20,000. He is buried in the Monumental Cemetery of Staglieno, in the De André family chapel.

Fabrizio De André and faith[link]

In the concept album La Buona Novella (1970), De André gives us the ultimate expression of his religious vision, making a clear humanization of the divine. In a concert at the Teatro Brancaccio in Rome in 1998, De André made the following statements about ^[8]:

« When I wrote La Buona Novella was 1969. It was then, in full students' fight and people less attentive regarded as an anachronism that record [...] And they did not realize that the Good News was meant to be an allegory: a comparison between the instances of the revolt of '68, and instances , spiritually higher but similar in an ethical-social point of view, built by a gentleman, 1969 years before, against the abuses of power, against the abuses of authority, in the name of egalitarianism and universal brotherhood. That man was called Jesus of Nazareth. And I think he was, and remains, the greatest revolutionary of all time. When I wrote the album I did't want to go in ways difficult to get to me, such as metaphysics or even theology. Then I thought that if God did not exist we should invent it, which is exactly what the human did since he set foot on earth »

« Probably the characters in La Buona Novella forgive a bit of sanctification, but I believe and I hope particularly for the benefit of their better and more humanization »

The attitude taken by De André against the political use of religion and the Church hierarchy is often sarcastic and highly critical about their contradictory behaviour, such as, for example, in the songs Un Blasfemo, Il Testamento di Tito, La ballata del Miché and the last verses of Bocca di Rosa^[9].

« I feel myself religious, and my religion is to feel part of a whole, in a chain that includes all creation and so to respect all elements, including plants and minerals, because, in my opinion, the balance is exactly given from the well-being in our surroundings. My religion does not seek the principle, you want to call it creator, regulator or chaos makes no difference. But I think that everything around us has its own logic and this is a thought to which I turn when I'm in difficulty, perhaps giving the names I've learned as a child, maybe because I lack the imagination to find out other ones »

After the kidnapping, the religious vision of De André had a new development;

« During the abduction helped me the faith in men, just where there wasn't faith in God. I have always said that God is a human invention, something utilitarian, a patch on the fragility ... But, however, with the kidnapping something has changed. I've not changed my mind, but it is certain that today swearing at least embarrasses me. »^[10]

Discography[link]

[edit] Albums^[11]

• Volume 1 (1967)
• Tutti morimmo a stento (1968)
• Volume 3 (1968)
• La buona novella (1970)
• Non al denaro non all'amore né al cielo (1971)
• Storia di un impiegato (1973)
• Canzoni (1974)
• Volume 8 (1975)
• Rimini (1978)
• Fabrizio De André (1981)
• Crêuza de mä (1984)
• Le nuvole (1990)
• Anime salve (1996)

Compilations[link]

• Tutto Fabrizio De André (1966)
• La canzone di Marinella (1968)
• Nuvole barocche (1968)
• Fabrizio De André (also known as the Black Anthology) (1976)
• Fabrizio De André (also known as the Blue Anthology) (1986)
• Il viaggio (1991)
• La canzone di Marinella (1995, reissue)
• Mi innamoravo di tutto (1997)
• Da Genova (1999)
• Peccati di gioventù (2000)
• In direzione ostinata e contraria (2005)
• In direzione ostinata e contraria 2 (2006)

Live albums[link]

• Fabrizio De André in concerto (1979)
• Fabrizio De André in concerto vol. 2 (1980)
• 1991 concerti (1991)
• In concerto (1999)
• Ed avevamo gli occhi troppo belli (2001)
• In concerto volume II (2001)
• Fabrizio De André e PFM in concerto (2007)

Singles[link]

