It's been a fact that music bands are not living from album recording sells, but from live music shows. To give up a tour or a performance it means not only the loss of income, but to miss the contact with fans, the environment and the chance to promote. Shortly, this is the whole package of functions and opportunities and no musician wants to miss it. Bono Vox, the leader of legendary Irish music band U2 has undergone back surgery this Tuesday, but due recuperation he must cancel two weeks of tour performances. For a band that can sell out a football stadium, this is definitely a blow. U2 is cancelling two weeks, 16 performances in North America – the richest part of! the world. Bono was expected for total recuperation of six weeks. Except of North America, U2 will not appear on probably the most favorite and well known music festival in the world – British Glastonbury. U2 was supposed to be the greatest headliner of the show. Media can only mediate Bono's frustration, as he said he felt terrible because of missing the biggest musical event of the year. The group had to perform on June 25.According official news his prognosis was great, but could seriously threaten himself if he didn't rest. He claimed to be in pain several months and choose Germany for the surgery.Along with the recuperation and travelling the earliest possible date for U2 could be August 6 in Torino, Italy and then will continue its tour aroung the world.
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A beatiful strange dream won jury's admiration in Cannes by Zivka Deleva
The most glamorous film festival in the world definitely is Cannes film Festival. This event that celebrates the moving pictures for 63 years unites the moviemakers from all the continents. And one thing is for sure – on the red carpet Europeans bring extravaganza and unusual outfit, unlike the Americans who are thought by their main ceremony – the Oscar’s ceremony and add the festival some glamour. After the Olympic Games, this is the event that attracts the biggest media attention and if you want to see your favorite star, you must wait for at least two hours aside the red carpet and have the chance to see at least her/his back. Aside of the look, Canne! s film festival is very important for the movie industry. Almost all the time, a jury led by an admired President chooses the best features to give the most wanted awards “Palm D’Or”. Almost all the time, the chosen ones are surprisingly names that weren’t expected to win. The same thing happened this year. Almost anonymous Thai filmmaker Apichatpong Weerasethakul left Cannes with the memory of a life time. For his “Uncle Boonmee Who Can Recall His Past Lives” he left all the star directors with opened mouths. “Thailand needs some kind of hope, because we are very depressed about the confrontation of different ideologies right now. I hope the news that Thailand has won the prize here for art and culture will be like cool water to calm down the situation" – said Weerasethakul accepting the award. A beautiful strange dream, that’s how jury director Tim Burton characterized his Thai colleague’s movie. That’s wh! at connects the both directors, because Burton is very much kn! own for his great fantasy put in his movies. Unlike the best movie, the best performances weren’t surprises for no one. Javier Bardem for “Biutiful” and Juliette Binoche for “Certified Copy” deserved their applauses.
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Existuje zopár vecí, ktoré je veľmi ťažké, ak vôbec možné, opísať kompletne. Umenie – akýkoľvek druh umenia, je jednou z týchto vecí. Rozprávať o červenom koberci a známych tvárach, ktoré sa na ňom pravidelne objavujú je jedna vec, zato však hovoriť o talente týchto osôb a ich schopnosti presvedčiť diváka, že veci ktoré vo filme vidí sú skutočné, je vec druhá. Príbeh môže byť znovu prerozprávaný, atmosféra však nie. Jon Frosch, špeci! 5;lny korešpondent France 24 v Cannes sa celkom zbytočne snažil opísať dva francúzske filmy, ktoré na červený koberec priviedli také hviezdy ako Juliette Binocheovú a Lamberta Wilsona. Film Abbasa Kiarostamiho „Certified Copy“ a film „Of Gods and Men“ od Xaviera Beauvoisa sú podľa neho dva celkom odlišné filmové snímky, zato však oba predstavujú určitý druh záhadnosti. Prvý spomínaný film rozpráva príbeh francúzskej majiteľky galérie (ktorú brilantne stvárnila Binocheová) a anglického kritika umenia, ktorí spolu vedú dialóg. Ich spoločný jednodňový výlet na vidiek v Toskánsku, nám ako pozorovateľom umožňuje sledovať nielen vývoj týchto dvoch špecifických charakterov, ale aj ich vzájomné! ;ho vzťahu. Režisér pomerne často robí! ; zá ;bery jednotlivých aktérov samostatne, čo nás núti hľadať kľúč k filmu v ich výrazoch, napísal Frosch. Druhý film „dáva menej expresívny, zato však viac ako dostatočný výkon.“ Dej filmu je zasadený do prostredia kláštora, v ktorom mnísi spoločne stolujú aj sa modlia. Mierumilovné nažívanie s moslimskými susedmi je narušené islamským extrémizmom, ktorý pomaly preniká do ich ochrannej bubliny. Hoci som ani jeden zo spomínaných filmov nevidela, krátke ukážky ma nielen inšpirovali, ale aj presvedčili, že určite stoja za to.
