Goodbye 2010!

2010 has been a wierd year, a year where I have lost few of the things I considered important just to find things that were even more of value. I hope that 2011 will be a year where I will learn about myself even more, be able to make happy the people I love and reach my goals. And I wish the same to you my friends. Happy new year!

Il 2010 è stato un anno particolare, un anno dove ho perso alcune delle cose che consideravo importanti solo per trovarne altre che ora hanno un valore perfino maggiore. Spero che il 2011 sia un anno dove potrò imparare di più su me stessa, dove sarò in grado di rendere felici le persone che amo e in cui potrò realizzare i miei obbiettivi. E auguro lo stesso per voi amici miei. Felice anno nuovo!

Precious Friendship

"A friend is one that knows you as you are, understands where you have been, accepts what you have become, and still, gently allows you to grow."

-William Shakespeare

Lanvin for H&M - Fashion Show

I know this have been out for a while but while making a set on Polyvore I ended up looking at all the dresses made for this collection and I could hear my heart crying since I couldn't find anything in the H&M stores near me. Therefor I decided to at least dedicate a post with a full gallery of the collection. Enjoy




Sò che è uscita già da un pò di tempo ma mentre stavo creando un set sul sito di Polyvore.com mi sono ritrovata a guardare tutti i vestiti di questa collezione e avevo le lacrime agli occhi visto che, sfortunatamente, non ho potuto trovare nulla nei negozi H&M vicino a casa. Così ho voluto dedicare almeno un post con l'intera galleria della collezione.

Lady Dior - Lady Grey London

The fourth episode of what appears to be a serie sees togheter the beautiful actress Marion Cotillard and the director John Cameron Mitchell. In a mix of pure art, beauty and romance the film is not only able to deliver its message but also to leave the audience in a daydreaming state of mind.



Il quarto episodio di quella che sembra essere una serie vede lavorare insieme la bellissima attrice Marion Cotillard e il regista John Cameron Mitchell. In un mix di arte, bellezza e romanticismo puro, il film non solo è capace di comunicare il proprio messaggio ma lascia lo spettatore sospeso tra sogno e realtà.

100 DAYS OF ACTIVE RESISTANCE

“The principal idea of Active Resistance is that you get out of life what you put in and that real experience of the world involves thinking” - Vivienne Westwood.

100 Days of positive thought, active change, speaking up and being heard. From small personal actions to larger collective moments of change, Vivienne Westwood Anglomania and Lee Jeans encourage communication and individuality through an online installation, sharing interpretations of Vivienne Westwood’s Active Resistance.

Commencing September 28th, each day for one hundred days, one image representing your ideas of Active Resistance will be selected from submissions and shared online.

So stand up and speak out! Take a photo, write a slogan, create an image or an artwork and visit www.ar100days.com to show us your Active Resistance!

"Il concetto alla base di Active Resistance è che dalla vita si raccoglie ciò che si semina e la vera esperienza del mondo coinvolge il pensiero" – Vivienne Westwood.

100 giorni di pensiero positivo, di cambiamento attivo, di discorsi seguiti da interlocutori attenti. Vivienne Westwood Anglomania e Lee Jeans incoraggiano la comunicazione e l’individualità tramite un’installazione online dove sarà possibile condividere le interpretazioni personali Active Resistance.

"Non è sufficiente seguire le vicende politiche internazionali, guardare film e leggere best-seller di vincitori di premi, occorre andare più a fondo per poter capire chi siamo, capire a fondo cos’è il mondo e come le cose possono essere cambiate nel migliore dei modi. Questo implica una cultura che può solamente essere assimilata solo tramite un’auto-educazione: gli esseri umani dovrebbero rispecchiare ciò che è il mondo."

Quotidianamente per cento giorni verrà selezionata in tutto il mondo un’immagine rappresentante la vostra idea di Active Resistance tra quelle inviateci e sarà pubblicata online.

Al termine dei 100 giorni, le 100 immagini scelte diverranno parte di una mostra itinerante dedicata al progetto.

Vivienne Westwood celebrerà il lancio del sito e la collaborazione con Lee installando una mostra dedicata al denim, dai pezzi d’archivio fino a quelli dei giorni nostri, nei suoi negozi di Mayfair a Londra a partire dall’8 di settembre in concomitanza con la Vogue Fashion’s Night Out.

Scatta una foto, scrivi uno slogan, crea un’immagine e mostraci la tua Active Resistance!

Per qualsiasi ulteriore informazione riguardo Active Resistance visita: www.activeresistance.co.uk

Lady Gaga

Let's face it, love her or hate her, she is indeed the world's biggest popstar. Not famous only for her music but also for her for her outré sense of style, a style that reminds of glam rock artists like David Bowie and Queen, as well as pop singers such as Madonna and Michael Jackson. But what's her story? And how did she stand out from the popular crowd?


1986–2004: Early life

Lady Gaga was born Stefani Joanne Angelina Germanotta in New York City on March 28, 1986, to a predominantly Italian American family, the eldest child of Joseph Germanotta, internet entrepreneur, and Cynthia (née Bissett). She learned to play piano from the age of four, went on to write her first piano ballad at 13 and began performing at open mike nights by age 14. At the age of 11, Gaga attended Convent of the Sacred Heart, a private Roman Catholic school on Manhattan's Upper East Side, but has stressed that she does not come from a wealthy background, saying that her parents "both came from lower-class families, so we've worked for everything – my mother worked eight to eight out of the house, in telecommunications, and so did my father." An avid thespian in high school musicals, Gaga portrayed lead roles as Adelaide in Guys and Dolls and Philia in A Funny Thing Happened on the Way to the Forum. She described her academic life in high school as "very dedicated, very studious, very disciplined" but also "a bit insecure" as she told in an interview, "I used to get made fun of for being either too provocative or too eccentric, so I started to tone it down. I didn’t fit in, and I felt like a freak."Acquaintances dispute that she did not fit in school. "She had a core group of friends; she was a good student. She liked boys a lot, but singing was No. 1," recalled a former high school classmate. Referring to her "expressive, free spirit", Gaga told Elle magazine "I'm left-handed!"

At age 17, Gaga gained early admission to the New York University's Tisch School of the Arts and lived in a NYU dorm on 11th Street. There she studied music and improved her songwriting skills by composing essays and analytical papers focusing on topics such as art, religion, social issues and politics. Gaga felt that she was more creative than some of her classmates. "Once you learn how to think about art, you can teach yourself," she said. By the second semester of her sophomore year, she withdrew from the school to focus on her musical career. Her father agreed to pay her rent for a year, on the condition that she re-enroll for Tisch if she was unsuccessful. "I left my entire family, got the cheapest apartment I could find, and ate shit until somebody would listen," she said.