• "Nuvole barocche"/"E fu la notte" (1961)
• "La ballata del Michè"/"La ballata dell'eroe" (1961)
• "Il fannullone"/"Carlo Martello ritorna dalla battaglia di Poitiers" (1963)
• "Il testamento"/"La ballata del Michè" (1963)
• "La guerra di Piero"/"La ballata dell'eroe" (1964)
• "Valzer per un amore"/"La canzone di Marinella" (1964)
• "Per i tuoi larghi occhi"/"Fila la lana" (1965)
• "La città vecchia"/"Delitto di paese" (1965)
• "La canzone dell'amore perduto"/"La ballata dell'amore cieco (o della vanità)" (1966)
• "Geordie"/"Amore che vieni, amore che vai" (1966)
• "Preghiera in Gennaio"/"Si chiamava Gesù" (1967)
• "Via del Campo"/"Bocca di rosa" (1967)
• "Caro amore"/"Spiritual" (1967)
• "La canzone di Barbara"/"Carlo Martello ritorna dalla battaglia di Poitiers" (1968)
• "La canzone di Marinella"/"Amore che vieni, amore che vai" (1968)
• "Il gorilla"/"Nell'acqua della chiara fontana" (1969)
• "Leggenda di Natale"/"Inverno" (1969)
• "Il pescatore"/"Marcia nuziale" (1970)
• "La stagione del tuo amore"/"Spiritual" (1970)
• "Nuvole barocche"/"E fu la notte" (1971, reissue)
• "Un matto (Dietro ogni scemo c'è un villaggio)"/"Un giudice" (1971)
• "Suzanne"/"Giovanna d'Arco" (1972)
• "La cattiva strada"/"Amico fragile" (1974)
• "Il pescatore"/"Carlo Martello ritorna dalla battaglia di Poitiers" (1978)
• "Una storia sbagliata"/"Titti" (1980)

Novels[link]

• Un destino ridicolo (1996), with Alessandro Gennari - ISBN 88-06-17591-2

Notes and References[link]

External links[link]

Wikimedia Commons has media related to: Fabrizio De André

• Fabrizio De André at the Internet Movie Database
• Via del campo tribute website to Fabrizio De André. It hosts the [1] English translations of some of his songs.
• Antiwar Songs by Fabrizio De André translated in many different languages
• Simon Evnine, a philosophy professor at the University of Miami, has translated some of De André's songs in singable rhyme.
• "The other Fabrizio", with videos, songs, Italian/English lyrics and comments on Fabrizio's songs as well as articles on Fabrizio's anarchy.

Vittorio Gassman
Born	(1922-09-01)1 September 1922 Genoa, Liguria, Italy
Died	29 June 2000(2000-06-29) (aged 77) Rome, Italy
Occupation	actor, director, screenwriter
Years active	1945–1999
Spouse	Nora Ricci (1944–1952) Shelley Winters (1952–1954) Diletta D'Andrea (1972–2000)
Awards	Best Actor Award (Cannes Film Festival) 1975 Profumo di donna

Vittorio Gassman Knight Grand Cross OMRI (born Gassmann; 1 September 1922 – 29 June 2000), popularly known as Il Mattatore, was an Italian theatre and film actor and director. He is considered one of the greatest Italian actors and is commonly recalled as an extremely professional, versatile, magnetic interpreter, whose long career includes both important productions as well as dozens of divertissements (which made him greatly popular).

Biography[link]

Early life[link]

He was born in Genoa to a German father, Heinrich Gassmann, and a Pisan Jewish mother, Luisa Ambron. While still very young he moved to Rome, where he attended the studies at the Accademia Nazionale d'Arte Drammatica.

Career[link]

Gassman's debut was in Milan, in 1942, with Alda Borelli in Niccodemi's Nemica (theatre), he then moved to Rome and the Teatro Eliseo joining Tino Carraro and Ernesto Calindri in a team that remained famous; with them he acted in a range of plays from bourgeois comedy to the sophisticated intellectual theatre. In 1946, he made his film debut in Preludio d'amore, the year after he appeared in five films. In 1948 he played in Riso amaro.

It was with Luchino Visconti's company that Gassman achieved his mature successes, together with Paolo Stoppa, Rina Morelli and Paola Borboni. He played Stanley Kowalski in Tennessee Williams' Un tram che si chiama desiderio (A Streetcar Named Desire), as well as in As You Like It (by Shakespeare) and Oreste (by Vittorio Alfieri). He joined the Teatro Nazionale with Tommaso Salvini, Massimo Girotti, Arnoldo Foà, for a successful Peer Gynt (by Henrik Ibsen). With Luigi Squarzina in 1952 he co-founded and co-directed the Teatro d'Arte Italiano, producing the first complete version of Hamlet in Italy, then rare works such as Seneca's Thyestes and Aeschylus's The Persians.

