Race and ethnicity in the United States Census, as defined by the Federal Office of Management and Budget (OMB) and the United States Census Bureau, are self-identification data items in which residents choose the race or races with which they most closely identify, and indicate whether or not they are of Hispanic or Latino origin (ethnicity).

The racial categories represent a social-political construct for the race or races that respondents consider themselves to be and "generally reflect a social definition of race recognized in this country." The race categories include both racial and national-origin groups.

Race and ethnicity are considered separate and distinct identities, with Hispanic or Latino origin asked as a separate question. Thus, in addition to their race or races, all respondents are categorized by membership in one of two ethnicities, which are "Hispanic or Latino" and "Not Hispanic or Latino".

In 1997, OMB issued a Federal Register Notice which provided revised racial and ethnic definitions. OMB developed race and ethnic standards in order to provide "consistent data on race and ethnicity throughout the Federal Government. The development of the data standards stem in large measure from new responsibilities to enforce civil rights laws." Among the changes, OMB issued the instruction to "mark one or more races" after noting evidence of increasing numbers of interracial children and wanting to capture the diversity in a measurable way, and after having received requests by people who wanted to be able to acknowledge their or their children's full ancestry rather than identifying with only one group. Prior to this decision, the Census and other government data collections asked people to report only one race.

How data on race and ethnicity are used

The OMB states that “many federal programs are put into effect based on the race data obtained from the decennial census (i.e., promoting equal employment opportunities; assessing racial disparities in health and environmental risks). Race data are also critical for the basic research behind many policy decisions. States require these data to meet legislative redistricting requirements. The data are needed to monitor compliance with the Voting Rights Act by local jurisdictions."

"Data on ethnic groups are important for putting into effect a number of federal statutes (i.e., enforcing bilingual election rules under the Voting Rights Act; monitoring and enforcing equal employment opportunities under the Civil Rights Act). Data on Ethnic Groups are also needed by local governments to run programs and meet legislative requirements (i.e., identifying segments of the population who may not be receiving medical services under the Public Health Act; evaluating whether financial institutions are meeting the credit needs of minority populations under the Community Reinvestment Act).”

Census 1820

The 1820 census built on the questions asked in 1810 by asking age questions about the slaves who were owned. Also the term “colored” enters the census rhetoric. In addition, a question stating “Number of foreigners not naturalized” was included.

The Supplemental American Indian questionnaire was back, but in abbreviated form. It featured a question asking if the person was of full or mixed American Indian ancestry.

Census 1940 (Population)

The 1940 census was the first to include separate population and housing questionnaires. asks one ethnic and one race question (questions 1-4 not reproduced here, questions 5 and 6 paraphrased):

8. Is the person of Hispanic, Latino, or Spanish origin?

No, not of Hispanic, Latino, or Spanish origin

Yes, Mexican, Mexican Am., Chicano

Yes, Puerto Rican

Yes, Cuban

Yes, another Hispanic, Latino, or Spanish origin — Print origin, for example, Argentinean, Colombian, Dominican, Nicaraguan, Salvadoran, Spaniard, and so on.

9. What is the person's race?

White

Black, African Am., or Negro

American Indian or Alaska Native — Print name of enrolled or principal tribe.

Asian Indian

Chinese

Filipino

Other Asian — Print race, for example, Hmong, Laotian, Thai, Pakistani, Cambodian, and so on.

Japanese

Korean

Vietnamese

Native Hawaiian

Guamanian or Chamorro

Samoan

Other Pacific Islander — Print race, for example, Fijian, Tongan, and so on.

Some other race — Print race.

This census acknowledged that "race categories include both racial and national-origin groups." |}

The following definitions apply to the 2000 census only.

"White. A person having origins in any of the original peoples of Europe, the Middle East, or North Africa. It includes people who indicate their race as "White" or report entries such as Irish, German, Italian, Lebanese, Near Easterner, Arab, or Polish." The Census Bureau defines "Hispanic or Latino" as "a person of Cuban, Mexican, Puerto Rican, South or Central American or other Spanish culture or origin regardless of race."

{| class="wikitable sortable" style="text-align:right" |- !Race !!Hispanic orLatino!!% ofH/L!!% ofUS!!Not Hispanicor Latino!!% of NotH/L!!% ofUS |- !Any races |35,305,818||100||12.5||246,116,088||100||87.5 |- !One race: |33,081,736||93.7||11.8||241,513,942||98.1||85.8 |- !White |16,907,852||47.9||6.0||194,552,774||79.1||69.1 |- !Black orAfrican A. |710,353||2.0||0.3||33,947,837||13.8||12.1 |- !A. Indian/Alaska Nat. |407,073||1.2||0.1||2,068,883||0.8||0.7 |- !Asian |119,829||0.3||<0.1||10,123,169||4.1||3.6 |- !Hawaiian N.& Pacific Is. |45,326||0.1||<0.1||353,509||0.1||0.1 |- !Some other |14,891,303||42.2||5.3||467,770||0.2||0.2 |- !2+ races: |2,224,082||6.3||0.8||4,602,146||1.9||1.6 |- !Some other+ W/B/N/A |1,859,538||5.3||0.7||1,302,875||0.5||0.5 |- !2+ W/B/N/A |364,544||1.0||0.1||3,299,271||1.3||1.2 |}

In the 2000 Census, respondents were tallied in each of the race groups they reported. Consequently, the total of each racial category exceeds the total population because some people reported more than one race.

Although used in the Census and the American Community Survey, "Some other race" is not an official race, As the 2010 census form does not contain the question titled "Ancestry" found in recent censuses, there are campaigns to get non-Hispanic West Indian Americans, Arab Americans and Iranian Americans to indicate their ethnic or national background through the race question, specifically the "Some other race" category.

The American Anthropological Association (AAA) recommended that OMB combine the "race" and "ethnicity" categories into one question to appear as "race/ethnicity" for the 2010 US Census. The Interagency Committee agrees, stating that “"race" and "ethnicity” were not sufficiently defined and “that many respondents conceptualize "race" and "ethnicity" as one in the same underscor[ing] the need to consolidate these terms into one category, using a term that is more meaningful to the American people.”

The AAA also stated,

{{quote|"The American Anthropological Association recommends the elimination of the term "race" from OMB Directive 15 during the planning for the 2010 Census. During the past 50 years, "race" has been scientifically proven to not be a real, natural phenomenon. More specific, social categories such as "ethnicity" or "ethnic group" are more salient for scientific purposes and have fewer of the negative, racist connotations for which the concept of race was developed."

"Yet the concept of race has become thoroughly--and perniciously--woven into the cultural and political fabric of the United States. It has become an essential element of both individual identity and government policy. Because so much harm has been based on "racial" distinctions over the years, correctives for such harm must also acknowledge the impact of "racial" consciousness among the U.S. populace, regardless of the fact that "race" has no scientific justification in human biology. Eventually, however, these classifications must be transcended and replaced by more non-racist and accurate ways of representing the diversity of the U.S. population."

Other agencies

In 2001, the National Institutes of Health adopted the new language to comply with the revisions to Directive 15, as did the Equal Employment Opportunity Commission of the United States Department of Labor in 2007. See Race and ethnicity (EEO).