2005–07: Career beginnings

Gaga had initially signed with Def Jam Recordings at the age of 19, although she was dropped by the label after only three months. Shortly after, her former management company introduced her to songwriter and producer RedOne, whom they also managed. The first song she produced with RedOne was "Boys Boys Boys", a mash-up inspired by Mötley Crüe's "Girls, Girls, Girls" and AC/DC's "T.N.T." She moved into an apartment on the Lower East Side and recorded a couple of songs with hip-hop singer Grandmaster Melle Mel for an audio book accompanying the children's book The Portal in the Park by Cricket Casey. She also started the Stefani Germanotta Band with some friends from NYU. They recorded an extended play of their ballads at a studio underneath a liquor store in New Jersey, becoming a local fixture at the downtown Lower East Side club scene. She began experimenting with drugs soon after, while performing at neo-burlesque shows. Her father did not understand the reason behind her drug intake and could not look at her for several months. Music producer Rob Fusari, who helped her write some of her earlier songs, compared some of her vocal harmonies to that of Freddie Mercury. Fusari helped create the moniker Gaga, after the Queen song "Radio Ga Ga". Gaga was in the process of trying to come up with a stage name when she received a text message from Fusari that read "Lady Gaga." He explained,

Every day, when Stef came to the studio, instead of saying hello, I would start singing 'Radio Ga Ga'. That was her entrance song. Lady Gaga was actually a glitch; I typed 'Radio Ga Ga' in a text and it did an autocorrect so somehow 'Radio' got changed to 'Lady'. She texted me back, "That's it." After that day, she was Lady Gaga. She’s like, "Don't ever call me Stefani again."

She was known thereafter as Lady Gaga. The New York Post, however, has reported that this story is incorrect, and that the name resulted from a marketing meeting.[20] Throughout 2007, Gaga collaborated with performance artist Lady Starlight, who helped create her on-stage fashions. The pair began playing gigs at downtown club venues like the Mercury Lounge, The Bitter End, and the Rockwood Music Hall, with their live performance art piece known as "Lady Gaga and the Starlight Revue." Billed as "The Ultimate Pop Burlesque Rockshow", their act was a low-fi tribute to 1970s variety acts. In August 2007, Gaga and Starlight were invited to play at the American Lollapalooza music festival. The show was critically acclaimed, and their performance received positive reviews. Having initially focused on avant-garde electronic dance music, Gaga found her musical niche when she began to incorporate pop melodies and the glam rock of David Bowie and Queen into her music.

Fusari sent the songs he produced with Gaga to his friend, producer and record executive Vincent Herbert. Herbert was quick to sign her to his label Streamline Records, an imprint of Interscope Records, upon its establishment in 2007. She credited Herbert as the man who discovered her, adding "I really feel like we made pop history, and we're gonna keep going." Having already served as an apprentice songwriter under an internship at Famous Music Publishing, which was later acquired by Sony/ATV Music Publishing, Gaga subsequently struck a music publishing deal with Sony/ATV. As a result, she was hired to write songs for Britney Spears and labelmates New Kids on the Block, Fergie, and the Pussycat Dolls. While Gaga was writing at Interscope, singer-songwriter Akon recognized her vocal abilities when she sang a reference vocal for one of his tracks in studio. He then convinced Interscope-Geffen-A&M Chairman and CEO Jimmy Iovine to form a joint deal by having her also sign with his own label Kon Live Distribution and later called her his "franchise player." Gaga continued her collaboration with RedOne in the recording studio for a week on her debut album, spawning the future singles "Just Dance" and "Poker Face". She also joined the roster of Cherrytree Records, an Interscope imprint established by producer and songwriter Martin Kierszenbaum, after co-writing four songs with Kierszenbaum including the single "Eh, Eh (Nothing Else I Can Say)".


2008–10: The Fame and The Fame Monster

By 2008, Gaga had relocated to Los Angeles, working closely with her record label to finalize her debut album The Fame. She combined different genres on the album, "from Def Leppard drums and hand claps to metal drums on urban tracks." The Fame received positive reviews from contemporary critics; according to the music review aggregation of Metacritic, it garnered an average score of 71/100. The album peaked at number one in United Kingdom, Canada, Austria, Germany, Switzerland and Ireland, and the top-five in Australia, the United States and fifteen other countries. Worldwide, The Fame has sold over fourteen million copies. Its lead single "Just Dance" topped the charts in six countries – Australia, Canada, the Netherlands, Ireland, the United Kingdom, and the United States – and later received a Grammy Award nomination for Best Dance Recording. The following single "Poker Face" was an even greater success, reaching number-one in almost all major music markets in the world, including the United Kingdom and the United States. It won the award for Best Dance Recording at the 52nd Grammy Awards, over nominations for Song of the Year and Record of the Year. The Fame was nominated for Album of the Year; it won the Grammy Award for Best Electronic/Dance Album. Although her first concert tour happened as an opening act for fellow Interscope pop group, the reformed New Kids on the Block, she ultimately headlined her own worldwide concert tour, The Fame Ball Tour, which was critically appreciated and began in March 2009; culminating in September of that year.

The cover of the annual "Hot 100" issue of Rolling Stone in May 2009 featured a semi-nude Gaga wearing only strategically placed plastic bubbles. In the issue, she said that while she was beginning her career in the New York club scene, she was romantically involved with a heavy metal drummer. She described their relationship and break-up, saying of it, "I was his Sandy, and he was my Danny [of Grease], and I just broke." He later became an inspiration behind some of the songs on The Fame. She was nominated for a total of nine awards at the 2009 MTV Video Music Awards, winning the award for Best New Artist, while her single "Paparazzi" won two awards for Best Art Direction and Best Special Effects. In October, Gaga received Billboard magazine's Rising Star of 2009 award. She attended the Human Rights Campaign's "National Dinner" the same month, before marching in the National Equality March for the equal protection of LGBT people in all matters governed by US civil law in Washington, D.C. Fabricated over the course of 2008–09, The Fame Monster, a collection of eight songs, was released in November 2009. Each song, dealing with the darker side of fame from personal experience while she travelled the world, is expressed through a monster metaphor. Its first single "Bad Romance" topped the charts in eighteen countries, while reaching the top-two in the United States, Australia and New Zealand. The song received a Grammy nomination for Best Female Pop Vocal Performance while its accompanying music video was nominated for Best Short Form Music Video. The album's second single "Telephone", which features singer Beyoncé, was nominated for the Grammy Award for Best Pop Collaboration with Vocals and became Gaga's fourth UK number-one single while its accompanying music video, although controversial, was met mostly positive reception from contemporary critics: praising her for "the musicality and showmanship of Michael Jackson and the powerful sexuality and provocative instincts of Madonna." Her following single "Alejandro" paired Gaga with fashion photographer Steven Klein for a music video similarly as controversial – critics complimented its idea and dark nature, but the Catholic League attacked Gaga for her use of blasphemy. Equating to the amount of Grammy nominations her debut received, The Fame Monster garnered a total of six – among them Best Pop Vocal Album and her second-consecutive nomination for Album of the Year. The success of the album allowed Gaga to embark on her second headlining worldwide concert tour, The Monster Ball Tour, just weeks after the release of The Fame Monster and months after having finished her first. Upon finishing in May 2011, the critically acclaimed and commercially accomplished concert tour will have ran for over one and a half years.
Profile of a young blond woman. Her hair falls in waves up to her shoulders. She wears a purple leotard with visible sequins attached. Ample bosom, arm and leg are visible.