In 1956 Gassman played the title role in a production of Othello. A little later, in the television series entitled Il Mattatore (Spotlight Chaser) he obtained unexpected success and "Il Mattatore" became the nickname that accompanied him for the rest of his life. Gassman's debut in the commedia all'italiana genre was rather accidental, in Mario Monicelli's I soliti ignoti (Big Deal on Madonna Street, 1958). Famous movies featuring Gassman include: Il sorpasso (1962), La Grande Guerra (1962), I mostri (1963), L'Armata Brancaleone (1966), Profumo di donna (1974) and C'eravamo tanto amati (1974).

He directed Adelchi, one of the lesser-known works by Alessandro Manzoni. He toured his production to half a million spectators, crossing Italy with his Teatro Popolare Itinerante (a newer edition of the famous Carro di Tespi). His productions include most of the famous authors of the 20th century, with repeated returns to the classics of Shakespeare, Dostoyevsky and the Greeks. He also founded a theatre school in Florence (Bottega Teatrale di Firenze), which formed many of the more talented actors of the current generations.^{[citation needed]}

In cinema, he worked frequently both in Italy and abroad. With his natural charisma and his fluency in English he scored a number of roles in Hollywood; it was during an early stint there that he met and married Shelley Winters, whom he divorced to return to Italy. Also voiced Mufasa in the Italian version of Lion King, TheThe Lion King.

Personal life[link]

Gassman married three actresses: Nora Ricci (with whom he had Paola, an actress and wife of Ugo Pagliai); Shelley Winters (mother of his daughter Vittoria); and Diletta D'Andrea, by whom he had a son, Jacopo. In addition, he had an affair with actress Juliette Maynel (who gave him Alessandro, also an actor). In the 1990s he took part in the popular TV show Tunnel in which he very formally and "seriously"' recited documents such as utility bills, yellow pages and similar trivial texts, such as washing instructions for a woollen sweater or cookies ingredients. He rendered them with the same professional skill that made him famous while reciting Dante's Divine Comedy.^{[citation needed]}

In 2000, he died of a heart attack at his home in Rome, aged 77.

Filmography[link]

Actor[link]