See also

Criticism of the term Latino

Language (United States Census)

Race (classification of humans)

Race in the United States

Racial and ethnic demographics of the United States

United States Census, 2000

References

Category:Demographics of the United States Category:Race *

Name	Pier Paolo Pasolini
Birthdate	March 05, 1922
Birthplace	Bologna, Italy
Deathdate	November 02, 1975
Deathplace	Ostia, Rome, Italy
Occupation	Novelist, poet, intellectual, film director, journalist, linguist, philosopher
Notableworks	Accattone Salò Ragazzi di vita Le ceneri di Gramsci La religione del mio tempo
Influences	Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, William Shakespeare, Novalis, Marquis de Sade, Charles Baudelaire, Arthur Rimbaud, Fyodor Dostoyevsky, Carlo Emilio Gadda, Giovanni Pascoli, Antonio Gramsci
Influenced	Sylvia Plath, Alberto Moravia, Sergei Parajanov, Ermanno Olmi, Nanni Moretti, Kathy Acker, Diamanda Galás
Signature	Pier Paolo Pasolini signature.svg

Pier Paolo Pasolini (March 5, 1922 – November 2, 1975) was an Italian poet, intellectual, film director, and writer. Pasolini distinguished himself as a poet, journalist, philosopher, linguist, novelist, playwright, filmmaker, newspaper and magazine columnist, actor, painter and political figure. He demonstrated a unique and extraordinary cultural versatility, becoming a highly controversial figure in the process.

Life

Pasolini was born in Bologna, traditionally one of the most leftist of Italian cities. He was the son of a lieutenant of the Italian Army, Carlo Alberto, who had become famous for saving Benito Mussolini's life, and who married an elementary school teacher, Susanna Colussi, in 1921. Pasolini was born in 1922 and was named after his paternal uncle. His family moved to Conegliano in 1923 and, two years later, to Belluno, where another son, Guidalberto, was born. In 1926, Pasolini's father was arrested for gambling debts, and his mother took the children to her family's house in Casarsa della Delizia, in the Friuli region.

Pasolini began writing poems at the age of seven, inspired by the natural beauty of Casarsa. One of his early influences was the work of Arthur Rimbaud. In 1933 his father was transferred to Cremona, and later to Scandiano and Reggio Emilia. Pasolini found it difficult to adapt to all these moves, though in the meantime he enlarged his poetry and literature readings (Dostoyevsky, Tolstoy, Shakespeare, Coleridge, Novalis) and left behind the religious fervour of his early years. In the Reggio Emilia high school, he met his first true friend, Luciano Serra. The two met again in Bologna, where Pasolini spent seven years while completing high school: here he cultivated new passions, including football. With other friends, including Ermes Parini, Franco Farolfi, Elio Meli, he formed a group dedicated to literary discussions.

In 1939 Pasolini graduated and entered the Literature College of the University of Bologna, discovering new themes such as philology and aesthetics of figurative arts. He also frequented the local cinema club. Pasolini always showed his friends a virile and strong exterior, totally hiding his interior travail. He took part in the Fascist government's culture and sports competitions. In 1941, together with Francesco Leonetti, Roberto Roversi and others, he attempted to publish a poetry magazine, but the attempt failed due to paper shortages. In his poems of this period, Pasolini started to include fragments in Friulian, which he had learned from his mother.

First poetical works

After the summer in Casarsa, in 1941 Pasolini published at his own expense a collection of poems in Friulian, Versi a Casarsa. The work was noted and appreciated by intellectuals and critics such as Gianfranco Contini, Alfonso Gatto and Antonio Russi. His pictures had also been well received. Pasolini was chief editor of the Il Setaccio ("The Sieve") magazine, but was fired after conflicts with the director, who was aligned with the Fascist regime. A trip to Germany helped him also to discover the "provincial" status of Italian culture in that era. These experiences led Pasolini to rethink his opinion about the cultural politics of Fascism and to switch gradually to a Communist position.

In 1942, the family took shelter in Casarsa, considered a more tranquil place to wait for the conclusion of the war, a decision common among Italian military families. Here, for the first time, Pasolini had to face the erotic disquiet he had suppressed during his adolescent years. He wrote: "A continuous perturbation without images or words beats at my temples and obscures me".

In the weeks before the 8 September armistice, Pasolini was drafted. He was captured and imprisoned by the Germans. He managed to escape disguised as a peasant, and found his way to Casarsa. Here he joined a group of other young fans of the Friulian language who wanted to give Casarsa Friulian a status equal to that of Udine, the official regional dialect. From May 1944 they issued a magazine entitled Stroligùt di cà da l'aga. In the meantime, Casarsa suffered Allied bombardments and forced enrollments by the Italian Social Republic, as well as partisan activity.

Pasolini tried to remain apart from these events. He and his mother taught students unable to reach the schools in Pordenone or Udine. He experienced his first homosexual love for one of his students. At the same time, a Slovenian schoolgirl, Pina Kalč, was falling in love with Pasolini. On 12 February 1945 his brother Guido was killed in an ambush. Six days later Pasolini and others founded the Friulian Language Academy (Academiuta di lenga furlana). In the same year Pasolini joined the Association for the Autonomy of Friuli. He graduated after completing a final thesis about Giovanni Pascoli's works.

In 1946 Pasolini published a small poetry collection, I Diarii ("The Diaries"), with the Academiuta. In October he travelled to Rome. The following May he began the so-called Quaderni Rossi, handwritten in old school exercise books with red covers. He completed a drama in Italian, Il Cappellano. His poetry collection, I Pianti ("The cries"), was also published by the Academiuta.

Adherence to the Italian Communist Party

On 26 January 1947 Pasolini wrote a controversial declaration for the front page of the newspaper Libertà: "In our opinion, we think that currently only Communism is able to provide a new culture." The controversy was partly due to the fact he was still not a member of the Italian Communist Party (PCI).

He was also planning to extend the work of the Academiuta to other Romance language literatures and knew the exiled Catalan poet, Carles Cardó. After his adherence to the PCI, he took part in several demonstrations. In May 1949, Pasolini attended the Peace Congress in Paris. Observing the struggles of workers and peasants, and watching the clashes of protesters with Italian police, he began to create his first novel.

In October of the same year, Pasolini was charged with the corruption of minors and obscene acts in public places. As a result, he was expelled by the Udine section of the Communist Party and lost the teaching job he had obtained the previous year in Valvasone. Left in a difficult situation, in January 1950 Pasolini moved to Rome with his mother.

He later described this period of his life as very difficult. "I came to Rome from the Friulian countryside. Unemployed for many years; ignored by everybody; riven by the fear to be not as life needed to be". Instead of asking for help from other writers, Pasolini preferred to go his own way. He found a job as a worker in the Cinecittà studios and sold his books in the 'bancarelle' ("sidewalk shops") of Rome. Finally, through the help of the Abruzzese-language poet Vittorio Clemente, he found a job as a teacher in Ciampino, a suburb of the capital.

In these years Pasolini transferred his Friulian countryside inspiration to Rome's suburbs, the infamous borgate where poor proletarian immigrants lived in often horrendous sanitary and social conditions.

Success and charges

In 1954, Pasolini, who now worked for the literary section of Italian state radio, left his teaching job and moved to the Monteverde quarter, publishing La meglio gioventù, his first important collection of dialect poems. His first novel, Ragazzi di vita (English: Rent boys), was published in 1955. The work had great success but was poorly received by the PCI establishment and, most importantly, by the Italian government. It initiated a lawsuit against Pasolini and his editor, Garzanti. Though totally exonerated of any charge, Pasolini became a victim of insinuations, especially by the tabloid press.

In 1957, together with Sergio Citti, Pasolini collaborated on Federico Fellini's film Le notti di Cabiria, writing dialogue for the Roman dialect parts. In 1960 he made his debut as an actor in Il gobbo, and co-wrote Long Night in 1943.