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There are few things that are very difficult or even impossible to describe fully. Art – any kind of it is one of those things. Talking about red carpet and famous faces you can see on it is one thing, but talking about ability of these people to persuade you that the things you have seen in the movie they act in are real, is another. The story can be retold but the atmosphere hardly. Jon Frosch, a special France 24’s correspondent in Cannes needlessly tried to describe two French movies that brought stars like Juliette Binoche and Lambert Wilson to the red carpet. Abbas Kiarostami’s Certified Copy and Xavier Beauvois’ Of Gods and Men were in his opi! nion two very different films, but both mysteries of a sort. First mentioned movie – Certified Copy tells a story about French gallery owner (Binoche) attending a talk by an English art critic. They took a day-long road trip into the Tuscan countryside and we can be observers of these two specific characters and their mutual relationship. Director frequently films his actors separately what urges us to search for clues in their expressions, wrote Frosch. The second movie – Of Gods and Men “gives a less expressive, though perfectly adequate, performance.” The plot of the movie is set in monastery where monks pray and eat together. Peaceful life with Muslim neighbors ends when the Islamic extremism begins seeping into their bubble. Even though I haven’t seen these movies yet, short video samples showed enough to inspire and persuade me…
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Obchodný charakter našej spoločnosti alebo o tom, ako sa nechceme učiť. by Milota Sidorova
V obchode existujú dve základné pravidlá – pravidlo ponuky a dopytu, čiže predávaj to, čo práve letí. Druhé pravidlo hovorí o tom, že úspešný obchodník vždy nájde dieru na trhu a zapláta ju svojím výrobkom či službou. Takto dochádza k permanentnému nasýteniu trhu a zákazníckej spokojnosti.S istou dávkou nevôle by sa dalo s týmito pravidlami súhlasiť. Veď pokiaľ sa zákazník necíti ako automatizovaný robot na nakupovanie, zvíťazí jeho striedmosť, či! zdravý rozum a vec si nekúpi.Toto ale medzi marketermi dávno prestalo platiť. Analytici a marketingoví špecialisti dávno upozorňujú nato, že rovnováha medzi obchodníkom a zákazníkom sa porušila. V dnešnom svete je cieľom produkovať a predávať za každú cenu. Nie je to o ponuke a dopyte. Pre toto nám napríklad v sýpkach ostávajú tisícky ton minuloročnej úrody, ktorú nevieme zhodnotiť lepšie než spálením. Naša spoločnosť bola po otvorení hraníc zaplavená konzumom. Konzumom sa opájala v sladkej vidine slobody, až celkom zabudla, že sa stala otrokom novej diktatúry. Konzumu. Denne sme v priemere atakovaní 8-16 podprahovými reklamnými informáciami. Ide o logá, nápisy, bannery, médiá. Všetky do jedného ma! jú jediný účel – predávať ! a preda& #357;. Za každú cenu. Zvykli sme si na letáky, dokonca aj na to, že nám na súkromné čísla volajú neznáme obchodné spoločnosti. Ale zmena neprichádza len v smere obchodník-zákazník.Zmena sa začala prejavovať vnútri spoločnosti.Neviem, či je to len prípad post komunistických krajín, ale fungujeme na princípe snobizmu. To, čo má sused, chcem mať aj ja. A podľa možnosti lepšie, väčšie a drahšie. Striedmosť sa nenosí. Aspoň nie v mainstreamovej kultúre. Dominuje spotreba. Nákup vecí, o ktorých s čistým svedomím vieme, že nie sú potrebné, ani vysokej umeleckej kvality a ich výroba prispieva k ničeniu životného prostredia.Psychológovia tvrdia, že človek má vyvinutú prirodzenú formu adapt! 