Gaga performed "Speechless", a power ballad from The Fame Monster, at The 2009 Royal Variety Performance in December 2009 where she met and sang for Queen Elizabeth II. Gaga was chosen as of one the "10 Most Fascinating People of 2009" by Barbara Walters for Walters' annual ABC News special. When interviewed by the journalist, Gaga went to dismiss a claim that she is intersex as an urban legend, responding to a question on this issue by stating: "At first it was very strange and everyone sorta said, 'That's really quite a story!' But in a sense, I portray myself in a very androgynous way, and I love androgyny." In January 2010, she was named chief creative officer for a line of imaging products for Polaroid, stating that she will create fashion, technology and photography products. In March, Rob Fusari sued Gaga's production company Mermaid Music LLC, claiming that he was entitled to a 20% share of its earnings. Gaga's lawyer Charles Ortner described the agreement with Fusari as "unlawful" and declined to comment. In August, the New York Supreme Court dismissed the lawsuit. In April, it was reported that her music videos gained over one billion viral views, becoming one of the first artists to reach this milestone. Later that month, Gaga was named one of Time magazine's 100 most influential people of the year. While giving an interview to The Times, Gaga hinted at having Systemic lupus erythematosus, commonly referred to as lupus, which is a connective tissue disease. She later confirmed with Larry King that she does not have lupus but "the results were borderline positive".


2010–present: Born This Way

Described as "a marriage of electronic music with major [...] metal or rock 'n' roll, pop, anthemic style melodies with really sledge-hammering dance beats",Born This Way, Gaga's second studio album and third major release, is scheduled for release in early 2011 with February of that year seeing the arrival of its lead single. Announcing the title of the album during her acceptance speech for Video of the Year at the 2010 MTV Video Music Awards, Born This Way will be Gaga's third release in three years. She stated, "It came so quickly. I've been working on [the album] for months, and I feel very strongly that it's finished right now. Some artists take years. I don't. I write music every day." With two tracks already confirmed by Gaga – one she has been performing during The Monster Ball Tour,she has referred to the album as "the greatest" of the decade about "what keeps us up at night and what makes us afraid." Likening Born This Way to "bad kids going to church" that are "having fun on a high level", Gaga characterized her new music as "something so much deeper than a wig or lipstick or a fucking meat dress" and upon hearing it, Akon remarked that she will take music to the "next level."

Lending her vocal talent elsewhere, Gaga also paired with Elton John to record an original duet for the soundtrack to the forthcoming animated Disney feature film Gnomeo and Juliet. The song, titled "Hello, Hello", is scheduled for release in February 2011.

Gaga has been influenced by glam rock artists such as David Bowie and Queen, as well as pop music artists such as Madonna, Britney Spears and Michael Jackson. The Queen song "Radio Ga Ga" inspired her stage name, "Lady Gaga". She commented: "I adored Freddie Mercury and Queen had a hit called 'Radio Gaga'. That's why I love the name [...] Freddie was unique – one of the biggest personalities in the whole of pop music."[85] In response to the comparisons between herself and Madonna, Gaga stated: "I don't want to sound presumptuous, but I've made it my goal to revolutionise pop music. The last revolution was launched by Madonna 25 years ago." Actress and singer Grace Jones was also cited as an inspiration, along with Blondie singer Debbie Harry.
A blond woman in a bob-cut, sitting cross-legged on a transparent platform which is full of bubbles and lit from inside in pink. The woman is wearing a dress made of transparent bubbles of varying sizes. She is holding a microphone in her left hand and appears to be smiling.
Gaga wearing a plastic bubble dress while performing on The Fame Ball Tour

Gaga's vocals have drawn frequent comparison to those of Madonna and Gwen Stefani, while the structure of her music is said to echo classic 1980s pop and 1990s Europop. While reviewing her debut album The Fame, The Sunday Times asserted "in combining music, fashion, art and technology, Lady GaGa evokes Madonna, Gwen Stefani circa 'Hollaback Girl', Kylie Minogue 2001 or Grace Jones right now." Similarly, The Boston Globe critic Sarah Rodman commented that she draws "obvious inspirations from Madonna to Gwen Stefani... in her girlish but sturdy pipes and bubbly beats." Though her lyrics are said to lack intellectual stimulation, "does manage to get you moving and grooving at an almost effortless pace." Music critic Simon Reynolds wrote that "Everything about Gaga came from electroclash, except the music, which wasn't particularly 1980s, just ruthlessly catchy naughties pop glazed with Auto-Tune and undergirded with R&B-ish beats.

Gaga has identified fashion as a major influence. She considers Donatella Versace her muse. Gaga has her own creative production team called the Haus of Gaga, which she handles personally. The team creates many of her clothes, stage props, and hairdos. Her love of fashion came from her mother, who she stated was "always very well kept and beautiful." "When I'm writing music, I'm thinking about the clothes I want to wear on stage. It's all about everything altogether—performance art, pop performance art, fashion. For me, it's everything coming together and being a real story that will bring back the super-fan. I want to bring that back. I want the imagery to be so strong that fans will want to eat and taste and lick every part of us." The Global Language Monitor named "Lady Gaga" as the Top Fashion Buzzword with her trademark "no pants" coming in at No. 3.Entertainment Weekly put her outfits on its end of the decade "best-of" list, saying, "Whether it's a dress made of Muppets or strategically placed bubbles, Gaga's outré ensembles brought performance art into the mainstream."
Gaga, well-recognized for her unconventionality, during a "blood soaked" performance on The Monster Ball Tour

Critical reception of Gaga's music, fashion sense and persona are mixed. Her status as a role model, trailblazer and fashion icon is by turns affirmed and denied. Gaga's albums have received mostly positive reviews,[42] with critics pointing out her unique place in pop music, the need for new movements in popular culture, the attention Gaga brings to important social issues, and the inherently subjective nature of her art. Her role as a self-esteem booster for her fans is also lauded, as is her role in breathing life into the fashion industry. Her performances are described as "highly entertaining and innovative"; in particular, the blood-spurting performance of "Paparazzi" at the 2009 MTV Video Music Awards was described as "eye-popping" by MTV. She continued the "blood soaked" theme in The Monster Ball Tour, in which she wore a revealing leather corset and is "attacked" by a performer dressed in black who gnaws on her throat, causing "blood" to spurt down her chest, after which she lies "dying" in a pool of blood. Her performances of that scene in Manchester, England triggered protests from family groups and fans in the aftermath of a local tragedy, in which a taxi driver had murdered 12 people. "What happened in Bradford is very fresh in people's minds and given all the violence which happened in Cumbria just hours earlier, it was insensitive," said Lynn Costello of Mothers Against Violence.[108] Chris Rock later defended her flamboyant, provocative behavior. "Well, she's Lady Gaga," he said. "She's not 'Lady Behave Yourself.' Do you want great behavior from a person named Gaga? Is this what you were expecting?" She later returned to the 2010 MTV Video Music Awards wearing a dress which was supplemented by boots, a purse and a hat—each fabricated from the flesh of a dead animal. The dress, named Time magazine's Fashion Statement of 2010 and more widely known as the "meat dress", was made by Argentinian designer Franc Fernandez and received divided opinions—evoking the attention of worldwide media but invoking the fury of animal rights organization PETA. Gaga, however, later denied any intention of causing disrespect to any person or organization and wished for the dress to be interpreted as a statement of human rights with focus upon those in the LGBT community.