His first film as director and screenwriter is Accattone of 1961, again set in Rome's marginal quarters. The movie aroused controversy and scandal. In 1963, the episode "La ricotta", included in the collective movie RoGoPaG, was censored and Pasolini was tried for offence to the Italian state.

During this period Pasolini frequently traveled abroad: in 1961, with Elsa Morante and Alberto Moravia to India (where he went again seven years later); in 1962 to Sudan and Kenya; in 1963, to Ghana, Nigeria, Guinea, Jordan, and Israel (where he shot the documentary, Sopralluoghi in Palestina). In 1970 he travelled again to Africa to shoot the documentary, Appunti per un'Orestiade africana.

In 1966 he was a member of the jury at the 16th Berlin International Film Festival.

The late 1960s and early 1970s were the era of the so-called "student movement". Pasolini, though acknowledging the students' ideological motivations, thought them "anthropologically middle-class" and therefore destined to fail in their attempts at revolutionary change. Regarding the Battle of Valle Giulia, which took place in Rome in March 1968, he said that he sympathized with the police, as they were "children of the poor", while the young militants were exponents of what he called "left-wing fascism". His film of that year, Teorema, was shown at the annual Venice Film Festival in a hot political climate. Pasolini had proclaimed that the Festival would be managed by the directors (see also Works section).

In 1970 Pasolini bought an old castle near Viterbo, several miles north of Rome, where he began to write his last novel, Petrolio, which was never finished. In 1972 he started to collaborate with the extreme-left association Lotta Continua, producing a documentary, 12 dicembre, concerning the Piazza Fontana bombing. The following year he began a collaboration for Italy's most renowned newspaper, Il Corriere della Sera.

At the beginning of 1975 Garzanti published a collection of critical essays, Scritti corsari ("Corsair Writings").

Death

Pasolini was murdered by being run over several times with his own car, dying on 2 November 1975 on the beach at Ostia, near Rome. Pasolini was buried in Casarsa, in his beloved Friuli.

Giuseppe Pelosi, a seventeen-year-old hustler, was arrested and confessed to murdering Pasolini. Thirty years later, on 7 May 2005, he retracted his confession, which he said was made under the threat of violence to his family. He claimed that three people "with a southern accent" had committed the murder, insulting Pasolini as a "dirty communist".

Other evidence uncovered in 2005 pointed to Pasolini having been murdered by an extortionist. Testimony by Pasolini's friend Sergio Citti indicated that some of the rolls of film from Salò had been stolen, and that Pasolini had been going to meet with the thieves after a visit to Stockholm, November 2, 1975. Despite the Roman police's reopening of the murder case following Pelosi's statement of May 2005, the judges charged with investigating it determined the new elements insufficient for them to continue the inquiry.

Works

Pasolini's first novel Ragazzi di vita (1955) dealt with the Roman lumpenproletariat. The resulting obscenity charges against him were the first of many instances where his art provoked legal problems. Accattone (1961), also about the Roman underworld, also provoked controversy with conservatives, who demanded stricter censorship.

He then directed the black-and-white The Gospel According to St. Matthew (1964). This film is widely hailed as the best cinematic adaptation of the life of Jesus (Enrique Irazoqui). Whilst filming it, Pasolini vowed to direct it from the "believer's point of view", but later, upon viewing the completed work, saw he had instead expressed his own beliefs.

In his 1966 film, Uccellacci e uccellini (literally Bad Birds and Little Birds but translated in English as The Hawks and the Sparrows), a picaresque - and at the same time mystic - fable, he hired the great Italian comedian Totò to work with one of his preferred "naif" actors, Ninetto Davoli. It was a unique opportunity for Totò to demonstrate that he was a great dramatic actor as well.

In Teorema (Theorem, 1968), starring Terence Stamp as a mysterious stranger, he depicted the sexual coming-apart of a bourgeois family (later repeated by François Ozon in Sitcom and Takashi Miike in Visitor Q).

Later movies centered on sex-laden folklore, such as Boccaccio's Decameron (1971) and Chaucer's Canterbury Tales (1972), and Il fiore delle mille e una notte (literally The Flower of 1001 Nights, released in English as Arabian Nights, 1974). These films are usually grouped as the Trilogy of Life.

His final work, Salò (Salò, or the 120 Days of Sodom, 1975), exceeded what most viewers could then stomach in its explicit scenes of intensely sadistic violence. Based on the novel 120 Days of Sodom by the Marquis de Sade, it is considered his most controversial film. In May 2006, Time Out's Film Guide named it the Most Controversial Film of all time.

Significance

As a director, Pasolini created a picaresque neorealism, showing a sad reality. Many people did not want to see such portrayals in artistic work for public distribution. Mamma Roma (1962), featuring Anna Magnani and telling the story of a prostitute and her son, was an affront to the morality of those times. His works, with their unequaled poetry applied to cruel realities, showing that such realities are less distant from us than we imagine, made a major contribution to change in the Italian psyche.

The director also promoted in his works the concept of "natural sacredness," the idea that the world is holy in and of itself. He suggested there was no need for spiritual essence or supernatural blessing to attain this state. Pasolini was an avowed atheist.

General disapproval of Pasolini's work was perhaps caused primarily by his frequent focus on sexual mores, and the contrast between what he presented and publicly sanctioned behavior. While Pasolini's poetry often dealt with his same-sex love interests, this was not the only, or even main, theme. His interest and approach to Italian dialects should also be noted. Much of the poetry was about his highly revered mother. As a sensitive and intelligent man, he depicted certain corners of the contemporary reality as few other poets could do. His poetry was not as well-known as his films outside Italy.

Legacy and honors

His films won awards at the Berlin Film Festival, Cannes Film Festival, Venice Film Festival, Italian National Syndicate for Film Journalists, Jussi Awards, Kinema Junpo Awards, International Catholic Film Office and New York Film Critics Circle.

Political views

Pasolini generated heated public discussion with controversial analyses of public affairs. For instance, during the disorders of 1969, when the autonomist university students were carrying on a guerrilla-like uprising against the police in the streets of Rome and all the leftist forces declared their complete support for the students, describing the disorders as a civil fight of proletariat against the System, Pasolini, alone among the communists, declared that he was with the police; or, more precisely, with the policemen. He considered them true proletariat, sent to fight for a poor salary and for reasons which they could not understand, against pampered boys of their same age, because they had not had the fortune of being able to study, referring to poliziotti figli di proletari meridionali picchiati da figli di papà in vena di bravate (lit. policemen, sons of proletarian southerners, beaten up by arrogant daddys' boys ). This ironic statement, however, did not stop him from contributing to the autonomist Lotta continua movement.

Pasolini was also an ardent critic of consumismo, i.e. consumerism, which he felt had rapidly destroyed Italian society in the late 1960s/early 1970s. He was particularly concerned about the class of the subproletariat, which he portrayed in Accattone, and to which he felt both humanly and artistically drawn. Pasolini observed that the kind of purity which he perceived in the pre-industrial popular culture was rapidly vanishing, a process that he named la scomparsa delle lucciole (lit. "the disappearance of glow-worms"). The joie de vivre of the boys was being rapidly replaced with more bourgeois ambitions such as a house and a family. He described the coprophagia scenes in Salò as a comment on the processed food industry. He often described consumeristic culture as "unreal", as it had been imposed by economical power and had replaced Italy's traditional peasants culture, something that not even fascism had been able to do. In one interview, he said: "I hate with particular vehemency the current power, the power of 1975, which is a power that manipulates bodies in a horrible way; a manipulation that has nothing to envy to that performed by Himmler or Hitler"

He was angered by economic globalization and the cultural domination of the North of Italy (around Milan) over other regions, especially the South. He felt this was accomplished through the power of TV. He opposed the gradual disappearance of Italian dialects by writing some of his poetry in Friulian, the regional language of his childhood. Despite his left-wing views, Pasolini opposed the liberalization of abortion laws.