5;cie. Po čase sa prevládajúcim podmienkam poddá alebo nadobro unikne (odcestuje alebo zomrie). Ak sme niekedy hovorili o vysokom a vytríbenom vkuse, dnes hovoríme o mediokracii. Prečo?Zmenili sa naše informačné kanály a v tej záplave možností sme prestali uvažovať sami za seba. Pokojne skočíme po prvom letáku, prvej ponuke na lepšie bývanie alebo prepadneme ilúzii, že je in vybrať z dizajnových, vraj originálnych riešení pekne natlačeného letáku. Zmena informačných kanálov nie je vereným tajomstvom. Je to fakt. Naše mainstreamové médiá prepadli mainstreamovej ponuke. Ako sa vyjadril hlavný hrdina z filmu Občan Kane, ten kto chce ovládnuť svet, musí ovládnuť jeho média. Tie totiž sústavne predávajú propagandu našej spo! ločnosti. Už neponúkajú len to, čo ch! ce spolo čnosť. Ponúkajú to, čo chcú súkromní vlastníci. A prichádzame k princípu postupnej adaptácie. Je len málo prípadov, kedy by sa zdvihla masa odporu voči priemernému seriálu alebo programu. Isté extrémy nás desia, to áno – napríklad také priame video z popravy človeka, ale to, že si vychutnávame akčné strieľačky a podvedome alebo vedome sa štylizujeme do pozícií týchto hrdinov, to už nikomu nepríde zvláštne. Filmová smrť je odlišná od smrti reálnej. Ale späť k priemeru naších televízií. Seriály, ktoré zväčša preberáme sú americkej produkcie. Ale v poslednom čase došlo k vlastnej televíznej tvorbe. Televízne večery zaplavili seriály s americkým scenárom zapr! acované do lokálnych podmienok. Tieto programy sú naďalej plné (česť výnimkám) stereotypných predstaviteľov (mladí, sexi, workoholckí, cez mŕtvoly idúci, násilnícki, v pohode a priemerní, starí a senilní....) Príkladov by bolo bezpočet. Okrem seriálov pribudlo aj množstvo realitných šou, ktoré po prelome milénia ovládli každého. Nedalo sa prejsť po ulici bez toho, aby niekto nespomenul svoj “idol”, veľkého brata a nesypmatického súťažiaceho v tej, ktorej šou. A šou pritvrdili. Nestačil iba talent, šlo sa do súromia, do najväčších intímností, ktoré sa razom menili na bulvár. Človek pokojný a vyrovnaný, akoby sa dostal mimo vysielací čas. Akoby mu v dramaturgii ukázali dvere. Vš! etko bolo ligotavé a presilené. Všetci spievali! a tanco vali, chudli a ohovárali. Namiesto faktov sme v talkshow začali hltať veľké porcie tabletiek pocitov. Každý večer pravidelne, zúfalo pravidelne v prime time víkendových dní. Moja spoločnosť sa mení a priznám sa, koniec nevidím ružovo. To, čo začali bulvárne noviny, tisíckrát zosilnili televízne programy. Tie určili výpočet momentálne aktuálnych tém. Všetko ostatné (hodnotné kultúrne programy, pôvodná tvorba, nezávislé kino...) televízie presunuli mimo hlavný vysielací čas, mimo hlavný kanál, prípadne vznikli špecializované kanály, ktoré sa venovali výlučne týmto témam, zákazník si tento kanál však musel objednať. Tým sa znížila dostupnosť k rôznorodým inform! 25;ciám pre drvivú väčšinu obyvateľstva mojej krajiny. Fakt, že 80 percent z nich nedostahuje ani minimálny zárobok, im sťažuje predplatenie akýchkoľvek iných programov. Preto sa v televízii prestalo hovoriť o veciach verejných. Preto sa nahradili bulvárnymi talk šou s politikmi. Prestalo sa hovoriť o aktívnom lokálnom živote. Začalo sa hovoriť o európskom občianstve a jeho neznámom prezidentovi. Prestalo sa hovorť o záhradách a verejných priestranstvách. Ingnorácia mainstremových prúdov v našej spoločnosti začala byť škatuľkovaná ako “divná”.Preto teraz tancujeme, spievame a sme frustrovaní politkmi. Stali sa témou našich denných rozhovorov. Mnoho z nás nie je schopných zriecť sa televízie, preto len prij&! #237;mame to, čo momentálne beží. Bez toho! , ž e by sme to vlastne chceli.Ale pokiaľ sa nerozhodne spotrebiteľ, nezmení sa nič.
