And “it” is the BB Global Force award presented by Billboard magazine during the BB Women in music ceremony.
Global Force as an award given in recognition of a woman in the music industry who has made a significant contribution to the business and who, through her work and continued success, inspires generations of women to take on increasing responsibilities in the field.
The Women in music event celebrates women at the forefront of all fields of music from composers and songwriters to educators and all other music professions.
I saw her …
She needs no introduction: Annalisa, @nali is Global Force.
I did not follow her debut, and the first time I heard of her was in the measure of “good but second best.”
Until during a play organised by the middle school my son attends, a pupil struck me by singing about a blue cat.
I then went to research and discovered that the song was by Annalisa.
Annalisa who for all these years has continued undaunted to be “good, but in second place”.
And yet there is not a person who does not know her ‘I saw her …’.
Despite having my radio perpetually on the frequency of Virgin, a radio that only plays rock music, without really knowing how or why, I have found the refrain of Mon amour in my head.
And ‘I saw her…’ has officially become part of my way of speaking: when I find myself describing something mixed, tangled, entangled.
Physics graduate Annalisa Scarrone, Nali, teaches us how to chase dreams and show the world the Global Force.
Did you see her win?
I dedicate this photo to Tony: ultimate Katy Perry connoisseur.
aTUTTOCUORE with all my heart I would like to thank my brother and sister-in-law because after Twelve Notes again this year my birthday present was a wonderful experience.
A musical experience but also a visual and sensorial one, because at every concert Claudio Baglioni manages to amaze with different versions while remaining true to himself.
After the debut in Pesaro, the indoor version of aTUTTOCUORE started at the Mediolanum Forum in MILAN on 20, 21 and 22 January and will continue on 5 and 6 February.
A show that you shouldn’t miss.
aTUTTOCUORE opens with E tu come stai? And it is just as if Claudio wanted to pick up the thread of the conversation with his fans: like a long public dialogue but at the same time intimate because of the way he gives himself.
This is followed by Dagli il via… and of course ‘the start’ is only the beginning of a long sequence of surprises.
Then Acqua dalla luna … hurry audience … you will see …
you will see the wonder created by the perfect combination of costumes by and choreography by Veronica Peparini directed by Giuliano Peparini.
I will continue with the set list: Con tutto l’amore che posso and Quante volte featured by Claudio Baglioni’s funny dance moves and by the powerful peculiarity of this show: the images on the maxi-screens blending with the play of light and the evolutions of all the artists up and down the stairs of the stage set create an enthralling three-dimensionality.
Then Un po di piu’ Gli anni più belli Domani mai Quanto ti voglio Fammi andar via Niente più E adesso la pubblicità A tutto cuore.
Claudio puts his heart into everything, in the sense of energy, in the sense of wanting to make music at its best, using his heart which, as he said in an interview, can also be considered a percussion instrument, as well as the calendar that marks our time.
And more: Mal d’amore W l’Inghilterra Sono io Cuore D’Aliante Uomo di varie età Le ragazze dell’est Uomini persi Noi no Amori in corso Un nuovo giorno un giorno nuovo Con voi
and with us Claudio sang illuminating the audience with multidirectional and totally inclusive beams of light.
Unmissable Questo piccolo grande amore Dodici note Io sono qui Amore bello Solo Sabato pomeriggio Porta portese in a current version enriched with a riot of cheerful playfulness.
Avrai Io me ne andrei That masterpiece of Mille giorni di me e di te My favourite for ‘the hair-raising coffee Via
E tu Strada facendo La vita è adesso and concluding with the music of Poster.
At that point, instead of going far away, you just want to stay so as not to interrupt the magic, but on the screen the faces of the countless musicians, choristers, dancers, artists and performers scroll by.
One above all is the dancer Antonio Ciarciello, chosen after an epic casting, given the number of candidates, who all the time dances as a sort of alter ego.