Gaga's treatment of her fans as "Little Monsters" has inspired additional criticism, due to the highly commercial nature of her music and image. To some, this dichotomy contravenes the concept of outsider culture. Writing for The Guardian, Kitty Empire opined that the dichotomy "...allows the viewer to have a 'transgressive' experience without being required to think. At her performance's core, though, is the idea that Gaga is at one with the freaks and outcasts. The Monster Ball is where we can all be free. This is arrant nonsense, as the scads of people buying Gaga's cunningly commercial music are not limited to the niche worlds of drag queens and hip night creatures from which she draws her inspiration. But Gaga seems sincere." Camille Paglia wrote a cover story "Lady Gaga and the death of sex" on September 12, 2010, in The Sunday Times[114] in which she asserts that Gaga "is more an identity thief than an erotic taboo breaker, a mainstream manufactured product who claims to be singing for the freaks, the rebellious and the dispossessed when she is none of those."


Contrary to her outré style, the New York Post described her early look as like "a refugee from Jersey Shore" with "big black hair, heavy eye makeup and tight, revealing clothes." Gaga is a natural brunette; she bleached her hair blonde because she was often mistaken for Amy Winehouse. She often refers to her fans as her "little monsters" and in dedication, she had that inscription tattooed on "the arm that holds her microphone." She has another six known tattoos, among them a peace symbol, which was inspired by John Lennon whom she stated was her hero, and a curling German script on her left arm which quotes the poet Rainer Maria Rilke, her favorite philosopher, commenting that his "philosophy of solitude" spoke to her. Toward the end of 2008, comparisons were made between the fashions of Lady Gaga and recording artist Christina Aguilera, noting similarities in their styling, hair, and make-up. Aguilera later said she was "completely unaware of Gaga" and "didn't know if it was a man or a woman." Gaga released a statement in which she welcomed the comparisons, due to the attention providing useful publicity, saying, "She's such a huge star and if anything I should send her flowers, because a lot of people in America didn't know who I was until that whole thing happened. It really put me on the map in a way." Comparisons continued into 2010 when Aguilera released the music video of her single "Not Myself Tonight". Critics noted similarities between the song and its accompanying music video with Gaga's video for "Bad Romance". There have also been similar comparisons made between Lady Gaga's style and that of fashion icon Dale Bozzio from the band Missing Persons. Some have considered their respective images to be strikingly parallel although fans of Missing Persons note that Bozzio had pioneered the look more than thirty years earlier.
A blond woman speaking on a kiosk. She wears a white shirt and black glasses. Behind her, the balcony of a building is visible.


Gaga attributes much of her early success as a mainstream artist to her gay fans and is considered to be a rising gay icon. Early in her career she had difficulty getting radio airplay, and stated, "The turning point for me was the gay community. I've got so many gay fans and they're so loyal to me and they really lifted me up. They'll always stand by me and I'll always stand by them. It's not an easy thing to create a fanbase." She thanked FlyLife, a Manhattan-based LGBT marketing company with whom her label Interscope works, in the liner notes of The Fame, saying, "I love you so much. You were the first heartbeat in this project, and your support and brilliance means the world to me. I will always fight for the gay community hand in hand with this incredible team." One of her first televised performances was in May 2008 at the NewNowNext Awards, an awards show aired by the LGBT television network Logo, where she sang her song "Just Dance". In June of the same year, she performed the song again at the San Francisco Pride event.After The Fame was released, she revealed that the song "Poker Face" was about her bisexuality. In an interview with Rolling Stone, she spoke about how her boyfriends tended to react to her bisexuality, saying "The fact that I'm into women, they're all intimidated by it. It makes them uncomfortable. They're like, 'I don't need to have a threesome. I'm happy with just you'." When she appeared as a guest on The Ellen DeGeneres Show in May 2009, she praised DeGeneres for being "an inspiration for women and for the gay community". She proclaimed that the October 11, 2009, National Equality March rally on the national mall was "the single most important event of her career." As she exited, she left with an exultant "Bless God and bless the gays," similar to her 2009 MTV Video Music Awards acceptance speech for Best New Artist a month earlier. At the rally, she performed a cover of John Lennon's "Imagine" declaring that "I'm not going to play one of my songs tonight because tonight is not about me, it's about you." She changed the original lyrics of the song to reflect the death of Matthew Shepard, a college student murdered because of his sexuality. In September 2010, she spoke at a rally in favor of repealing the US military's Don't ask, don't tell policy, which prohibits lesbian, gay and bisexual people from serving openly, and released an online video urging her fans to contact their Senators in an effort to get the policy overturned. Editors of The Advocate commented that she had become the "fierce advocate" for gays and lesbians that future president Barack Obama had promised to be during his campaign.

Gaga's influence on modern culture and society has provoked the University of South Carolina into offering a full-time course titled "Lady Gaga and the Sociology of Fame" in the objective of unravelling "the sociologically relevant dimensions of the fame of Lady Gaga with respect to her music, videos, fashion, and other artistic endeavors".


In her offical website is also possible to find a link to the M.A.C cosmetic online shop for which the star is testimonial. http://www.maccosmetics.com/

Rabbit Vibrator

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My Christmas Wishlist

Christmas Wishlist by Raven of the Slain featuring high heels

VIOLET
89 GBP - kurtgeiger.com
High heels »

Bling > Artisan Square Green Glitter Bling Frame | Making Memories: A...
$1.99 - acherryontop.com

Bling > Artisan Square Red Glitter Bling Frame | Making Memories: A...
$1.99 - acherryontop.com

Velvet bow shopper, Shoulder, Harvey Nichols Store View
145 GBP - harveynichols.com

White Silk Pocket Square
25 GBP - start-london.com

Trading Phrases Christmas | Winter Wall Decals | Christmas Graphics
$24 - tradingphrases.com

Vivienne Westwood Dresses & Suits
viviennewestwood.co.uk
Vivienne westwood dresses »

Motorola Flipout ♥
phonegg.com

Vivienne Westwood Small Leather Goods
viviennewestwood.co.uk

Sorrow Flowers Bracelet | Vivienne Westwood
viviennewestwood.co.uk

The Nutcracker

The story begins on Christmas Eve at the Stahlbaum house. Marie, twelve years old, and her brother Fritz, eight, sit outside the parlor speculating about what kind of present their godfather Drosselmeyer, who is a clockmaker and inventor, has made for them. They are at last allowed into the parlor, where they receive many splendid gifts, including Drosselmeyer's, which turns out to be a clockwork castle with mechanical people moving about inside it. However, as the mechanical people can only do the same thing over and over without variation, the children quickly tire of it. At this point, Marie notices a Nutcracker doll, and asks whom he belongs to. Her father tells her that he belongs to all of them, but that since she is so fond of him she will be his special caretaker. Marie, her sister Louise, and her brother Fritz pass the Nutcracker among them, cracking nuts, until Fritz tries to crack a nut that is too big and hard, and the Nutcracker's jaw breaks. Marie, upset, takes the Nutcracker away and bandages him with a ribbon from her dress.

When it is time for bed, the children put their Christmas gifts away in the special cupboard where they keep their toys. Fritz and Louise go up to bed, but Marie begs to be allowed to stay with Nutcracker a while longer, and she is allowed to do so. She puts Nutcracker to bed and tells him that Drosselmeyer will fix his jaw as good as new. At this, the Nutcracker's face seems momentarily to come alive, and Marie is frightened, but she then decides it was only her imagination.