• Preludio d'amore (Love Prelude, 1946)
• Le Avventure di Pinocchio (The Adventures of Pinocchio, 1947)
• Il Cavaliere misterioso (The Mysterious Rider, 1947)
• Daniele Cortis (1947)
• L'Ebreo errante (1947) aka The Wandering Jew, (1947)
• La Figlia del capitano (The Captain's Daughter, 1947)
• Riso amaro (Bitter Rice, 1948)
• I fuorilegge, (The Outlaws, 1949)
• Ho sognato il paradiso (Streets of Sorrow, 1949)
• Il lupo della Sila (1949)
• Lo sparviero del Nilo (1949)
• Il tradimento (1949)
• Una voce nel tuo cuore (1949)
• Il leone di Amalfi (1950)
• Anna (1951)
• La corona negra (1951)
• Il sogno di Zorro (1952)
• Sombrero (1953)
• The Glass Wall (1953)
• Cry of the Hunted (1953)
• Mambo (1954)
• Rhapsody (1954)
• La donna più bella del mondo (1955)
• Difendo il mio amore (1956)
• Giovanni dalle Bande Nere (1956)
• Kean (1956)
• War and Peace (1956)
• La ragazza del palio (1957)
• La tempesta (1958)
• I soliti ignoti (Big Deal on Madonna Street, 1958)
• L'Audace colpo dei soliti ignoti (Hold-up à la milanaise, 1959)
• La cambiale (1959)
• The Great War (1959)
• The Miracle (1959)
• Le sorprese dell'amore (1959)
• Crimen (Killing in Monte Carlo, 1960)
• Il Mattatore (1960)
• Barabbas (1961)
• Anima nera (1961)
• I briganti italiani (1961)
• Fantasmi a Roma (Ghosts of Rome, 1961)
• A Difficult Life (1961)
• The Last Judgement (1961)
• L'amore difficile (Sex Can Be Difficult, 1962)
• Il giorno più corto (1962)
• La Marcia su Roma (March on Rome, 1962)
• Il Sorpasso (The Easy Life, 1962)
• Frenesia dell'estate (1963)
• La Smania addosso (1963)
• Il Successo (1963)
• I Mostri (1963)
• La Congiuntura (Hard Time for Princes, 1964)
• Il Gaucho (1964)
• Se permettete parliamo di donne (Let's Talk About Women, 1964)
• Slalom (1965)
• Una Vergine per il Principe (Virgin for the Prince, 1965)
• The Dirty Game (1965)
• L'Arcidiavolo (Devil in Love, 1966)
• L'Armata Brancaleone (1966)
• Le piacevoli notti (1966)
• Lo scatenato (1967)
• Il Tigre (1967)
• Sette Volte Donna (Woman Times Seven, 1967)
• La Pecora nera (The Black Sheep, 1968)
• Questi fantasmi (Ghosts – Italian Style, 1968)
• Il Profeta (1968)
• L'Alibi (Alibi, 1969)
• L'Arcangelo (1969)
• Dove vai tutta nuda? (Where Are You Going All Naked?, 1969)
• Una su 13 (The 13 Chairs, 1969)
• Brancaleone alle Crociate (Brancaleone at the Crusades, 1970)
• Contestazione generale (1970)
• Il Divorzio (1970)
• In nome del popolo italiano (1971)
• Scipione detto anche l'africano (Scipio the African, 1971)
• L'udienza (The Audience, 1971)
• Senza famiglia, nullatenenti cercano affetto (1972)
• Che c'entriamo noi con la rivoluzione? (1973)
• La Tosca (1973)
• C'eravamo tanto amati (We All Loved Each Other So Much, 1974)
• Profumo di donna (Scent of a Woman, 1974)
• A mezzanotte va la ronda del piacere (Midnight Pleasures, 1975)
• Come una rosa al naso (Pure as a Lily, 1976)
• The Desert of the Tartars (The Desert of the Tartars, 1976)
• Signore e signori, buonanotte (1976)
• Telefoni bianchi (1976)
• Anima persa (The Forbidden Room, 1977)
• Due pezzi di pane (Happy Hobos, 1978)
• I nuovi mostri (Via l'Italia!, 1978)
• A Wedding (1978)
• Quintet (1979)
• Caro papà (Dear Father, 1979)
• Sono fotogenico (1980)
• La terrazza (The Terrace, 1980)
• The Nude Bomb (1980)
• Il Turno (1981)
• Sharky's Machine (1981)
• Camera d'albergo (Chambre d'hôtel, 1981)
• Il Conte Tacchia (Count Tacchia, 1982)
• Di padre in figlio (1982)
• Tempest (1982)
• Benvenuta (1983)
• La Vie est un roman (Life Is a Bed of Roses, 1983)
• Paradigma (Power of Evil, 1985)
• I Soliti ignoti vent'anni dopo (Big Deal After 20 Years, 1987)
• La Famiglia (The Family, 1987)
• I Picari (1988)
• Mortacci (1989)
• Lo Zio indegno (1989)
• I Divertimenti della vita privata (1990)
• Les Mille et une nuits (1990)
• Dimenticare Palermo (1990)
• El Largo invierno (1991)
• Rossini! Rossini! (1991)
• Quando eravamo repressi (1992)
• Tolgo il disturbo (1992)
• Tutti gli anni una volta l'anno (1994)
• Abraham (1994, TV series)
• Sleepers (1996)
• Un homme digne de confiance (1997)
• Deserto di fuoco (1997, TV Series)
• La cena (1998)
• La bomba (1999)
• Luchino Visconti (1999)

Director[link]

• Kean (1956)
• L'Alibi (1969)
• Senza famiglia, nullatenenti cercano affetto (1972)
• Di padre in figlio (1982)

Writer[link]

• Luca de' Numeri. Novel, in 1947 won the Fogazzaro prize, publicated in 1965 (ed. Lerici)
• Un grande avvenire dietro le spalle. Milano, (1981). Longanesi & C.
• Vocalizzi. Milano, (1988). Longanesi & C.
• Memorie del sottoscala. Milano, (1990). Longanesi & C.

