🇮🇹 La melodía que susurraba secretos de mafia y amor prohibido en la Sicilia de los Corleone.
En 1972, Francis Ford Coppola estrenaba El Padrino, y Nino Rota componía una de las bandas sonoras más legendarias del cine.
Pero había una melodía especial: el tema de amor entre Michael Corleone (Al Pacino) y Apollonia (Simonetta Stefanelli) en la Sicilia de sus ancestros.
Esa melodía instrumental, compuesta por Nino Rota, era tan poderosa que ese mismo año Gianni Morandi le puso letra y la lanzó como "Parla Più Piano" ("Habla más bajo").
Un título que lo decía todo: en el mundo de los Corleone, hasta el amor tenía que susurrarse.
La canción se convirtió en un éxito instantáneo en Italia y más allá.
Porque no era solo una canción de amor, era la banda sonora de un destino trágico: el de Michael, atrapado entre dos mundos, dos mujeres y una familia que no perdona.
Gracias por leer y dejarte envolver por esta melodía que huele a Sicilia, a vinilo y a cine eterno. @SusurriDAmore ❤️
📌 Contenido 100% auténtico, verificado y libre de riesgos de copyright.
Fred saves Rita Hayworth
In 1940, Rita Hayworth was miserable at Columbia, and unhappy with the roles she was cast in; vamps with freon in their veins, or bores who did nothing but simper. Hayworth, who was born Margarita Cansino, had been a dancer since the age of 11, but no one made use of her greatest talent, Then, one day, she received a phone call from Fred Astaire, who had ended his phenomenally popular partnership with Ginger Rogers. Hayworth said, “He knew what those fools at Columbia didn’t - that I was a dancer.” Astaire was looking for someone to co-star in his next film, “You’ll Never Get Rich”, and had done his research. He arranged a meeting with Hayworth and the two tried out a short routine. Fred, who was the perfectionists’ perfectionist, was amazed. He told his wife, Phyllis, that he had found someone with “extraordinary talent” who was “able to learn steps faster than anyone I’ve ever known.” It was the beginning of an electrifying partnership. Though the couple made only two films together, they are pure magic. Hayworth was not only a beauty, but had the fluidity Astaire needed, as well as charm on screen. “You'll Never Get Rich” (1941) with music by Cole Porter, was a major box-office hit and gave Hayworth her much needed career boost, proving that she was not just a pin up girl. Fred said you could “show a number to Rita before lunch” and she would return and perform it perfectly after eating. Their second film, “You were never Lovelier” (1942) was an even bigger success. Rita said, “Those two movies gave me enormous confidence. I was no longer the dumb redhead. They saved my career.” From then on, Hayworth was cast in a succession of hit musicals, and even when her films were noirs, like “Gilda” (1946), numbers were specially written for her to perform.
Emma Kok — a vocal talent!
How often do you see an entire orchestra stand up to applaud a child? How often do you see grown men moved to tears? This is the most brilliant performance I have ever heard. The arrangement is truly magnificent—surpassing even the original.
1971. A 'Speciale per Noi', Don Lurio inventa per Bice Valori, Paolo Panelli, Ave Ninchi e Aldo Fabrizi, un balletto entrato nell’antologia della televisione italiana sulle note di 'Neanderthal Man' degli Hotlegs.
Chi ricorda questo video? Ancora fa ridere dopo decenni 😂😂 ⤵️
THE SLEEPER IS BACK.
Get ready for the hot new dance craze from 1965.
It freaked out the old folks.
It is taking over the dance floors and the streets.
🇮🇹 El título es un trabalenguas imposible. La letra, un misterio absoluto. Pero el mensaje, una verdad que duele.
En 1973, Adriano Celentano soltó una bomba en la televisión italiana que la historia de la música aún no termina de procesar.
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🖤 DUO LIVE STREAM 🖤
Getting together with @daniangel_web for a duo stream 🔥 This will be Dani her first ever Girl/Girl experience so it’s gonna be hot 🥵 Don’t miss this…
📆 Friday October 9th
⏰ Around 3:30PM Las Vegas Time
📍 https://t.co/rN9r0b0d8j
🇮🇹 La televisión italiana le pidió a Raffaella Carrà lo imposible: compartir el protagonismo con un fantasma. Mina era la voz estática, misteriosa e intocable. Raffaella era el color, el movimiento y la vida.
En lugar de intentar opacar a la leyenda, Raffaella hizo algo mucho más difícil: la acompañó.
🪡…