The grandfather clock begins to chime, and Marie believes she sees Drosselmeyer sitting on top of it, preventing it from striking. Mice begin to come out from beneath the floor boards, including the seven-headed Mouse King. Marie, startled, slips and puts her elbow through the glass door of the toy cupboard. The dolls in the cupboard come alive and begin to move, Nutcracker taking command and leading them into battle after putting Marie's ribbon on as a token. The battle at first goes to the dolls, but they are eventually overwhelmed by the mice. Marie, seeing Nutcracker about to be taken prisoner, takes off her shoe and throws it at the Mouse King, then faints.

Marie wakes the next morning with her arm bandaged and tries to tell her parents about the battle between the mice and the dolls, but they do not believe her, thinking that she has had a fever dream caused by the wound she sustained from the broken glass. Drosselmeyer soon arrives with the Nutcracker, whose jaw has been fixed, and tells Marie the story of Princess Pirlipat and the Queen of the Mice, which explains how Nutcrackers came to be and why they look the way they do.

The Queen of the Mice tricked Pirlipat's mother into allowing her and her children to gobble up the lard that was supposed to go into the sausage that the King was to eat at dinner that evening. The King, enraged at the Mouse Queen for spoiling his supper and upsetting his wife, had his court inventor, whose name happens to be Drosselmeyer, create traps for the Mouse Queen and her children.

The Mouse Queen, angered at the death of her children, swore that she would take revenge on the King's daughter, Pirlipat. Pirlipat's mother surrounded her with cats which were supposed to be kept awake by being constantly stroked, however inevitably the nurses who stroked the cats fell asleep and the Mouse Queen magically turned the infant Pirlipat ugly, giving her a huge head, a wide grinning mouth and a cottony beard, like a nutcracker. The King blamed Drosselmeyer and gave him four weeks to find a cure. At the end of four weeks, Drosselmeyer had no cure but went to his friend, the court astrologer.

They read Pirlipat's horoscope and told the King that the only way to cure her was to have her eat the nut Crackatook, which must be cracked and handed to her by a man who had never been shaved nor worn boots since birth, and who must, without opening his eyes hand her the kernel and take seven steps backwards without stumbling. The King sent Drosselmeyer and the astrologer out to look for the nut and the young man, charging them on pain of death not to return until they had found them.

The two men journeyed for many years without finding either the nut or the man, until finally they returned home and found the nut in a small shop. The man who had never been shaved and never worn boots turned out to be Drosselmeyer's own nephew. The King, once the nut had been found, promised his daughter's hand to whoever could crack the nut. Many men broke their teeth on the nut before Drosselmeyer's nephew finally appeared. He cracked the nut easily and handed it to the princess, who swallowed it and immediately became beautiful again, but Drosselmeyer's nephew, on his seventh backward step, trod on the Queen of the Mice and stumbled, and the curse fell on him, giving him a large head, wide grinning mouth and cottony beard; in short, making him a Nutcracker. The ungrateful Princess, seeing how ugly Drosselmeyer's nephew had become, refused to marry him and banished him from the castle.

Marie, while she recuperates from her wound, hears the King of the Mice whispering to her in the middle of the night, threatening to bite Nutcracker to pieces unless she gives him her sweets and her dolls. For Nutcracker's sake, Marie sacrifices her things, but the Mouse king wants more and more and finally Nutcracker tells Marie that if she will just get him a sword, he will finish the Mouse King. Marie asks Fritz for a sword for Nutcracker, and he gives her the sword of one of his toy hussars. The next night, Nutcracker comes into Marie's room bearing the Mouse King's seven crowns, and takes her away with him to the doll kingdom, where Marie sees many wonderful things. She eventually falls asleep in the Nutcracker's palace and is brought back home. She tries to tell her mother what happened, but again she is not believed, even when she shows her parents the seven crowns, and she is forbidden to speak of her "dreams" anymore.

As Marie sits in front of the toy cabinet one day, looking at Nutcracker and thinking about all the wondrous things that happened, she can't keep silent anymore and swears to the Nutcracker that if he were ever really real she would never behave as Princess Pirlipat behaved, and she would love him whatever he looked like. At this, there is a bang and she falls off the chair. Her mother comes in to tell her that godfather Drosselmeyer has arrived with his young nephew. Drosselmeyer's nephew takes Marie aside and tells her that by swearing that she would love him in spite of his looks, she broke the curse on him and made him handsome again. He asks her to marry him. She accepts, and in a year and a day he comes for her and takes her away to the Doll Kingdom, where she is crowned queen.

The Price

Fan films are usually hit or miss. While they are always made with an incredible amount of passion and dedication by those involved, there are often elements that come up short. And while we don’t know what the final product will look like, an upcoming adaptation of one of Neil Gaiman’s short stories is challenging the assumptions of fan films and shaping up to be a great piece of art.

The Price, from the collection, Creatures of the Night, is a story about a black cat that comes to live on the porch of a family’s country home, the events that surround its arrival and the things that happen at night. It’s a touching and surreal story, lending much to the imagination in its brevity.

Bringing that story to the screen, however, is the goal of Christopher Salmon. And he’s funding it through Kickstarter. In his video we see portions of the animatic he’s created, narrated by Neil Gaiman. We also get to meet Christopher, hear about the genesis of this project and his ideas for the production design. The animatics look wonderful, and the narration, score and sound design begin to paint a compelling picture of how this project would turn out.

If you haven’t heard of Kickstarter, it’s a way for people to fund projects and ideas through donations. These donations, at various levels, usually bring something in return. In this case, you can get DVD’s of the final production all the way to a VIP screening of the film with Neil Gaiman himself.

Chocolate Passion

And here is a few other websites I have found, this time about chocolate! They certainly look yummi!

http://www.hotelchocolat.com/
http://www.lamaisonduchocolat.com
http://www.fortnumandmason.com/

Why send flowers when you can send biscuits instead?

I haven found this website while I was randomly checking out some fashion site and I totally fell in love with it. Therefor I thought I do share it with you guys and girls.

http://www.biscuiteers.com/

For those who would like to make something as artistic as these there is also a book!

Samhain: Season of Death and Renewal

As the nights lengthen and the leaves take on their autumn colours, many of our cities prepare for a seasonal festival dominated by dark and frightening imagery. Ghosts, skeletons, hags, nocturnal creatures such as cats and bats, and grinning monster faces peer out at us from shop windows. Much of it is just commercialism, yet there is no denying that the atmosphere of the holiday still has a profound effect on the modern psyche -- as we can see from the spontaneous outrageousness of Hallowe'en parades, the creative expressions of death-related themes, and the general surge in mischief-making. All these customs, however, are a diffuse reflection of the beliefs and practices of the Celtic populations of Europe, for whom this feast was a crucial turning-point in the flow of time.