Sexuality

The LGBT encyclopedia states the following regarding Pasolini's homosexuality:

While openly gay from the very start of his career (thanks to a gay sex scandal that sent him packing from his provincial hometown to live and work in Rome), Pasolini rarely dealt with homosexuality in his movies. The subject is featured prominently in Teorema (1968), where Terence Stamp's mysterious God-like visitor seduces the son and father of an upper-middle-class family; passingly in Arabian Nights (1974), in an idyll between a king and a commoner that ends in death; and, most darkly of all, in Salò (1975), his infamous rendition of the Marquis de Sade's compendium of sexual horrors, The 120 Days of Sodom.

In 1963 he met "the great love of his life," fifteen-year-old Ninetto Davoli who he later cast in his 1966 film Uccellacci e uccellini (literally Bad Birds and Little Birds but translated in English as The Hawks and the Sparrows), Pasolini became his mentor and friend. "Even though their sexual relations lasted only a few years, Ninetto continued to live with Pasolini and was his constant companion, as well as appearing in six more of his films."

Quotes

If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for a belief. (1966)

The mark which has dominated all my work is this longing for life, this sense of exclusion, which doesn't lessen but augments this love of life. (Interview in documentary, late 1960s)

One should never hope for anything. Hope is a thing invented by politicians to keep the electorate happy.

New York Times interview, 1968

I suffer from the nostalgia of a peasant-type religion, and that is why I am on the side of the servant. But I do not believe in a metaphysical god. I am religious because I have a natural identification between reality and God. Reality is divine. That is why my films are never naturalistic. The motivation that unites all of my films is to give back to reality its original sacred significance.

In general, I choose actors because of what they are as human beings, not because of what they can do. Terence Stamp was offended by this because I never asked him to demonstrate his acting ability. It was like stealing from him, using his reality. I had a similar experience with Anna Magnani on ‘Mamma Roma.’ She also felt I was stealing from her.

I’m in love with New York. I have a passion beyond words for it. Like Romeo and Juliet—love at first sight. It is the most beautiful city in the world. I love the huge mingling of enormous amounts of people, races. The mixture of cruelty and innocence. New York is a piece of mythical reality, as beautiful as the Sahara Desert.

A Film Maker's Life (1971)

Power has two ways of bringing racist hatred against the poor. The first point: leave them poor and a poor person comes to be hated. Make them policemen and they're accused of being killers. The moment a poor person becomes a killer he's open to racist hatred. This is horrible, we shouldn't experience this. I am obviously against the police. It's the arm upon which every power structure is built. And the power structure always tends towards the Right. I do, however, refuse to share in any type of racial hatred.

I had a strong love for my father until the age of three. The fundamental task I set myself is that of being rigorously disciplined. By this I mean, rigorously disciplined as the intellectual, I was decidedly a Marxist straight after the war. I had to defend myself against an excess and clarity, against an excess of familiarity and, almost, banality.

My problem is an artistic one, a formal one, and art, as you very well know, is never clear. My films are the works of an author with very singular individual characteristics.

I've never talked about the importance of the family, I'm against the family, the family is an archaic Remnant. During my childhood I had certain conflicts with my family whose background was definitely middle-class. My father represented the worst element I could imagine. It's rather difficult to talk about my relationship with my father and mother because I know something about psychoanalysis. What I can say is that I have great love for my mother. My origins are fairly typical of petty bourgeois, Italian society. I'm a product of unity of Italy as a Republic.

I've never wanted to make a conclusive statement. I've always posed various problems and left them open to consideration.

I've stated various times that "Oedipus Rex" is an autobiography: my father who was an officer and my mother was more or less the woman played by Silvana Mangano. I live the Oedipus complex in a kind of laboratory fashion, in an almost elementary and schematic way.

When I make a film I'm always in reality, among the trees and among the people; there's no symbolic or conventional filter between me and reality as there's in literature. The cinema is an explosion of my love for reality. I have never conceived of making a film that would be a work of a group, I've always thought of a film as a work of an author, not only the script and the direction but the choices of sets and locations, the characters, even the clothes. I choose everything, not to mention the music.

I've never been religious unless you can count a very ridiculous religious crisis at fourteen years of age, I was still very innocent. Then from one day to the next, I didn't believe anymore. I was born Catholic by mere chance because I was born in Italy, but I was never particularly Catholic and I came to my criticism of the Church as every Italian intellectual has. I had a very agnostic upbringing; this led me to Marxism so therefore I arrived at it in the most obvious and natural way. The Church in Italy has always been an instrument of power but I don't think it's an ideological power as opposed to its practical power, as any influence over the Italian peasant. An Italian's not religious. I don't want to say pagan because that would be generic but he's pre-Catholic in as much as he's remained in the state in which Catholicism found him, above all, in the South. It is a superficial cross over the Italian people and I believe it would only take a strong confrontation to destroy these ideals.

I think that the Gospel is one of the many books of religious propaganda that had been written. There will come a time when the Gospel will be linguistically incomprehensible to humanity. The Gospel is tied to time and its historic place. The Church can only survive if it continues to change and put into continual crisis its own institutionality. I'm now preparing a film on Saint Paul. In the film we bring into question not the validity of the Church but its mere motive of existence.

The Church will probably be able to continue for centuries to come if it creates an ecclesiastic assembly that continually negates and re-creates itself. My criticism is against the Church as power as it is today. I said that when I was a boy I believed, I prayed... but it wasn't anything very serious. I think there're some facets in my character that have something of a mystifying quality. I'd say this is a part of the trauma that dominates my existence. Nature doesn't seem natural to me, it is a sort of an act between me and the naturalness of nature. Philosophically, nothing that I have ever done has been more fitted to me than "Gospel According to St. Matthew" because of my tendency always to see something sacred, mythical and epic quality in everything, even in the most simple and banal objects and events.

The working class belongs to the modern world, it belongs to our time, our history. Here in Italy the policemen for the most part are poor boys who come from very poor families in the South. I hope that the union confrontations and the student movement will bring us new advances in the people's movement and in revolutionary movement. The idea of Marxism being rational is true when it's a science but the moment Marxism is an action or revolution, it ceases to be rational. The moment a Marxist goes into action, purely pragmatic elements or purely revolutionary sentiments existed contains something of a religious or mystical nature.

Filmography

Feature films

All titles listed below were written and directed by Pier Paolo Pasolini unless stated otherwise. Although obviously Oedipus Rex and Medea are loosely based on plays by Sophocles and Euripides respectively, significant liberties were taken with original texts and titles do not credit anyone except Pasolini. The latter is also true in the case of St. Matthew.