Disks[link]

• CL 0426 – Antologia moderna – Ungaretti, Cardarelli, Palazzeschi, Montale, Quasimodo.
• CL 0401 – Dante Alighieri – Inferno canto quinto.
• CL 0437 – Dante Alighieri – Inferno canto XXVI.
• CL 0402 – Dante Alighieri – Paradiso canto XXXIII.
• CL 0457 – Elogio Olimpico – Poesie sportive.
• CL 0459 – Eschilo – Coefore – with Valentina Fortunato and Maria Fabbri.
• CL 0438 – Foscolo – Sepolcri.
• CL 0439 – Leopardi – Poesie
• CL 0440 – Leopardi – Poesie.
• CL 0458 – Manzoni – Adelchi, with Carlo D'Angelo.
• CL 0414 – Manzoni – Promessi sposi.
• CL 0416 – Manzoni – Il cinque maggio.
• CL 0441 – Mistici del '200.
• CL 0470 – Pascarella – Sonetti.
• CL 0417 – Pascoli – Poesie.
• CL 0420 – Saba – Poesie.
• CL 0415 – Shakespeare – Amleto.
• CL 0427 – Sonetti attraverso i secoli.
• CL 0443 – Gassman nel Mattatore prose varie.
• CL 0444 – Gassman nel Mattatore prose varie.
• CLV 0604 – Shakespeare – Otello.
• CLV 0607 – Irma la dolce.
• CLV 0609 – Gassman – Il Mattatore prose varie.

External links[link]

• Vittorio Gassman at the Internet Movie Database

• Geographical coordinates and pictures of his grave

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Roberto Vecchioni
Background information
Born	(1943-06-25) 25 June 1943 (age 69)
Origin	Milan, Italy
Genres	Pop, Rock
Occupations	Singer-songwriter, Writer
Years active	1966–present
Labels	Durium, Italdisc, Ducale, Philips, Ciao, CGD, EMI
Website	www.robertovecchioni.com

Roberto Vecchioni (born 25 June 1943) is an Italian singer-songwriter and writer.

Biography[link]

Vecchioni was born in Carate Brianza, province of Milan, to a family of Neapolitan origin. In 1968 he graduated in Classical Literature at the Università Cattolica of Milan, where he remained for two years as assistant lecturer of History of Religion. Later he become literature and history teacher in a Milanese High School, an activity he continues to this day.

His career in the Italian music industry began in the late 1960s as songwriter for Italian pop stars including Ornella Vanoni, Gigliola Cinquetti, Mina, Iva Zanicchi. His first solo album was Parabola of 1971. In 1973 he took part in the Sanremo Festival with "L'uomo che si gioca il cielo a dadi", continuing to release works as singer-songwriter in the following years. His 1974 LP, Il re non si diverte, obtained the Best Year's Album Award from the Italian musical critics. In 1976 he published his first commercial success, Elisir, but he gained public recognition only in the following year, with Samarcanda. With this work Vecchioni was acclaimed as one of the most skillful italian singer-songwriters: his inspiration draws mainly from autobiographical themes, intermingled with dreamy, literary and historical (often mythological) ones. His friend Angelo Branduardi played violin on the LP.

Vecchioni's skills were confirmed in the following works, Calabuig, Stranamore e altri incidenti (1978), where the literary citations predominated, and in Robinson (come salvarsi la vita) (1979), where instead the autobiographical inspiration prevails. The songs "Signor giudice" and "Lettera da Marsala" of the latter work deal with the problems Vecchioni had had in the preceding years: respectively, a charge for marijuana possession (from which he was acquitted) and a dispute with his former record label. The following album, Montecristo, was released indeed by both the old and the new labels.

After Hollywood Hollywood of 1982, whose songs are influenced by the world of cinema, Vecchioni in 1984 released the double LP Il grande sogno ("The Big Dream"), in which he collected new songs together with new versions of his past hits. The title track featured Francesco De Gregori playing blues harp. The LP was accompanied by his first literary attempt, a short book with the same name. Many of the cover of Vecchioni's LPs of this period were disegned by the famous Italian comic book artist and painter Andrea Pazienza.

While continuing a successful career as a renowned singer-songwriter in the 1980s and the 1990s, Vecchioni spent more time writing. His prose includes the collection Viaggi nel tempo immobile (1996) and the novels Le parole non portano le cicogne (2000) and Il libraio di Selinunte. He also lectured on the History of Italian Songwriting in a tour lasting two years, and was called to author the Enciclopedia Treccani article about Italian singer-songwriters. His best more recent works include Sogna ragazzo sogna ("Dream, boy, dream") of 1999 and Il lanciatore di coltelli ("The Knife Thrower") of 2002.

