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Saturday night I watched the movie by Gus Van Sant "Milk" with Sean Penn . And 'the biography of the last years of the first openly gay man to hold public office and politics in America in the late '70s. Beyond the value of "militant" of the film for me is worth far more as a great metaphor for change and celebration. Change yourself and then change cose.Certo the first (and most difficult) is to change themselves. Change does not mean more to become what we are, but it means leaving aside what we believe to be or what others want us to go rather more in touch with our true nature with this we want, we feel, we believe and what we can actually become if only we trust and support of our dormant potential. Some would rather die than change. We are all a bit 'lazy and rarely do we really strive, unless something does not force us, or we suffer to the point of being willing to do anything to relieve the pain, whether physical or mental, emotional or financial. When we talk about changes we would always be others to implement them, not us. We want others to do it, giving it a different life. Transforming oneself means to accept and live our fears. Fears that can be varied, as evidenced by the film: the fear of being killed or più semplicemente nell’accettare una donna (o più metaforicamente il pensiero femminile o la diversità) all’interno di un gruppo di soli uomini. Cambiare se stessi vuol dire cambiare punto di vista sulle cose o su alcuni pregiudizi, e il cambiamento può arrivare dopo un viaggio in Europa. Cambiare se stessi vuol dire avere il fegato di rimangiarsi le cose dette in precedenza. Cambiare può significare liberarsi dal senso di colpa, di isolamento, di separazione o solitudine di rabbia, paura o dolore: da sentimenti ed atteggiamenti che causano diffidenza verso il futuro e che condizionano la nostra mente e ci creano difficoltà invece di condurci verso la conquista di nuovi obiettivi. Cambiare vuol poter dire allontanarci da una persona which proves not to understand us and not amarci.Ed is only after this change the "personal" that inevitably follows the protagonists of the film change the status quo around them. In recognizing the needs of homosexuals realize those of others (blacks, the elderly, minorities ...). The change hinges on the fact that deep and genuine contact with yourself first. How can the structures, in fact, if people do not even feel the need for change and is it the end of the film that explodes the cathartic force of Osa, of the lift is at stake. E 'in crossing their limits MILK feels even more alive and that practical experience in its ability to change reality with his contribution. Risk and decides not to be limited by preconceived ideas of himself, not to depend on resigning from his fears and his (natural) uncertainties. And it also needs the group of "friends" of conscience and must win the battle account of the inner isolation. The film despite being set 30 years ago, shows us a very current reality. Even today we have lots of external communications - internet, mobile phones, email, fax - but it's all superficial communication. There is a lot of communication and very little communion. Escape routes are many: alcohol drugs, sex was only for ... Ours is a society in which the activity è esagerata e la comunicazione eccessiva, senza nessun momento di solitudine, senza nessuna pausa. Le pause sono molto importanti, nel parlare, come in musica; quando mancano le pause, in un dialogo, la comunicazione rimane solo superficiale. E infatti la vera “forza” a MILK la danno delle telefonate private, dove lui ascolta più che parlare come è costretto a fare nei comizi. Telefonate quasi con una forma primordiale di se stesso che gli danno la possibilità di vedersi a ritroso, come sarebbe stata la sua vita senza gli effetti del cambiamento che ha avuto la forza di intraprendere.
Voto: 5 stelline (su cinque)

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Tra un pò sarà San Valentino. And get ready right now because their friends, parents, the media, will lead us to believe that it is "indispensable" to have a partner, and so we convince ourselves that if we do not have a partner we are "different" and that indeed there is something missing. But on this occasion we will present a stereotyped image of couples so that makes us rosicare only on the evening of February 14, then back to us.

But these days the boyfriend photographer Michael Stipe (REM frontman), has published on its website some photos of their home two. And these are things that hurt. Real low blows.
But look at them. From the photographs show not only the happiness (which is the most simple that we are presented Valentine's Day) but also the commitment. Notice the decisions that have taken over the years (as we put the toothbrush and toothpaste? The Mentadent or Fluocaril? Fluocaril are!). Decisions taken as a constant priority of being together. I do not remember where I read that the happy couple is recognized dall'impressioe of happiness in public offering. In front of the other two Stipe / Dozol manifest one opinion: the view of happiness.
They are happy in both. I believe that never again will I be happy that way. I stopped trying. And if I stop to look what is left? It remains what it has always been here, in the middle. Behind the research was the anxiety, discomfort. Now I understand, wanted someone who wanted to share my anguish and my discomfort. And now I know that will always be disappointed.
I must learn to be enough for one day to go back to being happy alone. In fact, it is said that to live a happy life must be Capici to enjoy what you already have. That is also its own singlettudine or discomfort.

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What happened to gay culture?