Documentaries

Sopralluoghi in Palestina per Il Vangelo secondo Matteo (1964)

Comizi d'amore (The Assembly of Love, 1964)

Appunti per un film sull'India (1969)

Appunti per un romanzo dell'immondizia (1970)

Le mura di Sana'a (1971)

''12 Dicembre 1972 (long and short version) (1972)

Pasolini e la forma della città (1975)

Appunti per un'Orestiade Africana (Notes Towards an African Orestes, 1975)

Episodes in omnibus films

La ricotta in RoGoPaG (1963)

First segment of La rabbia (1963)

La Terra vista dalla Luna in Le streghe (The Witches, 1967)

Che cosa sono le nuvole? Capriccio all'Italiana (1968)

La sequenza del fiore di carta in Amore e rabbia (1969)

Selected bibliography

Narrative

Poems

Ragazzi di vita (The Ragazzi, 1955)

Una vita violenta (A Violent Life, 1959)

Il sogno di una cosa (1962)

Amado Mio - Atti Impuri (1982, originally composed in 1962)

Alì dagli occhi azzurri (1965)

Reality (The Poets' Encyclopedia, 1979)

Petrolio (1992, incomplete)

Poetry

La meglio gioventù (1954)

Le ceneri di Gramsci (1957)

L'usignolo della chiesa cattolica (1958)

La religione del mio tempo (1961)

Poesia in forma di rosa (1964)

Trasumanar e organizzar (1971)

La nuova gioventù (1975)

Roman Poems. Pocket Poets #41 (1986)

Essays

Passione e ideologia (1960)

Canzoniere italiano, poesia popolare italiana (1960)

Empirismo eretico (1972)

Lettere luterane (1976)

Le belle bandiere (1977)

Descrizioni di descrizioni (1979)

Il caos (1979)

La pornografia è noiosa (1979)

Scritti corsari (1975)

Lettere (1940–1954) (Letters, 1940-54, 1986)

Theatre

Orgia (1968)

Porcile (1968)

Calderón (1973)

Affabulazione (1977)

Pilade (1977)

Bestia da stile (1977)

Footnotes

Additional reading

Aichele, George. "Translation as De-canonization: Matthew's Gospel According to Pasolini - filmmaker Pier Paolo Pasolini - Critical Essay." Cross Currents (2002). FindArticles.

Distefano, John. "Picturing Pasolini." Art Journal (1997).

Eloit, Audrene. "Oedipus Rex by Pier Paolo Pasolini The Palimpsest: Rewriting and the Creation of Pasolini's Cinematic Language." Literature Film Quarterly (2004). FindArticles.

Forni, Kathleen. "A "cinema of poetry": What Pasolini Did to Chancer's Canterbury Tales." Literature Film Quarterly (2002). FindArticles.

Frisch, Anette. "Francesco Vezzolini: Pasolini Reloaded." Interview, Rutgers University Alexander Library, New Brunwick, NJ.

Green, Martin. "The Dialectic Adaptation."

Greene, Naomi. Pier Paolo Pasilini: Cinema as Heresy. Princeton, NJ: Princeton UP, 1990.

Meyer-Krahmer, Benjamin. "Transmediality and Pastiche as Techniques in Pasolini’s Art Production", in: P.P.P. - Pier Paolo Pasolini and death, eds. Bernhart Schwenk, Michael Semff, Ostfildern 2005, p. 109 - 118

Passannanti, Erminia. "Deconstruction and redefinition of the Italian Catholic Identity in Pier Paolo Pasolini's La ricotta, in Italy on Screen: National Identity and Italian Imaginary, Lucy Bolton and Christina Siggers Manson (eds.), Series New Studies in European Cinema series, Peter Lang (2010).

Pugh, Tison. "Chaucerian Fabliaux, Cinematic Fabliau: Pier Paolo Pasolini's I racconti di Canterbury.", Literature Film Quarterly (2004). FindArticles.

Restivo, Angelo. The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. London: Duke UP, 2002.

Rohdie, Sam. The Passion of Pier Paolo Pasolini. Bloomington, Indiana: Indiana UP, 1995.

Rumble, Patrick A. Allegories of contamination: Pier Paolo Pasolini's Trilogy of life. Toronto: University of Toronto P, 1996.

Schwartz, Barth D. Pasolini Requiem. 1st ed. New York: Pantheon Books, 1992.

Siciliano, Enzo. Pasolini: A Biography. Trans. John Shepley. New York: Random House, 1982.

Viano, Maurizio. A Certain Realism: Making Use of Pasolini's Film Theory and Practice. Berkeley: University of California P, 1993.

Willimon, William H. "Faithful to the script", Christian Century (2004).

Films about Pasolini

Ebbo Demant: 'Das Mitleid ist gestorben'. Pier Paolo Pasolini und Italien. Documentary. Germany, 1978.

External links

Piers Paolo Pasolini, Italian website with extensive commentary

"Piers Paolo Pasolini", Senses of Cinema

BBC News report on the reopening of the murder case

Guy Flatley: "The Atheist Who Was Obsessed with God", MovieCrazed

Doug Ireland, "Restoring Pasolini", ZMag

Maria Callas in Pasolini's Medea

Pasolini's own notes on Salo from 1974

Pier Paolo Pasolini poems Original Italian text.

Enzo Biagi)">Video (in Italian): Pasolini on the destructive impact of television (interrupted and half-censored by Enzo Biagi)

Italian website dedicated to Pasolini

Category:Assassinated Italian people Category:Gay writers Category:Italian atheists Category:Italian communists Category:Italian film directors Category:Italian Marxists Category:Italian novelists Category:Italian journalists Category:Italian film critics Category:Italian poets Category:LGBT directors Category:LGBT people from Italy Category:Marxist journalists Category:Murdered entertainers Category:Murdered filmmakers Category:Murdered writers Category:People from Bologna Category:People murdered in Italy Category:1922 births Category:1975 deaths Category:Unsolved murders in Italy Category:Italian Communist Party politicians Category:Viareggio Prize winners

Honorific-prefix	Senatore
Name	Renato Schifani
Order	President of the Italian Senate
Term start	29 April 2008
Predecessor	Franco Marini
Successor	incumbent
Order2	Member of the Italian Senate
Term start2	21 April 1996
Constituency2	Sicily
Birth date	May 11, 1950
Birth place	Palermo, Italy
Profession	AttorneyPolitician
Religion	Roman Catholic
Party	Forza Italia

Renato Maria Giuseppe Schifani (born 11 May 1950) is an Italian politician and a prominent member of the centre-right People of Freedom. Since 29 April 2008 he has been President of the Italian Senate. Schifani was born in Palermo. Prior to joining Forza Italia in 1995, he was an active member of Christian Democracy. Elected in 1996 in the Altofonte-Corleone district in Sicily, Schifani served as Silvio Berlusconi's chief whip in the Italian Senate.

In 2002, Schifani was a protagonist in the attempt to secure the embedding of the provisional Article 41-bis prison regime – used against people imprisoned for particular crimes such as Mafia involvement – as a definitive measure in Italian law.

Similar provisions were included in the lodo Alfano Act (2008), granting immunity to the top four representatives of the State, including Berlusconi and the same Schifani as Speaker of the Senate. After being granted immunity Schifani has sued his critics Travaglio and Tabucchi for slander, allegedly claiming 1,3 million from Tabucchi as the author declared in the transmission Annozero, feb 5th 2009. The lodo Alfano was declared anti-constitutional in October 2009 as well.

President of the Senate

Schifani was elected as President of the Senate on April 29, 2008, following the general election held earlier in the month. He received 178 out of 319 votes. Enrico La Loggia (who would later become minister of Regional Affairs), Benny D'Agostino, Giuseppe Lombardo and Nino Mandalà were among its shareholders.

Benny D’Agostino is an entrepreneur convicted for Mafia association, Mandalà was convicted for Mafia association and was indicated by the Court as the Mafia boss of Villabate, Lombardo was chairman and member of the board of Satris, a credit recovery agency whose shareholders were Nino and Ignazio Salvo, well known businessmen and Mafiosi of the Salemi “family,” arrested by prosecutor Giovanni Falcone in 1984.