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Business character of our society. by Milota Sidorova
Each businessman is supposed to reflect demands of the crowd. Each businessman has to find out the blank space in the market and produce anything that would cover it. That are two basic rules of business.Yet, it's not true anymore. According marketing specialists, relationship between businessman and the customer has been curved and it is the businessman playing the first role. Why? Because everything needs to be sold, even if it's not usefull, good or inspirative. One just needs to persuade people, one needs to make them mad for anything he desires to sell. At any cost. Literally, we could say the production has become a goal of our society. We are buying goods that we no ! longer need or desire or even consider useful.Philosophers suggest that human being may lost its conscience, moral values and discriminating taste when exposed to the flow. Instead of this one gets middlebrow point of view and is ready to follow mainstream.It's no longer secret that this mediocracy has taken rule over mainstream media. According Orson Well's Citizen Kane, everyone desiring to rule the world had had to conquer some information channel. Average programming selling propagandas of our society is extremely dangerour to us. Let's just check program lines of our TV channels. They are either full of stareotypes. For instance moneymaking workoholics, extremely smart, clever and sexi youngsters who think the world is waiting just for them to take, violent guys, army glorification or average average reality shows and talk shows. Traiditonal cultural reports, programs focused on public problems have disappeared. Instead of this the era of politic TV shows has begun.The! change for us, living in a small country in the middle Europe! came wi th this so called “reality show” flow. The society was about to change, but suddenly everyone started to talk about their “heroes, young talents and dancers”. Bulvar informations took over any dialogue content among young people. Suddenly one had had the impression that everyone else was just dancing that the whole country was seeking the Idol and were curious about any detail of emotional intimate shows about weddings. Consceinsly I can say that the work started by bulvar newspaper was thousand times overwhelmed by Saturday and Sunday TV shows. I've lost many precious moments with friends and parents and I had had to challenge bulvar talks even in the school, work or bus. One couldn't escape that. I don't expect any happy ending. People around me are changing. Not just because of media, or course, but their own individuality and own opinions have just been devaluated by screaming advertising and everywhere emotionally attacting programs. It's like t! hey have stopped talking about elementary things. It's strange to talk about active citizenship or gardening. It's weird to talk about sustainability. It's weird not to be “in”and know local celebrities. It's totally weird to ignore current mainstream of everything. Media time and attention to these elementary needs are getting thin. These programs have been moved to underground and less favorite channels or extra paid channels. The majority of themes and topics were stolen from majority of our people. And no one could convince me that it was their demand.The process of separation is deepening and none political union can fix it. The right to be really different has been taken from people. To be different it means to fall into well planned stereotype person or a consumer.Otherwise, it means to be left behind. Sad, extreme but true.
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A year after Trier's Antichrist lead actress Charlotte Gainsbourg got the nomination on the best actress in Cannes, the movie of another kind is probably taking this place this year. Mike Leigh's Another Year, lined as comedy drama got certain and very well received feedback. It seems the theme of family meetings or celebrations with everthing that 100 percent human beings can bring is the apple of the eye of current Cannes festival edition. As well as Juno movie was cited kind, yet brutal comedy full of comprehension, Another year can be a movie of this group. As well as the movie Celebration from Danish project called Dogma, Another year is taking us into the middle of an! old married couple living their sweet and stable life (with stable careers, comfort house and permanent moods). But they seem to be only in the eye of a storm, because everthing around them is failing. Their son is unable to get the right girl, some friends are loosing their confindence and rationality because of overweight and traditional rules are overwhelmed by new, yet natural and erratic forms of behavior.No doubt you will get a warm bubble of kind humor as well as you'll face perfect reflection of our society. Although it is not solving any difficult and high purpose, Another year is certainly not distant to current viewer. On the contrary, there is a great desire to feel and percieve something close and gentle in its nature in these times we're solving continental matters. I can't imagine European citizenship, but certainly can enjoy common dinner with multicultural friends. No doubt Another year is a gentle served portion of a chaos surrounding every modern human p! erson.