The earliest record we have of the festival of Samhain in the Celtic world comes from the Coligny Calendar, a native Celtic lunar calendar inscribed on bronze tablets and discovered in eastern France a hundred years ago. The calendar -- dated, through epigraphic evidence, to the 1st century CE -- is written in the Latin alphabet and was found in conjunction with a Roman-style statue (identified by some writers as Apollo, by others as Mars), but the language used is Gaulish and the dating system itself bears little resemblance to Roman models, implying that it represents the survival of an indigenous tradition maintained by native clergy. A detailed discussion of the calendar lies outside the scope of this article, but for our purposes it will be enough to point out that its year consists of twelve regularly recurring months that fall naturally into two groups, one headed by the month that is labeled SAMON (for Samonios) and the other by the month GIAMON (for Giamonios), and that the names of these two months are clearly related to the terms samos "summer" and giamos "winter" (cf. Gaelic samh(radh) "summer", geamh(radh) "winter"; Welsh haf "summer", gaeaf "winter"). The date of SAMON- xvii is identified as TRINVX SAMO SINDIV, which can be readily interpreted as an abbreviation of Trinouxtion Samonii sindiu ("The three-night-period of Samonios [is] today"). This is one of the very few dates in the calendar that is given a specific name, testifying to its importance as a festival; and since Samoni- is obviously the origin of the modern name Samhain, it is reasonable to equate the Trinouxtion Samonii with the feast that is still one of the most important dates in the Celtic ritual year.

We should note, however, that since the Coligny Calendar gives no indication of how its months relate to those of the Roman calendar, we have no conclusive evidence that would allow us to fit it into the framework of our own year, and scholars are still very much divided on the issue. The most confusing element, of course, is that Samon- refers to summer, and so would naturally lead one to think that a month with that name would head the summer half of the year; and many of the earlier interpretations of the Coligny Calendar take this for granted. In living Celtic tradition, however, the festival of Samhain, despite its name, is definitely the beginning of winter. Though such evidence doesn't necessarily exclude the possibility that Continental Druids used a completely different terminology, many scholars now accept the authority of the living tradition and place the Samonios month in October/November.

What does the name of the festival mean, however? Here, again,we run into controversy. The traditional interpretation -- first put forward in the Mediaeval glossaries and still held to by native speakers -- is that it means "summer's end", being a combination of samh "summer" and fuin "ending, concealment". This is obviously a folk etymology, since we know that the earliest form of the word (Samoni-) had a different structure, but its importance to the living tradition should make us wary of dismissing it too lightly. Although philologists have been unable to find a plausible Indo-European explanation for a suffix -oni- meaning "end of" (the suffix, by the way, occurs in at least three of the other Coligny months), this is not conclusive in itself: there are quite a few other derivational suffixes attested in Old Celtic that resist an easy Indo-European etymology, although their meanings are uncontroversial. What should be kept in mind is that in the ritual context of the Celtic Year, Samhain is strongly identified with the "end" or "concealment" of Summer, the Light Half of the year. In the modern Gaelic languages the festival is called Samhain (Irish), Samhuinn (Scots Gaelic), and Sauin (Manx). The night on which it begins (Oíche Shamhna in Irish, Oidhche Shamhna in Scots Gaelic, Oie Houney in Manx) is the primary focus of the celebration. The Brythonic languages call the feast by a name meaning "first of Winter", borrowing the Latin term calenda which designates the first day of a month (Welsh Calan Gaeaf, Breton Kala-Goañv, Cornish Kalann Gwav), but the beliefs and practices associated with it are consistent with what we find in the Gaelic countries, and will help us discover a pan-Celtic theology of Samhain.

The Coligny Calendar's division of the year into two halves associated with summer and winter is still very strongly reflected in Celtic folk practice, where the yearly cycle consists of a dark half beginning on Samhain (November 1st), mirrored by a light half beginning on Bealtaine (May 1st). The rituals surrounding Samhain and Bealtaine are closely related to each other and make it clear that the two festivals are linked, but also that they deal with opposite energies within the unfolding of the year. What is explicit and active in one is implicit and dormant in the other, and vice versa. This is often expressed as the notion that what disappears in our world at once becomes present in the Otherworld, and it has even been suggested, on this basis, that Samhain's "summery" name was originally intended to designate the beginning of an Otherworld summer! Whether this is plausible or not, it remains certain that while Samhain began one kind of yearly cycle, Bealtaine began another, and both could be construed as a kind of "New Year". In ancient Ireland the High King inaugurated the year on Samhain for his household (and, symbolically, for all the people of Ireland) with the famous ritual of Tara, but in nearby Uisneach, the sacred centre held by the druids in complementary opposition to Tara, it was on Bealtaine that the main ritual cycle was begun. In both cases sacred fires were extinguished and re-lit, though this happened at sunset on Samhain and at dawn on Bealtaine. Bealtaine was a time of opening and expansion, Samhain a time of gathering-in and shutting, and for herd-owners like the Celts this was expressed with particular vividness by the release of cattle into upland pastures on Bealtaine and their return to the safety of the byres on Samhain.

Which of these two dates, then, should we think of primarily as the "Celtic New Year"? Although both deal with the beginning of a cycle, Samhain begins it in darkness, and there is no doubt about the pre-eminence of darkness in Celtic tradition. In De Bello Gallico Julius Caesar notes that the Celts began their daily cycle with sunset (spatia omnis temporis non numero dierum, sed noctium finiunt; dies natales et mensum et annorum initia sic obseruant, ut noctem dies subsequatur -- "they define all amounts of time not by the number of days, but by the number of nights; they celebrate birthdays and the beginnings of months and years in such a way that the day is made to follow the night"), and this is confirmed by later Celtic practice. Darkness comes before light, because life appears in the darkness of the womb, all things have their beginning in the fertile chaos that is hidden from the rational mind. Thus the year begins with its dark half, holding the bright half in gestation as the seeds lie in apparent death underground, although the forces of growth are already at work in Otherworldly invisibility. The moment of death -- the passing into the concealing darkness -- is itself the first step in the renewal of life.

This association of death with fertility provided the theological background for a great number of end-of-harvest festivals celebrated by many cultures across Eurasia. Like Samhain, these festivals (which, for example, included the rituals of the Dyedy ("Ancestors") in the Slavic countries and the Vetrarkvöld festival in Scandinavia) linked the successful resumption of the agricultural cycle (after a period of apparent winter "death") to the propitiation of the human community's dead. The dead have passed away from the social concerns of this world to the primordial chaos of the Otherworld where all fertility has its roots, but they are still bound to the living by ties of kinship. It was hoped that, by strengthening these ties precisely when the natural cycle seemed to be passing through its own moment of death, the community of the living would be better able to profit from the energies of increase that lead out of death back to life. Dead kin were the Tribe's allies in the Otherworld, making it certain that the creative forces deep within the Land were being directed to serve the needs of the human community. They were, in Celtic terms, a "humanising" factor within the Fomorian realm.

Whatever the specific elements had been that determined the proper date of the end-of-harvest honouring of the dead in various places, by the ninth and tenth centuries the unifying influence of the Church had led to concentrating the rituals on November 1st and November 2nd. The first date was All Hallows, when the most spiritually powerful of the Christian community's dead (the Saints) were invoked to strengthen the living community, in a way quite consistent with pre-Christian thought. The second date, All Souls, was added on (first as a Benedictine practice, beginning ca. 988) as an extension of this concept, enlarging it to include the dead of families and local communities. Under the mantle of the specifically Christian observances, however, older patterns of ancestor veneration were preserved.