According to the pentito (Mafia turncoat) Francesco Campanella, Antonio Mandalà and La Loggia in the 1990s agreed on the master plan for the shopping centre they wanted to develop in the town of Villabate, which aroused the interests of politicians and the Mafia. Schifani, La Loggia and the civil engineer Guzzaro -– the consultant who advised the town -– would share the consulting fees for drawing up the master plan. The master plan of the town of Villabate was designed under specific instruction of Antonino and Nicola Mandalà (Antonino’s son who was responsible for the logistics to keep the fugitive Mafia boss Bernardo Provenzano at large). They conspired with the local Mafia families and politicians to skim from the public contracts.

The statement of Travaglio resulted in fierce and almost universally negative reactions including from the centre left, except for Antonio Di Pietro who said that Travaglio was ‘merely doing his job’. Some called for chief executives at RAI to be dismissed. The popular political commentator Beppe Grillo supported Travaglio, while Schifani announced he would go to Court and blame Travaglio for slander. Schifani said Travaglio's accusation was based on "inconsistent or manipulated facts, not even worthy of generating suspicions," adding that "someone wants to undermine the dialogue between the government and the opposition."

References

Gomez, Peter & Lirio Abbate (2007). I complici. Tutti gli uomini di Bernardo Provenzano da Corleone al Parlamento, Fazi Editore, ISBN 9788881127863 Gomez, Peter & Marco Travaglio (2008). Se li conosci li eviti. Raccomandati, riciclati, condannati, imputati, ignoranti, voltagabbana, fannulloni del nuovo Parlamento, Milan: Chiarelettere

Category:1950 births Category:Living people Category:People from Palermo (city) Category:Italian politicians Category:Politicians of Sicily

Name	Novembre
Background	group_or_band
Origin	Rome, Italy
Genre	Progressive metal, death/doom metal, gothic metal
Years active	1990 – present
Label	Peaceville Records
Url	Novembre.co.uk
Current members	Carmelo OrlandoGiuseppe OrlandoMassimiliano PagliusoValerio Di Lella
Past members	Luca GiovagnoliAlessandro NiolaFabio Vignati

Novembre is a progressive death metal/gothic doom metal band from Rome, Italy.

Biography

Starting out in 1990 as an Italian death metal band (then called Catacomb), Novembre grew to develop a unique, atmospheric sound. Although most of their lyrics are in English, vocalist Carmelo Orlando sings in Italian occasionally in many of their songs. They released their first two albums, Wish I Could Dream It Again and Arte Novecento, through Italian label Polyphemus. In the mid-90's, they signed with Century Media to release their next three albums, Classica, Novembrine Waltz, and Dreams d'Azur. More recently, Novembre signed to Peaceville Records, to release their sixth album Materia, which took on a progressive rock influence, and their seventh album, The Blue, which saw a return to addition of death metal-esque passages.

Band members

Current members

Carmelo Orlando - guitar, vocals (1990-present)

Giuseppe Orlando - drums (1990-present)

Massimiliano Pagliuso - guitar (1997-present)

Valerio Di Lella - bass (2008-present)

Past members

Fabio Vignati - bass (1994-1996)

Alessandro Niola - bass (1998-2000)

Demian Cristiani - bass (2001-2002)

Luca Giovagnoli - bass (2007-2008)

Discography

Wish I Could Dream it Again (Polyphemus, 1994)

Arte Novecento (Polyphemus, 1996)

Classica (Century Media, 1999)

Novembrine Waltz (Century Media, 2001)

Dreams d'Azur (Century Media, 2002)

Materia (Peaceville, 2006)

Memoria Stoica (CD single) (Peaceville, 2006)

The Blue (Peaceville, 2007)

External links

Official website

Novembre Forum

Peaceville Records - Current Label

Novembre @ Last.fm

Novembre @ The Metal Archives

Category:Italian progressive metal musical groups Category:Italian gothic metal musical groups Category:Musical groups established in 1990 Category:Musical quartets

Name	Marco Travaglio
Alt	40-ish man with grey hairs, talking on a microphone.
Caption	Marco Travaglio in Trento, 2010.
Birthname	Marco Travaglio
Birth date	October 13, 1964
Birth place	Turin, Italy
Years active	1988 – present

Marco Travaglio (born 13 October 1964) is an Italian investigative journalist, writer and commentator.

Biography

Travaglio was born in Turin. He started his career writing for Catholic publications such as Il nostro tempo ("Our time"), then worked for the renowned journalist Indro Montanelli for newspapers such as Il Giornale and La Voce and gained the attention of Montanelli himself who once used to say about him: "No, Travaglio does not kill anyone. With a knife. He uses a more refined and not legally punishable weapon: the archives"

Since 14 September 2006, Marco Travaglio has been a regular guest in the TV program AnnoZero, hosted by Michele Santoro (also mentioned by Berlusconi in the Bulgarian Edict).

Recently, Travaglio has contributed as a columnist to prominent national newspapers and magazines, such as La Repubblica, L'Unità (with his old columns "Bananas", "Uliwood Party" and "Zorro") and Micromega. He still contributes to L'espresso with the column "Signorno'". In September 2009 he contributed to the formation of the independent newspaper, called Il Fatto Quotidiano ("The Daily Fact").

Political and judicial events of national importance, ranging from Mani pulite to the troubles of controversial political figure Silvio Berlusconi, have been Travaglio's main area of interest.

The journalist became well known in 2001, after participating in a TV show on state-owned national channel Raidue called Satyricon and hosted by Daniele Luttazzi. There, He presented his brand-new book, and bestseller, L'odore dei soldi ("The Smell of Money", co-authored by Elio Veltri), which investigates the origin of Mr Berlusconi's early fortunes. Berlusconi started a lawsuit for slander, but since the book reports official facts already known by the judiciary authorities, he was condemned to pay the legal expenses.

The show, aired during the campaign for the Italian general election, was heavily criticized by Berlusconi and his party and labeled by them as a politically-motivated, non-objective personal attack. After Mr Berlusconi's victory at the elections, both Travaglio and Luttazzi (together with other prominent journalists that had criticized Mr Berlusconi's or investigated his history) have never appeared again on state-owned TV shows until September 2006 (shortly after Berlusconi lost the elections and left power), causing a long debate about freedom of information and censorship in Italy.

Publications

Books by Marco Travaglio (usually co-authored with other investigative journalists) include: Bravi ragazzi (Italian for Good fellas), published in 2003 and reporting on politicians Cesare Previti and Silvio Berlusconi's alleged (and later confirmed by court's sentence ) corruption of judges

Lo chiamavano Impunità ("They Called Him Impunity", a humorous reference to the spaghetti western Lo chiamavano Trinità), published in 2003, about the SME-Ariosto inquiry and court trial

Mani Sporche (Italian for "Dirty Hands") that reports about the years following the national scandal "Mani pulite" (Italian for "Clean Hands")

Il Bavaglio ("The Gag") mostly about the Italian politicians' plans to limit freedom of speech and the investigative means of Italian Prosecutors investigating political corruption

Per chi suona la banana ("For Whom the Banana Tolls"; the title is a pun on For Whom the Bell Tolls, with a reference on the banana republic)

Italia Anno Zero, Chiarelettere, 2009, ISBN 978-88-6190-051-6 (coauthors: Beatrice Borromeo and Vauro Senesi)

On 10 May 2008, Marco Travaglio commented on Renato Schifani's election as president of the Senate that one should "simply ask of the second highest office of the state to explain those relationships with those men who have subsequently been condemned for association with the Mafia" on the RAI current affairs talk show television program Che tempo fa.