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Le Centre Georges Pompidou à Paris, qui a été terminé en 1977, est certainement l'un des monuments architectoniques les plus intéressantes dans la capitale française. Il abrite le plus grand musée de l'art moderne en Europe, aussi bien que le centre de bibliothèque publique et de musique. Maintenant le président français Nicolas Sarkozy a ouvert une nouvelle ramification de centre Pompidou dans la partie nord-est de Metz. C'est la première ramification du centre célèbre de la culture et des loisirs. Le bâtiment a été conçu par Jean de Gastines et il'architecte japonaise Shigeru Ban. Il est ! connu pour son travail innovateur avec le papier, principalement parce qu'il est recyclable et à prix abordable. Il était le premier architecte au Japon à construire une maison dont le matériel principal est le papier, pour la construction dont il a eu besoin d'une approbation spéciale comformément au code de bâtiment de paysage. La construction à Metz ne porte aucune ressemblance au bâtiment à Paris. « Vous savez en France, nous sommes un peu centralisés, ainsi pour ce genre d'opération, c'est une sorte de révolution française, à dire vrai, mais les collections nationales sont pour tout le monde, » a dit le directeur du nouveau musée Laurent Le Bon. « Et pourquoi Metz ? Puisqu'il n'y avait aucun grand musée d'art moderne, et ainsi le raccordement avec l'Europe était très important. « La construction du Centre Pompidou de Metz a coûté approximativeme! nt 86 millions d'euros. Les conceptions futuristes fusionne bi! en avec le conte de fées et la donne un air d'une maisonnette, qui est très attrayante à l'oeil. « Comme une grande tente de cirque, » décrit Ban le bâtiment. « Ainsi la ville peut profiter d'elle. C'est un endroit de rassemblement. » Le gouvernement français espère que le nouveau centre culturel pourrait aider pour amplifier l'économie dans la région. Le musée a vraiment beaucoup à offrir, il y a des pièces d'art de Pablo Picasso, Joan Miro, Jackson Pollock et d'autres. En outre le Musée de Louvre devrait obtenir une telle ramification en dehors de Paris dans le proche avenir.
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Centre Georges Pompidou in Paris, which was completed in 1977, certainly is one of the most interesting architectural sights in the French capital. It houses the largest museum of modern art in Europe, as well as public library and music centre. Now French President Nicolas Sarkozy has opened a new offshoot of Centre Pompidou in the northeastern city of Metz. It is the first offshoot of the famous centre of culture and leisure. The building was designed by Jean de Gastines and Japanese architect Shigeru Ban. He is known for his innovative work with paper, mainly because it is low cost and recyclable. He was the first architect in Japan to built a house mostly out of paper,! for the construction of which he needed a special approval to comply with the country´s building code. The creation in Metz bears no resemblance to the building in Paris. "You know in France, we are a little bit centralised, so for this kind of operation, it's a kind of little French revolution, saying such a simple thing, but the national collections are for everyone," said the director of new museum Laurent Le Bon. "And why Metz? Because there was no big museum of modern art, and so the connection with Europe was very important." The construction of the Metz Centre Pompidou cost approximately 86 million euros. Futuristic design merges with fairy tale like little cottage look, which is very attractive to the eye. “Like a circus big tent,” describes Ban the building. “So the city can gather underneath it. It’s a gathering place.” The French government the new cultural centre could help boost the economy in the region. The museum has tru! ly a lot to offer, there are pieces by Pablo Picasso, Joan Mir! o, Jacks on Pollock and others. Also the Louvre Museum should get such an offshoot outside Paris in the near future.