Today on tomblog.it there arises a question to $ 1,000: there is still a gay culture? And if so, what is it? Fabrizio Corona superospite inviting as our discos? O crowning Lady Gaga (more Tamarra cousin of Britney Spears and Christina Aguilera) as a future icon fags? ____________________


The gay culture has been murdered, by gay men themselves, in my opinion.
Some examples? In the evenings now that gay "pull" the parties are bears, which I believe represent the death of gay culture. In fact, the movement bears trying to ape (because of low imitation is always talk about ...) royalties of masculinity (beard, plaid lumberjack shirts, baseball capellini already six to 16 years out of time ...) and array look straight. The evenings bears tell me that gays want to become straight. And what kind of a departure from this (counter) culture want to produce? In addition, one of the strengths of gay culture was the exaltation of diversity. But the bear movement imposed categories of shutting up the people, to narrow definitions of caged people. You are either six or bear hunter.
You are right to make examples of pop music. Lady Gaga, Britney, or the unnerving Katy Perry are the singers of reference for young gay men. Do you realize that most young gay men do not feel the need to search for songs that speak of love EXPRESSLY gay and not a fantasy-night-after-the-mussels caponata-like "I've kissed a girl"? Many gays do not only do not know, but are not thrilled with the songs of Antony, Rufus, and other gay homosexual love singing. I have 36 years and I remember that in the 80 I needed to "define" as a homosexual because the media were not talking much as they do now. I needed to look for patterns "other" and "alternative" that would help me to recognize the minority of which I felt to be a part, especially since it does not recognize myself in the majority. Let me explain? And in those years people like Boy George was cathartic to assert our alternative, one of our difference as gay.
But now my grandchildren know who is gay (and not because of his uncle, stupid!). So it failed the requirement of having models explicitly gay in the popular arts.
I think that Stone wall on our acceptance (Civil rights, public recognition, etc.) has requested a piece to be paid: the loss of value of the gay movement against the bearer of culture. In order to support the buttocks in "civil society", we had to stop being afraid, stop being so different, stop bringing subversive and alternative models. And many gay in my opinion have made this choice (especially in Italy): "etheric uniformiamoci culture, so I can have sex with other males without anyone I break my balls." So being gay was reduced only when homosexual sex, rather than a diversity of behaviors, thoughts, aspirations and patterns. To be accepted gays had to start to think, dress and act like straight people. And what has been sacrificed: our aesthetic, our culture, our values.
I know on this site but other times we talked about it enough to read the ads in all network loads farces homophobic: "no queers", "men only", etc.
Gays have introjected a negative value of being gay. Only those who can not seem to deserve respect. Perhaps this "mentality" (although I think describing it as a compliment to him) was born in the 80s in a time of AIDS. When gay meant "carrier of disease." Perhaps there is the need arose to blend in with the straight, not to be judged on the basis of an injury. Perhaps then we had to put in mothballs clothes glittered with which they went to dance the dance in the 70s!

I'll probably have an old ideological and nostalgic (I still on the table "Elements of critical gay") but I still like to think of gays as a "different". That does not mean better. But I like to think we have substantial differences from Fabrizio Corona, also because of my sexual orientation. In short to end the "gay culture" has been replaced by "gay consumers." So it's easier for everyone, gay and straight. We do not produce more obscure, but globalized and standardized models consume a macho look and heterosexualized. So
about gay culture against listening to the piece that I posted: "Gay Messiah" by Rufus Wainwright. "Rise from the porn of the 70s, wear long socks with elegance and with a smile incredibly innocent. You better pray for your sins, because the gay messiah's coming. Descend from the stars, Studio 54 and will appear in the sand of the beach of Fire Island. You better pray for your sins, because the gay messiah's coming. No, I will. I'm Rufus Baptist baptized in cum. Instead happen that someone will ask my head and then I hand you kneel and held it, looking down. You better pray for your sins, because the gay messiah's coming. "