On 19 February 2011 he won the 61st Sanremo Music Festival^[1] and the "Mia Martini" Critics' Award ^[2] with the song "Chiamami ancora amore" ("Call me Love again").

Discography[link]

• Parabola (1971)
• Saldi di fine stagione (1972)
• Il re non si diverte (1974)
• Barbapapà (1975)
• Ipertensione (1975)
• Elisir (1976)
• Samarcanda (1977)
• Robinson (come salvarsi la vita) (1980)
• Calabuig, stranamore e altri incidenti (1978)
• Montecristo (1980)
• Hollywood Hollywood (1982)
• Il grande sogno (1984)
• Live @ RTSI (1984, live)
• Bei tempi (1985)
• Ippopotami (1986)
• Milady (1989)
• Per amore mio (1991)
• Camper (1992, live collection)
• Blumùn (1993)
• Il cielo capovolto (1995)
• Vecchioni studio collection (1997)
• El bandolero stanco (1997)
• Sogna ragazzo sogna (1999)
• Canzoni e cicogne (2000, live collection)
• Il lanciatore di coltelli (2002)
• Le ballate (2002)
• Rotary Club of Malindi (2004)
• Il contastorie (2005, double live collection)
• Di rabbia e di stelle (2007)
• In Cantus (2009, live collection)
• Chiamami ancora amore (2011)

Bibliography[link]

• Il grande sogno (1984)
• Viaggi nel tempo immobile (1996, short story collection), Einaudi, Turin
• Le parole non potrano le cicogne (2000), Einaudi Turin
• Il libraio di Selinunte (2004), Einaudi, Turin
• Diario di un gatto con gli stivali (2006), Einaudi, Turin
• Di sogni e d'amore (2007), Frassinelli
• Volevo. Ed erano voli (2008), Pescecapone
• Scacco a Dio (2009), Einaudi, Turin

References[link]

1. ^ http://www.riviera24.it/articoli/2011/02/20/104049/festival-sanremo-2011-vince-roberto-vecchioni-2-posto-per-emma-e-i-moda-e-3-al-bano
2. ^ http://www.riviera24.it/articoli/2011/02/19/104045/festival-sanremo-2011-roberto-vecchioni-vince-il-premio-della-critica-mia-martini

Gilberto Alves, nicknamed Gil (born December 24, 1950 in Nova Lima), was a footballer from Brazil. He played as a forward, in particular with Fluminense Football Club and the Brazilian national team.

Playing career[link]

Gil played for several clubs, starting his career with Villa Nova in 1970,^[1] playing for Comercial from 1974 to 1977.^[2] He played for Fluminense during the time where the club was nicknamed Máquina Tricolor (Three Color Machine).^[1] He then moved to its former club's rivals, Botafogo, where he stayed until 1980, when he joined Corinthians, moving in the subsequent years to Real Murcia of Spain, Coritiba, and Farense of Portugal, respectively.^[2]

National team[link]

He received 41 caps, scoring 13 goals^[2] from April 1976 to June 1978, and played seven games during the World Cup 1978.^[3]

Managerial career[link]

On September 2, 2008, Gilberto Alves was hired as Marília's manager.^[4]

Honours[link]

• Tournoi Int'l de Paris in 1976 with Fluminense
• Trofeo Teresa Herrera in 1977 with Fluminense
• Campeonato Brasileiro Série B in 1971 with Villa Nova
• Campeonato Carioca (Rio de Janeiro State championship) in 1975 and 1976 with Fluminense
• Taça Guanabara in 1975 and 1976 with Fluminense
• Coupe Rio Branco in 1976 with Fluminense
• Roca Cup in 1976 with Fluminense
• Brazilian Silver Ball in 1975

References[link]

v t e Brazil squad – 1978 FIFA World Cup Third Place 1 Leão 2 Toninho 3 Oscar 4 Amaral 5 Toninho Cerezo 6 Edinho 7 Zé Sérgio 8 Zico 9 Reinaldo 10 Rivelino 11 Dirceu 12 Carlos 13 Nelinho 14 Abel 15 Polozzi 16 Rodrigues Neto 17 Batista 18 Gil 19 Jorge Mendonça 20 Roberto Dinamite 21 Chicão 22 Waldir Peres Coach: Coutinho