Most traditional Celtic communities maintain a year-round link of some sort with their departed, making them a part of all significant occurrences in the family, such as births, weddings and funerals. In areas of the Irish Gaeltacht it is still not unusual for a household to have a seomra thiar ("western room"), a section of the house (often just a nook or alcove) dedicated to the dead of the family. Objects that bring individual dead relatives to mind (old photographs, pipes, jewelry, etc) are placed on a shelf or mantlepiece, and as one contemplates them one faces the setting sun and the vastness of the Atlantic, the direction the dead follow in their journey to the Otherworld. The rituals of Samhain, however, involved a more intense bonding with the dead, using the institution which, in Celtic tradition, was used to cement social links in a sacred and durable manner: the communal feast. Sharing food in a solemn context ("in the sight of gods and mortals") placed common and mutual responsibilities on all participants. Inviting the dead to such a feast encouraged the living to remember and honour their ancestors, while the dead in return were encouraged to have an interest in the welfare of their living kin.

On Samhain, the moment of the year's death, this world and the Otherworld become equivalent to each other, classificatory boundaries are removed from all categories, no barriers exist between the dead and the living, so both can authentically come together in one place to share a ritual feast. Individual Celtic communities have preserved a wealth of different customs related to the way this feast was actually celebrated: one can still discern some distorted elements of them in modern urban practices, such as Hallowe'en parties and trick-or-treating. Most of the customs, however, fall into two broad patterns. According to the first, a certain amount of food was set aside for the exclusive consumption of the dead. The dead were believed to be present as invisible entities; doors and windows were left unlocked to facilitate their coming into the house. In some cases, a specific type of food (usually cakes of some kind) was made solely for the dead; in others, a portion of the same food that the living would eat was set aside for them. The most classic example of this pattern (which is also found in Ireland and Scotland) is the boued an Anaon ("food of the hosts of the dead") custom in Brittany. The Anaon (the word appears to be the same as Annwn, the Welsh Otherworld; it is certainly a pre-Christian term) are the massed hosts of ancestral spirits, usually portrayed as hungry for sustenance from the world of the living. A large amount of food was set aside for their sole use, and had to remain untouched by any living hand for the full duration of the ritual period. Eating the food of the dead (even if one was desperately hungry) was considered to be a dreadful sacrilege: it condemned one to becoming a hungry ghost after death, barred from sharing the Samhain feast along with the rest of the Anaon. It was, in effect, a particularly horrible form of excommunication.

The other pattern of Samhain custom, on the contrary, encourages the recycling of the offered food into the community, thus strengthening social bonds. The most classic example of this second pattern is the Welsh cennad y meirw ("embassy of the dead") custom, although similar customs are found elsewhere in the Celtic and ex-Celtic world. Here, while the wealthier members of the community put together lavish Samhain feasts for their households, the poor take on the collective identity of the community's dead, and go from door to door to receive offerings in the name of the ancestors. At each house they are given a portion of the food that has been set aside for the dead. Originally the cenhadon would have been masked to abolish their mundane social roles and allow them to represent the dead more convincingly. To refuse food to the cenhadon for any reason at all was an act of impiety and would invite retaliation in the form of destruction of property -- retaliation that would go unpunished because of the holy nature of the ritual period. We can here see one of the origins of the "trick" aspect of our modern Hallowe'en customs, although nowadays it has largely lost its moral dimension.

A communal feast, of course, involves more than just food. The dead would not only have to be fed, they would have to be entertained. Games and pastimes associated with Samhain feasting vary a great deal from community to community, but they have certain themes in common. While the younger people engage in the ritualised games, the elders will be gossiping, reviewing all the notable events of the past year for the benefit of the dead, who will then be encouraged to continue to take an interest in the affairs of the living. The games themselves, in many cases, seem to have specific links with the mythology of death and the afterlife. Many of them involve apples -- in part, of course, because they are one of the last crops to be brought in and are thus easily available, but also as a reflection of the role apples play in beliefs about death: in Irish tradition the Otherworld place where the dead gather at a feast is called Eamhain Abhlach ("paradise of apples"), and its Welsh equivalent is Afallon. Some of the Scottish games in this context make use of parallel ordeals by water and fire, the two main elements out of which the world is made. The water ordeal is the familiar bobbing for apples, while the fire ordeal involves trying to take a bite out of an apple attached to a hanging stick which also bears a lit candle. This seems to be a reference to myths about the ordeals faced by the dead on their journey to the Otherworld -- a body of beliefs we unfortunately know only through fragments, although the basic concept of the journey and the ordeals is well established. Sharing the experiences of the dead was yet another way of affirming the solidarity between the dead and the living, and of aligning the powers of renewal in the Otherworld with this world's needs.

While the dead were brought closer to the living by the formal sharing of food, other offerings had to be made to the Land-spirits to reward them for their cooperation during the Harvest period, and to replenish their creative energy as they prepared to enter into a new cycle. With Samhain, the period of "truce" that had begun on Lúnasa was officially ended, and the fruits of the soil (especially wild crops) could no longer be harvested with impunity. Well within living memory, children in Celtic communities were warned not to eat the late berries that might still be ripening on roadside bushes, because "the fairies" or "the devil" had made them dangerous to consume. Having enabled the human community to survive by making the crops grow and by standing aside to let the Harvest take place, the powers of the Fomorian realm were now entitled to a gift of life-renewing blood; and Samhain was the season when the cattle that would not be kept through the winter were slaughtered. In historical times the date of the slaughter has specifically been Martinmas (November 11), certainly in part because the name of the saint suggested the Gaelic word mart ("cattle marked for slaughter"). As late as the 1830's, when Amhlaoibh Ó Súilleabháin discussed some of these customs in his famous diary, the occasion was understood as a ritual "shedding of blood", and other sources show that during the same period blood sacrifices could even still be held indoors, to protect a house from malignant "fairy" influences by sprinkling an offering of blood at each corner.

Renewing social links with the dead and feeding the Land-spirits were both ritual means of ensuring a safe future. While Samhain (and the phenomenon of death which it celebrated) was obviously the end of a cycle, it was more importantly the start of a new one. Because all true novelty springs from the chaotic freedom and vitality of the Otherworld, a new cycle could be inaugurated only by dissolving all of the structures of the old one -- just as the moment of death dissolves our identity in this world, allowing the fresh energies of the Otherworld to impel us towards new life. This meant that, as happens in the feasts of renewal of many different cultures, certain types of social disorder were actively encouraged during the period of the festival, because they promoted the renewing influence of the Otherworld at the point in the yearly cycle where it would be most beneficial. Customs originating entirely in the world of cultural values -- such as those relating to social rank or gender-appropriate behaviour -- were the most likely to be violated. Disrespect could be shown to elders or to members of the upper classes. Cross-dressing was one of the most widespread and popular ways of expressing the dissolution of social categories, and in parts of Wales groups of young men in female garb were referred to as gwrachod ("hags" or "witches") as they wandered through the countryside on Calan Gaeaf, indulging in all kinds of mischief.