What do you say? The set list is quite long, yet there are always a few songs missing from the poems in music that Claudio has written.
As many as there are songs, as many are the jackets that Claudio Baglioni has worn: a different one for each song, without ever a moment’s interruption, in a constant succession.
Also incessant is the kaleidoscope of images, futuristic and current, as well as evocative and suggestive by light designer Ivan Pierri.
Paolo Gianolio, who has collaborated uninterruptedly with Claudio Baglioni since the 1985 album La vita è adesso.
Many years have passed since then, and yet … La vita è adesso: life is now … is it?
Add your voice is a call to action launched by Coldplay on their website.
More precisely: Add your voice to a new song:
Hello everyone. We hope you are all doing well in these wild times.
We have almost finished Moon Music. If you would also like to participate, perhaps you could add your voice to a song called One World. (We would love that).
All you have to do is record yourself singing “Ahhhh” for a few seconds at oneworld.coldplay.com.
You can copy the note on the site, or sing a G or C in any octave.
Thank you very much.
Love,
Chris, Guy, Will and Jonny
A concise and meaningful invitation.
One World, the title of the song, two words that for me evoke an extremely important message: I would like the world to be one, in the sense of united, in the sense of the same world equal for all.
We will soon find out what this “world” sung by Coldplay with the voices of so many people will be like.
I find this extended chorus in space a great bridge to unite voices even metaphorically.
But coming back down to earth, concretely this is the required note:
and you can register it by clicking after selecting the country of origin.
What do you say?
Will you add your voice?
As you know I always love to sing and indeed Coldplay’s songs are in general invitations to sing: very different from each other, joyful, at times spiritual, at times evocative enough to make the color come alive.
Chris Martin’s voice is introspective and also highly characterized: impossible not to recognize it.
The same cannot be said about him: after some time I am still very impressed by the time he decided to go to one of his concerts on the subway, among ordinary people, but also his fans on the same route, ready to listen to him, but not to spot him, so much so that no one noticed his presence.
Cold, coldness, detachment?
A “coldness” that they chose to represent to the sound of music.
Undoubtedly they are universal, but I ask you: as much as in some ways they reach everyone, do they then reach deep down?
They certainly reached in a way that I love when they decided to send letters typed to their fans to announce the release of the album Everyday Life.
I want to express my admiration for the tribute to Enjoy the silence, accomplice Anton Corbijn, in the unofficial video for Viva la vida, which is actually perhaps their song that I like the most, despite the fact that it seems that statistics show Yellow as the favorite.
And your favorite is what?
Going back to the call-to-action, will you sing the note?
He says it is basically twelve notes: twelve notes that encapsulate everything.
That may be true, but without detracting from the music, it is the words that make the real difference.
So many words, a lifetime long.
Words that tell stories, words that describe emotions, words that stop moments, his, mine, ours.
Who doesn’t know the famous “outdoor café tables”!
Not to mention the guy who “carefully reads the instructions on the coffee machine” …
And again:
A hair-raising coffee a packet of smoke and the wind re-reading my paper and tomorrow going out again, putting on a cheerful face for the next carnival a razor-cold pain for another day that dawns I die
Really coffee can make your hair stand on end.
A phosphorescent madonnina and fake flowers above the dresser looking for pantyhose distracted and indolent and one more day in the mirror the refrigerator snored from the kitchen and you hummed making coffee the long sadness of the morning
Do you hum when you make coffee?
A bustle of voices and faces the color of the streets outside that loses some haste among the coffees and liquors if your heart had windows I could jump in them and have you find it all in pieces when you returned
I absolutely love the concept of “losing haste” with coffee!
And never again the chimneys the sirens the city the wet gates and warehouses of mist and humidity … and never again sit in the cafeteria among melancholy and mashed potato the chain the tape the days that go away with the coffee cart ...
