Archivi categoria: Metropolitan Factory

Slavoj Žižek and Jordan Peterson!

A dream comes true: Žižek and Peterson have finally debated. The two intellectuals are, respectively, the “gurus” of left-wing and right-wing movements around the world. Many people, since Peterson fame has rised, hoped for this debate (includin myself), asking in many occasions to Žižek to express some thoughts about the canadian psychologist’s points of view. I think they’re both very intelligent and witty persons, with a creative mind, and the debate should not be just a “counter attack” on each other, but a real intellectual confrontation from radically different visions and backgrounds, as many similarities too. I am much more on the Žižek side, but I like some of Peterson’s critics; they both make a clear point on the critical thinking, against ideologies and power systems, as also go in deep analisys of the human nature and culture. And they’re always deeply sincere in expressing themselves.

Enough, let’s go down to businness and enjoy this fulfilled dream.

Born into This

by Charles Bukowski


Born like this
Into this
As the chalk faces smile
As Mrs. Death laughs
As the elevators break
As political landscapes dissolve
As the supermarket bag boy holds a college degree
As the oily fish spit out their oily prey
As the sun is masked
We are
Born like this
Into this
Into these carefully mad wars
Into the sight of broken factory windows of emptiness
Into bars where people no longer speak to each other
Into fist fights that end as shootings and knifings
Born into this
Into hospitals which are so expensive that it’s cheaper to die
Into lawyers who charge so much it’s cheaper to plead guilty
Into a country where the jails are full and the madhouses closed
Into a place where the masses elevate fools into rich heroes
Born into this
Walking and living through this
Dying because of this
Muted because of this
Because of this
Fooled by this
Used by this
Pissed on by this
Made crazy and sick by this
Made violent
Made inhuman
By this
The heart is blackened
The fingers reach for the throat
The gun
The knife
The bomb
The fingers reach toward an unresponsive god
The fingers reach for the bottle
The pill
The powder
We are born into this sorrowful deadliness
We are born into a government 60 years in debt
That soon will be unable to even pay the interest on that debt
And the banks will burn
Money will be useless
There will be open and unpunished murder in the streets
It will be guns and roving mobs
Land will be useless
Food will become a diminishing return
Nuclear power will be taken over by the many
Explosions will continually shake the earth
Radiated robot men will stalk each other
The rich and the chosen will watch from space platforms
Dante’s Inferno will be made to look like a children’s playground
The sun will not be seen and it will always be night
Trees will die
All vegetation will die
Radiated men will eat the flesh of radiated men
The sea will be poisoned
The lakes and rivers will vanish
Rain will be the new gold
The rotting bodies of men and animals will stink in the dark wind
The last few survivors will be overtaken by new and hideous diseases
And the space platforms will be destroyed by attrition
The petering out of supplies
The natural effect of general decay
And there will be the most beautiful silence never heard
Born out of that.
The sun still hidden there
Awaiting the next chapter.

‘God of the Gaps’, by George Doutsiopoulos

The Illustrations of George Doutsipoulos

Robert Rodriguez, the fan

[the following is a translation of this older article]

The more I see movies by Robert Rodriguez, the more I believe that his work is not “original”, but the constant tribute of a fan to his favorite genres and directors. Rodriguez the fan, the passionate movie maker who searches for the emotions of his dreaming young self; I may be wrong, but  an example, from my point of view, is recognizable in Predators, third installment of the saga started in 1987 with that milestone of the action genre by John McTiernann, starring Schwarzenegger, and a good sequel in 1993, starring Glover. Rodriguez, who was going to be the director, is actually “just” the producer, but many elements of the movie are clearly an homage to the first movie: the jungle set, the prey building traps, even the end titles on Little Richard’s Long Tall Sally.

A more accurate example is the interesting experiment of Sin City. Rodrigue himself stated that he do not wanted to make a cinematic adaptation of the comic books by Miller, transporting instead the comic on the screen as it is. The complete title is in fact Frank Miller’s Sin City, not a “version” made by Rodriguez; the effort to translate almost every scene in the same visual aspect of the comic book, with strong black-and-white contrast and use of lights and shadows to express not only the atmosphere of noir movies of the Forties, but also the turbulent emotions of the characters, is a worth effort. Rodriguez knew it was the only way to make a movie out of a comic where the story is told by graphic even more than by text.

In the latter years, many movies are reprising the B-movie style, mostly due to the contribution of Rodriguez with his Planet Terror and Machete, combining the visual imperfections of exploitation movies from the Seventies and the Eighties with modern day special effects. Rodriguez’s cooperation with Tarantino on the “double feature” Grindhouse (filming Death Proof in the same manner) boosted the renewed interest for this genre; their collaboration, dating back to Desperado, is now a simbiosis: Machete itself came out of a series of fake trailers they made for Grindhouse.

From this point of view, maybe the most original movie filmed by Rodriguez is his first one, El Mariachi. This is not a negative point, indeed it confirms how early he setted the basis for his own cinema, a very personal interpretation of his passions. Because the first glimpse of Rodriguez’s career dates back to a 12-year-old boy who, watching John Carpenter’s Escape from New York, said to a friend “I will do that. I’m gonna make movies” (source: IMDB). By the way, did I mention the fact that Robert Rodriguez plays his own music in his movies, just like Carpenter?

Hexen Intro

The following text is the introduction to the game “Hexen”, in the PS1 version (see the video above). I listened to it so many times, I tried to write it down. Then I found the correct text on the internet and checked it. Here are my draft and the actual text, with my errors and voids in evidence.