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Paríž vždy bol a asi aj bude akýmsi pupkom Európy. Všetci tí trendoví Parížania, ich Eiffelova veža a množstvo malých, šik kaviarničiek – to všetko je pre cudzinca skrátka neodolateľné. To mesto má svoju charakteristickú vôňu, má svoj štýl. Nie je preto žiadnym prekvapením, že do Paríža prichádzajú tisícky ľudí deň čo deň. K tomu ešte pridajme Louvre (ktoré je vďaka románu Dana Browna opäť o čosi populárnejšie) a toto mesto má ! neskutočnú atmosféru. Každý by sa tam aspoň raz v živote chcel ísť pozrieť. Ak ste však zaťažený viac na moderné a súčasné umenie, než na Paríž ako taký, nebude to už veru jediné mesto, kam sa budete chcieť ísť pozrieť. Francúzke národné múzeum moderného umenia Pompidou Centre, ktoré sídli v Paríži otvára tento týždeň svoju pobočku v Metz. Centrum Georgesa Pompidoua bolo navrhnuté v štýle high-tech architektúry a bolo otvorené v roku 1977. Od tej doby navštívilo toto múzeum viac ako 150 miliónov návštevníkov. Budova v Metz je trošku iná. Jej štruktúra pripomína stan, ktorý je postavený z drevených mriežok prikrytých obrovskou ochrannou membránou. Budova n! ebola navrhnutá len ako múzeum, no tiež ako mie! sto vhod né pre nadmerné inštalácie, žive predstavenia a multimediálne show. Shigeru Ban a Jean de Gastines, architekti múzea povedali: „Chceli sme budovu, ktorá by vyvolávala dojem duševnej pohody, otvorenosti a akýsi mnohonárodnostný mix v budove ktorá má priamy, zmyslový vzťah so svojím okolím.“ Celý projekt trval sedem rokov a 10,700 metrov štvorcových je pre Metz – starovekú mestskú pevnosť viac ako len pekná plocha. Prvá otváracia exhibícia s názvom „Veľdiela?“ predstaví práce od Pabla Picassa cez Henriho Matissea až po Fernanda Legera a Constantina Branusciho.
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Too black to be successful, too resolved to lost by Milota Sidorova
Sunday 9th May. Another interesting and groundbreaking story has died at the age of 92.New Yorker Lena Horne, famous Afro-American actress, singer and enterteiner died in the hospital. Although this seems to be quite average sentence, Lena Horne was one of pioneers and powers disturbing race intolerance in America. She was born to the time, black artists were not respected, except being jazzmen or background music groups. The truth is, the image of black man was not extending this border. What do you think could be the image of black woman, never mind how talented she was?Imagine yourself in such skin. Dying from desire to be accepted, to create art, to be successful altho! ugh your parents were taking low paid jobs, although your background was certainly not favorable and “in” enough to be the grand star. But this was certainly the background of Lena Horne. Her talent and beauty however, brought her first movie pieces, if we can call them so. In the movies, she appeared as a singer, she had nothing to do with the plot and sometimes the editor cut her out from the whole movie, because it was adressed to South audience that had had troubles watching Afro-American actor or singer in the movie. Her first role came in 1969 when she appeared in “Death of a Gunfighter”as a brothel madam. After that she only got one movie role of Glinda the Good Witch in “The Wiz”, an all black adaptation of “The Wizzard of Oz.”Until that moment all Afro-American actresses were getting the roles of servants and prostitutes.Although she didn't conquer Hollywood, she impressed as a singer and returned to New York.She was ! on of the first to prepare the ground for future generation of! Afro-Am erican actors and actresses. And that is as important as her bitter end. Lena Horne was able to fight intolerance of the system whe was threw in. Not many of us can ever find this courage. For that Lena Horne, we owe you our thanks.
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Italian Minister of Culture will not attend Cannes Festival due to screening of controversial documentary by Zuzana Zelenakova
Italian Minister of Culture Sandro Bondi refused to attend famous Cannes Film Festival next week because of one of selected movies. It is documentary called Draquila: Italy Trembles by writer and director Sabina Guzzanti concerning the L´Aquila earthquake that hit the city in April 2009. Sandro Bondi referred to it as to “a propaganda movie, which insults the truth and the Italian people.” Member of the opposition Luigi De Magistris commented Bondi´s boycott: "It's not art that offends the truth and the Italian people, but the decision of a minister who, instead of acting like one, prefers to play the role of the prime minister's faithful servant." Th! e truth is the Italian Prime Minister Silvio Berlusconi was struggling before the quake, not only in his political career but also personal life that was widely covered by media. According to the Italian satirist Guzzanti, the prime minister used the quake in order to increase his own popularity. 308 people died in the earthquake thus making it the deadliest earthquake in Italy since 1980. Thousands of buildings were damaged in this medieval city and several collapsed. The documentary shows Berlusconi uttering some inappropriate comments during his visits to the quake hit city. Example that speaks for all is the one when Italy´s Prime Minister suggested that people who became homeless due to the catastrophe imagine themselves as being on a “camping weekend.” Although the Italian government has been angered by the documentary, its reaction did not seem to scare Sabina Guzzanti, who is used to expressing her opinions freely and was not afraid to criticize eve! n the Catholic Church in homosexual related issues. "In 20 yea! rs Ratzi nger will be dead and will end up in hell, tormented by queer demons - not passive ones, but very active ones," she said at a rally back in 2008.