The statement of Travaglio resulted in fierce and almost universally negative reactions including from the centre left, except for Antonio Di Pietro who said that Travaglio was "merely doing his job". Some called for chief executives at RAI to be dismissed.

The popular political commentator Beppe Grillo supported Travaglio, while Schifani announced he would go to Court and sue Travaglio for slander. Schifani said Travaglio's accusation was based on "inconsistent or manipulated facts, not even worthy of generating suspicions", adding that "someone wants to undermine the dialogue between the government and the opposition."

References

External links

Il fatto quotidiano Indipendent journal of which Travaglio is the vice director.

Voglio scendere Blog by Travaglio and fellow journalists and authors Pino Corrias and Peter Gomez L'Antefatto Official website of Travaglio's independent newspaper, Il Fatto Quotidiano Unofficial Fan site featuring a column and some other contributions by Travaglio not published elsewhere Interview with Marco Travaglio La Repubblica newspaper: the controversial interview with Travaglio by Luttazzi Signornò L'Espresso-Opinioni V-day 8 September 2007 Bologna Video V2-day 25 April 2008 Turin Video No CAV day 8 July 2008 Rome

Category:1964 births Category:Living people Category:People from Turin (city) Category:Italian journalists Category:Italian writers Category:Italian columnists

Luis Enríquez Bacalov (30 March 1933, Buenos Aires) is a prolific Argentine, naturalized Italian, composer of film scores. Early on in his career, he composed scores for Spaghetti Western films, including Django, Storm Rider aka Il Grande Duello and The Price of Power.

Bacalov has been nominated twice for Academy Awards: for Scoring of Music—adaptation or treatment for The Gospel According to St. Matthew in 1967 and winning the award for Original Music Score for Il Postino in 1996.

In the early 1970s, he collaborated with Italian progressive rock bands New Trolls, Osanna and Il Rovescio della Medaglia .

In recent years, Bacalov has also composed significant works for chorus and orchestra, including his Misa Tango, a work setting a Spanish-language adaptation of the classic liturgical Mass to the tango rhythms of his native Argentina. The standard Mass text has been significantly truncated in accordance with Bacalov's desire that the work appeal to those of all Abrahamic faiths: Christians, Muslims and Jews. All references to Christ - except as the Lamb of God in the Agnus Dei - have been deleted. The Credo has been reduced to "I believe in one God, the Almighty, maker of heaven and earth. Amen." Misa Tango debuted in Rome with Plácido Domingo as solo tenor in 2000 and was later recorded by Deutsche Grammophon with Plácido Domingo (tenor), Ana María Martínez (mezzo-soprano) and Héctor Ulises Passarella (bandoneón). Bacalov recently composed Cantones de Nuestro Tiempos (Psalms for our Times): The Cambridge Psalms, a commissioned work with text from the Psalms of David for baritone and soprano soloists, orchestra and chorus, which had its world premiere at Sanders Theatre in Cambridge, Massachusetts, in spring 2006 by the Cambridge Community Chorus (William E. Thomas, Music Director). Two of his songs were used in Quentin Tarantino's film Kill Bill. Bacalov was the first to write a triple-concerto for bandoneon, piano, soprano and symphony orchestra: tango music with symphonic proportions.

Presently he is the artistic director of Orchestra della Magna Grecia in Taranto, Italy

External links

Two excerpts of Bacalov's Misa Tango sung by the Ensemble vocal de Villars-sur-Glâne, a Swiss choir

Category:1933 births Category:Living people Category:Argentine composers Category:Argentine film score composers Category:Argentine people of Bulgarian descent Category:People from Buenos Aires Category:Spaghetti Western composers

{| class="infobox bordered" cellpadding="4" style="width: 25em; font-size: 95%; align=right;" | align="center" colspan=2 bgcolor="#CCCCCC" style="font-size:110%; " | Missing people |- | align="center" colspan="2" | |- valign="top" | style="white-space: nowrap;" bgcolor="#CCCCCC" | Name | style="width:14em" | Emanuela Orlandi |- valign="top" | style="white-space: nowrap;" bgcolor="#CCCCCC" | Age at time of disappearance | 15 years old |- valign="top" | style="white-space: nowrap;" bgcolor="#CCCCCC" | Missing since | June 22, 1983 |- valign="top" | style="white-space: nowrap;" bgcolor="#CCCCCC" | Location | Rome, Italy |- valign="top" | style="white-space: nowrap;" bgcolor="#CCCCCC" | Height | 160 cm |- valign="top" | style="white-space: nowrap;" bgcolor="#CCCCCC" | Hair | Black |- valign="top" | style="white-space: nowrap;" bgcolor="#CCCCCC" | Eyes | Brown |} Emanuela Orlandi (born January 14, 1968), a citizen of Vatican City, mysteriously disappeared on June 22, 1983 at the age of fifteen.

Disappearance

At the beginning of a warm summer, the then 15-year-old Emanuela Orlandi vanished. She was in her second year at a liceo scientifico (a scientific high school) in Rome. Although the scholastic year had concluded, she continued to take flute lessons three times per week at the Tommaso Ludovico Da Victoria School, connected with the Pontificium Institutum Musicæ Sacræ (The Pontifical Institute of Sacred Music) She was also part of the chorus of Saint Anna’s Church, inside Vatican City, where she had lived from birth. Emanuela was a citizen of the Vatican, the fourth of Ercole and Maria Orlandi’s five children.

In order to reach the music school, Emanuela usually rode the bus. She would exit the bus after a couple of stops and then walk six or seven hundred feet (180 to 210 meters). What is known for certain is that on Wednesday, June 22, 1983, she had been late to class. Later, around 19:00, she explained her lateness in a phone call to her sister, during which she said she had a job offer from a representative of the Avon Cosmetics Company to promote cosmetics on the occasion of a fashion show. Her sister suggested that she talk it over with her parents before making any decisions. Emanuela had allegedly met with the would-be representative shortly before her music lesson. At the end of the lesson, Emanuela spoke of the job offer with a girlfriend, who then left Emanuela at the bus stop, in company of another girl who has never been identified. Someone supposedly saw her get into a large, dark-colored BMW car. From that moment, Emanuela vanished.

Chronology

At 03:00 on Thursday, Orlandi’s parents called Sister Dolores, the director of the music school, in order to ask whether any of their daughter's classmates had information on Emanuela. The Police had suggested waiting, because ‘perhaps the girl was with friends’. On June 23, Emanuela was officially reported as a missing person, and on Friday the 24th and Saturday the 25th an announcement of the disappearance was published with the telephone number of the Orlandi house in the newspapers Il Tempo, Paese Sera and Il Messaggero.

At 18:00 on Saturday, June 25, a phone call was received from a youth who identified himself as a 16 year old named Pierluigi. The sound of his voice and manner of speech suggested that he was much younger, however. He reported that together with his fiancée, he had met Emanuela in Piazza Navona that afternoon. The young man mentioned Emanuela’s flute, her hair, and the glasses that the girl did not like to wear, along with other details that fit the missing girl. According to Pierluigi, Emanuela had just had a haircut and had introduced herself as Barbarella. She went on to say that she had run away from home and that she was selling Avon products – all reliable details.