Nights in the car talking the low glass for smoking nights of old songs still good to sing nights as dark as an oven sleepless nights before a great day hard nights of illusions long dark nights of coffee …
Old songs still good to sing … it really is.
Songs I would say more lived than old, songs to sing together, during a concert.
Twelve notes were the birthday gift from my brother.
By a curious chance the number twelve recurs, he would surely make a pun of it.
The Gucci family has repeatedly dissociated itself from the portrait that the film portrays, and I will not go into the merits, but now I can finally say that Lady Gaga in the House of Gucci is truly credible, for the vision I had of it.
So, taking up the talk on Patrizia Reggiani, apparently Lady Germanotta’s decision not to meet her did not affect the interpretation, despite Reggiani being annoyed.
Obviously I observed clothes, accessories, and outfits in general, with particular interest both for Gucci pieces and for 80s looks, and I have to say that I enjoyed the work of costume designer Yanti Yates.
Very scrupulous work, starting from months of study in the archives of the Gucci maison.
In an interview with the New York Times, available in full on Instagram, Yanti Yates stated that Lady Gaga was hugely involved, not least because she is a complete clotheshorse and looks marvelous in everything. She was hugely focused on how her character might appear at a particular moment, and had very strong views on aspects like hair and makeup.
But also difficult work, again according to the statements made during the interview: I would create initial selections, and then she would select from there.
Gaga selected.
It also seems that there have been days when for her it was “not today.”
Moreover, the same Gucci website reports as an iconic statement from Yanti Yates: “Lady Gaga told me that in this movie she wanted to dress like her Italian mom. To create her looks, I was able to draw on both her personal and historical Gucci archives.”
At the same time, however, I have this doubt that is spinning in my head, so help me understand if my perception is deceiving me since, actually, in the early 70s despite I wasn’t really in the world from longer (also now I am not, but this is a other story).
Unfortunately I could not find the image of the scene in which Maurizio Gucci introduces Patrizia to his father Rodolfo, but more or less the same goes for the floral dress in this picture.
Obviously I’m nobody to question the reconstruction, which in all other situations I have admired, and I stress it well, but the idea of this dress leaves me perplexed. I’m wrong, right?
In addition to the clothes, House of Gucci offers the vision of a fantastic series of precious “vintage” cars.
In particular, I really loved the way director Ridley Scott frames the arrivals at Rodolfo Gucci’s home: focused on the entrance. From the outside to the outside.
This shot occurs more than once in the movie, with different cars arriving in front of that entrance.
For me it was a sort of “story within history,” almost a symbol to mark the time.
In the picture below, with the same principle, in contrast we are witnessing a departure.
Which is also a beginning: the beginning of a strategy for Maurizio being back in the company.
For the rest, I refer you to the review by Matavitatau, me, a bit like Cruella, I really enjoyed the non-original soundtrack.
As for the floral dresses, I felt a sort of temporal disorientation that in some cases conquered me, in others it left me a kind of question mark.
For example, I liked the choice for George Michael’s Faith as soundtrack of the wedding scene: despite the anachronistic incongruity, it gave me a joyfulness that counterbalanced the void created by the absence of Maurizio’s family.
On the contrary, I was perplexed listening to Ritornerai by Bruno Lauzi as the background to the scene in which Aldo Gucci goes with Maurizio and Patrizia to the estate where their historic breeding is located. The song is wonderful, ça va sans dire, and the meaning is centered on returning to the origins, but for my personal perception it is as if something screeches.
Apart from that, I could list one song more beautiful than the other, and I would like to propose them all: Here comes the rain again by Eurythmics, Heart of glass by Blondie, Ashes to ashes by the White Duke David Bowie, Blue Monday by New Order, Una notte speciale by Alice, Sono bugiarda by Caterina Caselli, but also Largo al factotum from Il Barbiere di Siviglia by Rossini, Madame Butterfly and much more.
As you choose which one you prefer to listen to first, here are some coffees.
Hi I'm Claudia and this is KCDC.
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