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Nedeľa 9. máj 2010. Opustila nás hrdinka. Viac než len srdcervúci a zaujímavý príbeh.Vo veku 92 rokov zomrela New Yorská herečka, speváčka, aktivistka a zabávačka Lena Horneová. Hoci sa táto správa možno neodlišuje od státisícok iných, predsa len v sebe ukrýva mnoho.Lena Horneová bola jednou z prvých hereckých afro-amerických priekopníčok v americkom šoubiznise. Narodila sa do netolerantnej doby, ktorá v černošských umelcoch nevidela viac než jazzmenov, muzikantov v bezmenných nočných kl! uboch. Je faktom, že obraz černošského muža v umeleckých kruhoch málokedy prekračoval tieto hranice. Aký však bol obraz černošskej ženy? Ako by ste sa vyrovnávali s osudom, pokiaľ by vami zmietal talent, túžba po úspechu, tvorbe, uznaní, po tom všetkom, čo sa dostávalo vaším belošským známym? V časoch, kedy ženy prekonávali úlohu strážkyň domáceho krbu, bola Lena Horneová odhodlaná presadiť sa vo filmovej brandži.A skutočne, podarilo sa jej získať niekoľko malých filmových rolí. Neboli však vôbec dôležité. Väčšinou sa obmedzili na spievanie a hranie počas piesní, ktoré sa do filmu dostávali. S dejom však mali málo dočinenia a preto sa dali ľahko vystrihnúť. P! asáže s Lenou Horneovou boli niekedy upravené &! #8211; j ej prítomnosť bola z filmu vymazaná. Prečo?Pretože film šiel na distribúciu na juh spojených štátov, ktoré stále trpeli neznášanlivosťou z čias otrokárstva. Obecenstvo nezriedka film, v ktorom sa objavil černošský herec vypískalo.Prvou väčšou rolou pre Horneovú znamenala matróna v bordeli vo filme “Death of a Gunfighter”. Neskôr dostala už len jednu filmovú rolu. Zahrala si Glindu, dobrú čarodejnicu v “The Wiz”, černošskej adaptácii Čarodejníka z krajiny Oz. Apropó, dovtedy sa role černošských herečiek obmedzovali na služobné a prostitútky. V neskorších rokoch sa Horneovej nepodarilo presadiť v Hollywoode a tak sa vrátila do New Yorku, kde začala sľubnú spevácku kariréru. To, čo vš! ak neuskutočnila sama, sa vďaka nej podarilo nastupujúcej generácii černošských hercov. To, že dnes obdivujeme Halle Berry, je aj vďaka Lene Horneovej. Jej farba kože ju neodradila od potýčky s nespravodlivým systémom, v ktorom žila. Chcela viac. Už len pre toto predstihla celé davy ľudí, ktorí v živote nenájdu odvahu nebojácne čeliť prekážkam života. Pre toto si Lena Horneová zasluhuje viac než len pár minút stráveným čítaním miničlánku o jej smrti.
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Paris was and still is navel point of Europe. All those trendy Parisians, their Eiffel Tower and many little chic coffee bars are simply irresistible. That city has its smell, has its own style. There is no surprise that thousands of tourists are travelling there every day. With Louver Museum (which is now even more popular because of Dan Brown’s bestseller Da Vinci Code) the city has incredible atmosphere. Everyone wants to go there. But if your tastes run to modern and contemporary art rather than to Paris itself, it will not be the only city you would like to visit. The France’s national modern art museum The Pompidou Centre which is located in Paris is openi! ng its regional offshoot in the city of Metz this week. Centre Georges Pompidou was designed in the style of high-tech architecture and was opened in 1977. Since then the Centre Pompidou has had over 150 million visitors. Building of Metz’s museum has a tent-like structure of wooden lattices covered by a vast protective membrane. It was designed not only as a museum, but also as a place for outsized installations, live performances and multimedia shows. Shigeru Ban and Jean de Gastines, architects of the museum said: “We wanted the building to convey a sense of well-being, openness and multi-cultural mix in a building that has a direct, sensory relationship with its surroundings.” The whole project last seven years and 10,700 square meters are quiet enough for Metz, an ancient fortress city. The first, opening exhibition is called “Masterpieces?” and it will be showing artists from Pablo Picasso and Henri Matisse to Fernand Leger and Constantin! Brancusi.
related story (sgx17256): http://www.france24.com/en/20100510-centre-pompidou-metz-mod...