On June 28, a man who said his name was Mario called the family and claimed to own a bar near Ponte Vittorio, between the Vatican and the Music School. The man said that a girl named Barbara, a new customer, had confided to him about being a fugitive from home but said that she would return home for her sister’s wedding. On June 30, Rome was plastered with 3,000 posters showing Emanuela Orlandi's photograph.

On Sunday July 3, Pope John Paul II, during the Angelus, appealed to those responsible for Emanuela Orlandi’s disappearance, making the hypothesis of kidnapping official for the first time. On July 5, the Orlandi family received the first of a number of anonymous phone calls. Emanuela was supposedly the prisoner of a terrorist group demanding the release of Mehmet Ali Ağca, the Turkish man who shot the Pope in Saint Peter's Square on May 13, 1981. No other information was given. In the following days, other calls were received, including one from a man identified as The American because of his voice’s strange and adulterated accent. He played a recording of Emanuela’s voice over the phone. A few hours later, in another phone call to the Vatican, the same man suggested an exchange between Orlandi and Alì Ağca. The anonymous interlocutor also mentioned the Mario and Pierluigi of the earlier telephone calls, defining them as members of the organization.

On July 6, a man with a young voice and an American accent informed ANSA news agency of the demand for an Orlandi-Ağca exchange, asking for the Pope’s participation within 20 days and indicating that a basket in the public square near the Parliament would contain proof that Orlandi was indeed in his hands. These were to have been photocopies of her Music School I.D., a receipt, and a note hand-written by the kidnapped girl. However, the Magistrate who was overseeing Orlandi’s case did not believe that there was a credible connection between the Orlandi abduction and the Pope's assailant. She believed that Orlandi had probably been kidnapped and killed after a sexual assault.

On July 8, a man with Middle Eastern accent phoned one of Orlandi’s classmates saying that the girl was in his hands and that they had 20 days to make the exchange with Alì Ağca. The man also asked for a direct telephone line with the then Secretary of the Vatican State, Agostino Casaroli. The line was installed on July 18. A total of 16 telephone calls were made by The American, all from different public telephone booths. In spite of his variety of demands and the presumed evidence, the man (who may never be identified) did not provide any leads.

In mid-2000, Judge Ferdinando Imposimato, based on what he had learned about the Grey Wolves, a far-right Turkish group, declared that Orlandi, by then an adult, was living a perfectly integrated life in the Muslim community and that she had probably lived for a long time in Paris. He remains the only supporter of this idea and of the Orlandi-Ağca connection.

On 9 November 2010 Mehmet Ali Agca was interviewed by the state television in Turkey-TRT " , Kozmik Oda Program- first time after his release in Juanuary 2010. In that interview as well as declaring that the Vatican organized the assassination attempt he also said that Orlandi was kept as a prisoner by the Vatican (for Agca) and is now living in a Central European country as a nun in a Catholic Monastery.He added that Orlandi's family was seeing their daughters whenever they like but she was not allowed to leave that monastery. (Reference, TRT 2, and Milliyet)

Sightings

Sightings of Emanuela in various places have been reported over the years, even inside Vatican City, but all have been unreliable. Ağca, who once declared that Orlandi had been kidnapped by Bulgarian Agents and the Grey Wolves of which Ağca was a member, spoke about Orlandi during a prison interview with Italy's RAI state television, telling the interviewer that the girl was alive, not in danger, and living in a cloistered convent. He denied any direct knowledge of the girl's fate, though, saying that he had made "some logical deductions". With no evidence to support these claims, the case was closed in July 1997.

A Memento Mori?

On the morning of May 14, 2001, the parish priest of the Gregory VII Church near the Vatican discovered a human skull of small dimensions and lacking a jaw in a bag with an image of Padre Pio in a confessional booth. The bag had likely been left the previous day, on May 13, the twentieth anniversary of the attack on the Pope and the eighty-fourth anniversary of the Fátima apparition of 1917. It is not clear if this was Orlandi's skull, some kind of message, or, as the priest believes, just a joke in poor taste.

In 2004, one month after giving his last interview, Orlandi’s father, Ercole, died.

In a letter published in 2006, Ağca claimed that Emanuela Orlandi and another girl, Mirella Gregori, both of whom vanished in 1983, were abducted as part of plan to secure his release from prison. He claimed that the girls were whisked away to a royal palace in Liechtenstein. Ağca was temporarily released from an Istanbul prison after serving 25 years in Italy and Turkey for the murder of Abdi İpekçi, a prominent Turkish journalist. However, he was quickly imprisoned again, the release seemingly a "mistake." Ağca was permanently released from a Turkish prison in January 2010. The Orlandi case is still unsolved.

Terrorist links

Ties with the Banda della Magliana

In 2005, an anonymous phone call attested that in order to find a resolution on the Orlandi case, it was necessary to be aware of who is buried in the crypt of the Basilica of Sant'Apollinare and about the favour that Renatino, one of the leader of the Banda della Magliana (Magliana Gang) made to Cardinal Ugo Poletti, at the time.

The basilica of Sant'Apollinare, in the center of Rome, houses a crypt in which Popes, Cardinals and Christian martyrs are buried. Among these is the grave of Enrico De Pedis, also known as Renatino, one of the most powerful heads of the Magliana gang, assassinated on February 2, 1990. The Basilica is part of the same building of the The Pontifical Institute of Sacred Music that Orlandi attended, and where she was last seen. De Pedis’ interment at the Church is an unusual procedure for a common citizen, and even more because he was a gangster. Authorizing the interment at the time was Cardinal Poletti, now deceased, though recently it has been underlined that, structurally, in 1990, Ugo Poletti as Vicar General of Rome was administering the diocese of Rome in Polish Pope John Paul II's name when Poletti "gave the okay" to the entombment of Enrico De Pedis in the Sant'Apollinare crypt: see "ROME: GANGSTER ENTOMBED IN A PAPAL CRYPT. The Vatican, the Central Intelligence Agency, Emanuela Orlandi and the Entombment of Enrico De Pedis", at Lulu.

In February 2006, an ex-member of the Magliana Gang recognized behind the voice of Mario one of the killers working for Enrico De Pedis

Ties with the IOR scandal and Roberto Calvi

A journalist who wrote a book on Roberto Calvi’s case where the banker was found dead under Blackfriars Bridge in London, has recently reported an interview with the banker's son who declared that the kidnapping of Orlandi was closely connected to his father’s case. According to him, it would have been an attempt to put pressure on the Vatican so that nobody would investigate facts involving the Vatican with the Banco Ambrosiano and the mafia . Alternatively, the kidnap was an attempt to pressure the Vatican to return monies to inequitably deprived Banco Ambrosiano creditors: "ROME: GANGSTER ENTOMBED IN A PAPAL CRYPT. The Vatican, the Central Intelligence Agency, Emanuela Orlandi and the Entombment of Enrico De Pedis", at Lulu.

See also

Banda della Magliana

Grey Wolves member Mehmet Ali Ağca's 1981 attempt to assassinate the Pope

Gladio

Roberto Calvi, also known as "God's Banker", chairman of Banco Ambrosiano, the main shareholder of which was the Vatican Bank

References

L'ultima verità di Ali Ağca Avevo dei complici in Vaticano (Italian)

The Latest Truth From Ali Ağca: I had accomplices in the Vatican (English)

Extra Omnes. L'infinita scomparsa di Emanuela Orlandi by Gaja Cenciarelli (Italian)

Indimedia (Italian)

Haber Vitrini

Hürriyet

Category:Deaths related to the Years of Lead (Italy) Category:Missing people Category:1968 births Category:Vatican City people Category:Living people