My draft:

«Suspended within the fabric of Time and Space lies the Realm of the Chaos Sphere. […] the Serpent Riders, masters of the Sphere, have traveled the dimensions sowing (?) destruction. D’Sparil is dead. Korax, the second Rider, traveled to another world: the world of Hexen. Hexen, a world where […] has spawned corruption. Three powers rule as one in unholy trinity […]: the warlord Zedek, high captain of the Legion, he was judge and jury to all the people of Hexen; Traductus of the Church, holds their souls in captivity; and Menelkir, the sacrum master of the Arcanum, […] to spread fear and weakness among all their subjects. […] Today they will trade their […] powers with Korax […]. From the ranks of corruption, three heroes emerged […]: the destruction of the masters they once served. Their names will become a thing of legend. Baratus, Daedolon and Parias, must heal the world of Hexen for all time. […]».

Actual text:

«Suspended within the fabric of time and space lies the realm of the Chaos Sphere. For eons the Serpent Riders, masters of the sphere, have travelled the dimensions sowing destruction. D’Sparil is dead. Korax, the second rider, threatens another world: the world of Hexen. Hexen, a world where magic’s legacy has spawned corruption. Three powers rule as one unholy trinity, each led by a single man. The warlord Zedek, High Captain of the Legion is both judge and jury to all the peoples of Hexen. Traductus of the Church holds their souls in captivity… and Menelkir, the subtle master of the arcane, weaves his unholy magic to spread fear and weakness amongst all of their subjects. Restless in an uneasy alliance, these twisted leaders rule a twisted land, crushing absolutely all who would dare to oppose them. Today they will trade their worldly power with Korak for the dark gift of un-life and a mastery of forces more terrible than even their depraved minds could ever imagine. From the ranks of corruption, three heroes emerged, fighting for a single course: the destruction of the masters they once served. Their names will become a thing of legend. Baratus, Daedolon and Parias must heal the world of Hexen, for all time. The world must undergo a testing. A journey must begin.»


Addio a Gene Wilder, 1933-2016.

God is dead.



Dio è morto!
– Nietzsche

Fratelli e sorelle del rock, è un triste giorno. Lemmy Kilmister, fondatore dei Motorhead, cantante e bassista, icona del rock duro e di una vita di eccessi che incredibilmente non ti ammazza prima dei trenta nonostante tutto, è morto. Giusto pochi giorni fa avevamo festeggiato i suoi 70 anni. Per me è stato importantissimo, il mito musicale per eccellenza, più di tutti gli altri. Con lui oggi muoiono anche i Motorhead e si chiudono quarant’anni di storia del rock, quel “heavy rock” tipico della band di Lemmy che riuniva heavy metal, punk e hard rock. Mi piaceva così tanto che ho tutti i dischi su cui sono riuscito a mettere le mani nel corso degli anni, e pure diversi dvd e libri. Voglio ricordare Lemmy non con la classicissima “Ace of Spades”, inno dei Motorhead, bensì con la canzone che più di tutte esprime lo spirito di Lemmy, in tutti i sensi, specie nell’ironia che, da buon inglese, non gli mancava di certo. Riposa in pace.

Brothers and sisters of rock’n’roll, it is a sad day. Lemmy Kilmister, founder of Motorhead, singer and bass player, icon of hard rock and of a kind of extreme lifestyle that incredibly doesn’t kill you before 30, is dead. Just a few days ago, we celebrated his 70 birthday. To me, he was over the top, the greatest myth in music, more than everyone else. With him, today Motorhead dies too. A forty-years rock history, ends. I deeply loved that “heavy rock”, mixing heavy metal, punk and hard rock, so typical of Motorhead. I got all the albums, dvd’s and even books I could get over the years.

I want to remember Lemmy not with the classical Ace of Spades, Motorhead’s hymn, but with a song that best represents the spirit of Lemmy, in every sense, especially irony, that, as a good english man, he had. Rest In Peace.

If you squeeze my lizard
I’ll put my snake on you
I’m a romantic adventure
And I’m a reptile too

But it don’t make no difference
‘cos I ain’t gonna be, easy, easy
the only time I’m gonna be easy’s when I’m
Killed by death

I’m a lone wolf ligger
But I ain’t no pretty boy
I’m a backbone shiver
and I’m a bundle of joy

But it don’t make no difference
‘cos I ain’t gonna be, easy, easy
the only time I’m gonna be easy’s when I’m
Killed by death

Articoli sulla morte di Lemmy

BlabberMouth: MOTÖRHEAD’s LEMMY Dead At 70

la Repubblica: È morto Lemmy Kilmister dei Motorhead. “La band è finita”, annuncia il batterista

Spin: Motörhead’s Lemmy Dead at Age 70

Rolling Stone Italia: È scomparso Lemmy Kilmister, leader dei Motörhead

Internazionale: È morto Lemmy Kilmister, leader del gruppo rock Motörhead

Altri articoli

L’ultimo concerto (da Ultimate Classic Rock)

L’ultima intervista (da Rockol)

Il suo posto riservato a vita al Rainbow Bar & Grill (da 9gag)

30 momenti storici di Lemmy (da Ultimate Classic Rock)

“I don’t drink milk” (tribute of Valio Milk from Finland)


Lemmy Kilmister Memorial Service (veglia funebre del 9 gennaio 2016)