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Let us in the role of Antony & The Johnsons and that is the worst situation in which a group can be. I did a first disc noticed only a very small niche, followed in 2005 by a second disc "I'm a bird now" on which no one would bet 50 cents and instead became a best seller. The rest is history: "Mercury Prize" for best album of the year, a tour that lasted for 4 years and always sold out, as a vocalist or author Antony required by virtually anyone.
And now comes the bad. What to do?
Who knows the previous album (and especially the endless production of new and live) will not be disappointed by their third cd of Antony & The Johnsons: "The Crying Light", out in late January. At first listen the elements that have made the sound of the band are all there. Then slowly, after repeated plays, you notice significant differences. In
disc track list are in fact only three unpublished songs ("The Crying Light", "Epilepsy is dancing" and "Aeon"). The others were present in previous EP o già eseguite dal vivo. Ad esempio ben tre tracce (“One Dove”, “Kiss my name” e “Daylight and the sun”) erano state cantata al concerto di Roma del 1 Novembre 2006.
Ma in queste nuove versioni ne guadagnano tutte. Gli arrangiamenti (a volte anche un po’ barocchi), sono a mio avviso, l’elemento distintivo e di novità di questo disco. Infondo alla voce d’angelo di quest’uomo non si poteva chiedere di più, se non di regalarcela in più occasioni possibili. E se nei precedenti lavori la sua voce era accompagnata da delicati interventi dei Johnsons, in questo disco l’aspetto musicale è più ricco, più sfaccettato, più epico.
Se a from the first work plan had a weight bearing for almost all the pieces, now is not in the foreground, but stresses and accompanied by a myriad of instruments arranged with a harmony and delicacy from the "genius" Nico Mulhy.
And compared to previous work this album is decidedly more mixed, there are many (decided) changes of pace and atmosphere. Antony's voice goes from solemn tones and intimate to the most lively and energetic "Aeon."
Describe in words the disc is a difficult task. This collection of songs are a little manual how to write the perfect song indie folk, simplified and made the mind of an innocent child and sung with the pain and disappointment of an adult who can not grow. The other times I wrote on my blog that I love Antony's music just because you find everything.

But here's my track by track guide.

"Her Eyes Are Underneath the Ground" has the difficult task of opening this long-awaited disc. So it seems that Antony aware of the expectations of fans want to please them. So give us a piece that may be present on "I'ma bird now" in style and atmosphere. But it also wants to give
two innovations: while the use of voice distress and may lead to sharp peaks and that we had never heard (and honestly live in the few dates granted in late 2008, not always able to manage better). And then the final instrumental dark, almost suspended from opera.
"Epilepsy Is Dancing" call it a bittersweet piece and seems to be the second single from the album. The piece starts with the melody for me never felt more pop in a disc of Antony and perhaps serve to attract a wider audience. In the final part of the piece Antony gives us all his vocal prowess in a crescendo of pathos.
The updated version, and perhaps final "One Dove" is the masterpiece of the disc. It 's a soul touching song, filled with a sublime melody with a text by no means trivial, as the title might instead cause concern. Those two piano chords that are alternated to sing the first verse, read those brushes that caress the plates, strings and woodwinds those who are flying high in the chorus this dove. Everything is perfect. Everything is held, the voice of Antony is run and is never gone further. It 's really the soundtrack to a moment when the world stops and the nose up watching the flight of this dove.
"Kiss my name" is wonderful in its orchestral version early last September in Milan. Here are the pace and the battery to be protagonists. You can see why this piece in the track list follows "One Dove", because this is the flight of the dove, is the freedom of flight, the joy of movement. In fact, even during the live interpretation of this piece Antony and free up his arms as if they were wings.
In "The Crying Light" the vocals of Antony is, in my view, closer to his first productions. A sublime singing and listening to every alien who gets under your skin like a poison. Although the arrangement is more meager, just as in the first album: the piano harder, strings, guitar and the stroke of a finger.
"Another World" is the piece that in October and brought forward the album that I find brilliant. As I written elsewhere, I was afraid that Antony, after overexposure of the world and the commercial success of his duets with Bjork ee cameo for Hercules & Love Affair, it would have been tempted to make his music more accessible to the public who has managed large and heterogeneous to conquer. Instead, returns with a piece tiratissimo, probably the whole lot less immediate. Everything turns up repeatedly and stubbornly few chords and sang the same tone is maintained without seeking special effects easy to hold. Repetitive, monotonous deliberately, apocalyptic (as the text points out), pure urban paranoia. In short, for my aesthetic: the wonder of wonders!
"Daylight and the Sun" the contrary is a baroque waltz to the tune of what you imagine a couple dancing the beautiful style of the beast. With a plan to peg away nervous that some notes before launching into an up and down with bows and dizzying sounds rough, almost beaten wood. All this will turn off by subtraction in one of the most sweet and dreamy end of the entire disc.
"Aeon" you care. Start with a melancholy piano, the strings suspended. But as it comes Antony's voice is transformed into a memorable piece. It 's like the spirit of Elvis had taken possession of the body of Antony and wanted to see what it's like singing "his song" with that voice. Accompanied by an electric guitar Antony processes and distorts the concept of rhythm and blues and gives us a personal interpretation of the genre, modern concept.
"Dust & Water" is a piece a capella, accompanied by a background in choral lament, prolonged, and cavernous primitive than ours. And it is almost a lullaby, a mantra to listen to before going to sleep to remind us that in this world we are passing and we are nothing but dust and water.
"Everglade" is the state of grace of the disc and the best way to keep us on tenterhooks awaiting the next dates in Italy in March and get us through the next few months to looking for b-sides and unreleased live performances. A majestic piece that charms at first hearing.

Rating: 4 ½ stars (out of five)