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Taliansky minister kultúry bojkotuje filmový festival v Cannes by Zuzana Zelenakova
Taliansky minister kultúry Sandro Bondi odmietol pozvanie na slávny filmový festival v Cannes, ktorý sa uskutoční budúci týždeň, kvôli jednému z uvádzaných filmov. Ide o dokumentárny film s názvom Draquila: Taliansko sa trasie od režisérky Sabiny Guzzantiová. Guzzantiová v snímke rozoberá zemetrasenie, ktoré zasiahlo Aquilu v apríli 2009. Sandro Bondi ho označil za „propagandistický film, ktorý uráža pravdu a taliansky ľud.“ Na druhej strane, člen opozície Luigi De Magistris okomentoval bojkot politick&#! 233;ho kolegu takto: „Nie je to umenie, ktoré uráža pravdu a taliansky národ, ale rozhodnutie ministra, ktorý namiesto toho aby ako správny minister vystupoval, hrá rolu premiérovho verného sluhu.“ Pravdou je, že v období pred zemetrasením sa taliansky premiér Silvio Berluconi boril v problémoch, a to nie len čo sa týka jeho politickej kariéry, ale aj súkromného života, na ktorom si hojne zgustli médiá. Podľa talianskej satiristky Sabiny Guzzantiovej využil premiér zemetrasenie na zvýšenie svojej popularity. Zemetrasenie si vyžiadalo 308 mŕtvych a stalo sa tak najsmrteľnejším zemetrasením v Taliansku od roku 1980. Tisíce budov v tomto stredovekom meste bolo poškodených a niekoľko sa ich zrútilo. Dokumentárny film ukazuje Berlusconiho miestami naozaj nevhodné spr! 5;vanie. Príkladom, ktorý hovorí za všetky! je ten, keď premiér navrhuje ľuďom, ktorí v zemetrasení prišli o strechu nad hlavou a niektorí i o blízkych, aby si predstavili, že ide „víkendový výlet v kempe.“ Napriek tomu, že dokument pobúril taliansku vládu, nezdá sa, že by takáto reakcia vystrašila Sabinu Guzzantiovú, ktorá je zvyknutá nedávať si servítku pred ústa. Nebála sa skritizovať ani katolícku cirkev a jej postoj k homosexualite. „O dvadsať rokov bude Ratzinger mŕtvy a skončí v pekle, kde ho budú strašiť homosexuálne prízraky,“ povedala počas manifestácie v Ríme pred dvoma rokmi.
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Lynn Redgrave dies of breast cancer by Zuzana Zelenakova
Lynn Redgrave, member of one of the most famous acting dynasties in Britain, died on Sunday at the age of 67. She passed away at her home in Connecticut sometime during the night. She died from breast cancer, with which she was diagnosed in 2002. "Our beloved mother Lynn Rachel passed away peacefully after a seven-year journey with breast cancer," her three children Ben, Pema, and Annabel said in a statement."The endless memories she created as a mother, grandmother, writer, actor and friend will sustain us for the rest of our lives." Lynn Redgrave was the youngest child of British actor and director Michael Redgrave and actress Rachel Kempson. Her sister is actress Vaness! a Redgrave and her brother was actor Corin Redgrave, who also was a cancer patient. She was aunt of Joely Richardson and late Natasha Richardson. Lynn Redgrave began her acting career with a 1962 production of A Midsummer Night´s Dream at the Royal Court Theatre. But her breakthrough role came with the 1966 movie Georgy Girl, for which she received an Oscar nomination for best actress. Among her most notable movies belong also Everything You Always Wanted To Know About Sex directed by Woody Allen or The Happy Hooker, the story of a Dutch immigrant that becomes a prostitute in New York and eventually opens her own brothel. Her later appearances include movies like Peter Pan, Kinsey, The White Countess or The Jane Austen Book Club. Lynn Redgrave was married to actor and director John Clark, however, their relationship ended in divorce in 2000 after she discovered that Clark has had an affair with the future wife of their son Benjamin. Although she never achieved the fame! of her older sister Vanessa, she had a varied and interesting! career. "Vanessa was the one expected to be the great actress," she said in 1999. "It was always, 'Corin's the brain, Vanessa the shining star, oh, and then there's Lynn.'"
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