But the disorder, of course, was only the prelude to the return of order in a strengthened form. The structures that had been dissolved had to be re-created in order to channel the new energy from the Otherworld in the desired directions. While local communities would have had their own diverse methods of accomplishing this ritually (often through the extinguishing and re-kindling of household fires), more elaborate ceremonies were conducted by religious specialists at the sacred centres of a territory, in the name of the entire population. In pre-Christian Ireland the ritual of Tara, focusing on the High King in his role as linchpin of the social order, was the means for re-creating the world on Samhain. The Middle Irish text entitled Suidigud Tellaig Temra (The Settling of the Household of Tara) describes the essentials of the ritual and relates some of the mythology that explains its symbolism (albeit with a somewhat Christianised background), while Geoffrey Keating, the seventeenth-century encyclopaedist of traditional Irish lore, provides us with additional explanations of some of the elements. Since the Land itself, as a ritual entity, was conceived of as a square, so was Tara, for the purposes of this ceremony, seen as a four-sided space. Each of the directions was associated with one of the three functional classes of society (and with the divinity who was seen as the ruler of that function), the South being devoted specifically to the power of the Land and to the goddess who gave energy to the exercise of the social functions. The High King occupied the centre of the ritual area, while around him, strictly ordered by social rank, were representatives of the four provinces. Thus, when the New Year actually dawned, the magical heart of Ireland would contain a model of the entire social order of the country in miniature, engaged in the solemn feasting whereby all social links were strengthened, and all parts of the country would then benefit from the influence of this ritual. The actual inception of the new cycle was signaled by the lighting of a fire, not at Tara but at Tlachtga, which symbolically represented the southern province of Munster within the High King's central realm. This was the place where Tlachtga, the daughter of the mythological Druid Mug Ruith, died after being raped by the "sons of Simon Magus" (who wanted to gain the knowledge and talents she had inherited from her father) and after giving birth to three sons from three different fathers. This myth is obviously garbled in its modern version, yet one can still discern in it the figure of the Land-goddess and her three "functional" consorts. The association of the festival with the pre-eminently "female" southern quarter may explain why in some Welsh and Scottish communities it is specified by custom that Samhain ritual (preparation of the ceremonial food, etc.) must be overseen by nine women (in contrast to the nine men who preside over Bealtaine).

What of the role of the gods in this crucial turning-point of the ritual year? Since virtually all our knowledge of detailed ritual practices among the Celts comes from Christianised communities, references to divinities who were actually worshipped are, as one would expect, rare and indirect. However, some of the stories preserved in both folklore and mediaeval literature seem relevant to the theology of this feast. Images such as that of the hero Diarmait killed by a boar after his romance with Fionn Mac Cumhail's wife Gráinne; or that of wild Myrddin emerging from the forest with a herd of stags to kill his wife's lover by piercing him with a pair of antlers; or that of Gwyn ap Nudd ("White son of Mistmaker") fighting with Gwythyr ap Greidawl ("Wrathful son of Hot") every Calan Mai (Bealtaine) "until the day of Judgment" for the hand of their common love, Creiddylad; and the notion of the Fianna living off the wilderness from Bealtaine to Samhain and indoors from Samhain to Bealtaine all suggest a myth of certain divinities changing their status in relation to the Land-goddess in response to the change of seasons along the Samhain-Bealtaine axis. The common denominator of these motifs seems to be the figure of the antlered god now conventionally referred to as "Cernunnos", whose mythology has definite links to the stories of the Fianna and whose attributes symbolise seasonal change as well as the interface between nature and culture. Antlers are a seasonal phenomenon: they drop off in winter and begin to reappear as velvet at winter's end, returning to full glory in the spring. In Scots Gaelic terminology, the month immediately preceding Samhain is called an Damhar (damh-ghar, "stag-rut"), because it is when stags clash with each other during the mating season, shortly before losing their antlers, as the antlered god must undoubtedly lose his (which is why some "Cernunnos" statues -- like the one from St. Germain -- apparently had holes for removable antlers). Our sense of the seasonal importance of this event in Celtic ritual symbolism is reinforced by the custom in southwestern Brittany of baking appropriately shaped cakes called kornigoù ("little horns") to celebrate the coming of winter. From the many versions of the myth one can deduce that the antlered god is separated from his goddess-consort (who takes another lover) during the light half of the year, when he must live as a renunciate in the wilderness and wear his horns; but that with the coming of the dark season his rival is eliminated and he can return to his consort's embrace in the Otherworld -- abandoning, by the same token, the "horns" of his cuckoldry. It is unlikely to be a coincidence that the bonnag Samhna -- the Samhain cake prepared specifically for the ritual-- made by the women who preside over the Samhain feast in parts of Gaelic Scotland is named after a cuckold in the community. And we find echoes of the same motif (as we often do) at the other end of the Indo-European world, in the ritual calendar of India, where on Divali (Dipâvali), the Feast of Lights, which is usually celebrated very close to Samhain, Lakshmi, the goddess of abundance and well-being, leaves her usual consort Vishnu (who falls asleep at this time) to return temporarily to her first husband, Kubera, the fat god of material riches.

The Land-goddess, too, changes her appearance at this time: the fertile part of her retreats to the Otherworld where she can join with her consort in beginning the creative work of the new yearly cycle (in their summer, which is our winter, as it were), but in our world only her "Fomorian" aspect remains, making the land barren and hostile to human comfort. In the Scottish Highlands this is the season of the Cailleach Bheura, the monstrous hag who wanders in the hills bringing bad weather, while in Wales we hear of the Hwch Ddu Gwta ("tailless black sow") who lurks menacingly in the darkness. Yet these are all aspects of the same being, the multiform Provider on whom we all depend, who must, like all things, replenish herself through alternating periods of action and repose, and who touches -- as we all must -- darkness and death to find the source of true renewal.

SELECTED BIBLIOGRAPHY
Céitinn, Seathrún (Geoffrey Keating), (ed. by Padraig de Brún) Foras Feasa ar Éirinn. Dublin, 1982.
Danaher, Kevin, The Year in Ireland. Cork, 1972.
MacNeill, Eoin, On the Notation and Chronology of the Calendar of Coligny, Ériu 10 (1926).
McNeill, F. Marian, The Silver Branch. Glasgow, 1953-66.
Owen, Trefor M., Welsh Folk Customs. Cardiff, 1959.
Rees, Alwyn & Brinley, Celtic Heritage: Ancient Tradition in Ireland and Wales. New York. 1961.
Sébillot, P. Y., Le Folklore de la Bretagne. Paris, 1968.
Suidigud Tellaig Temra (R.I. Best, ed. and trans.), Ériu 4 (1910).


by Alexei Kondratiev
Copyright © 1997 Alexei Kondratiev
All Rights Reserved

Semi di Zucca Tostati

I semi di zucca tostati sono una delle ricette tipiche della festa di Halloween, ottimi come spuntino per le feste dei bambini a Halloween e perfetti per accompagnare drinks e bevande. I semi di zucca tostati hanno un sapore simile alle nocciole e contengono molte proteine e fibre. I semi di zucca tostati sono deliziosi e salati, ma sono ancora meglio insaporiti con spezie dolci e salate

Come Arrostire i semi di zucca

1. Sciacquare i semi di zucca sotto l'acqua fredda e pulirli dalla polpa e dai residui della zucca. Questa operazione è più facile se avete rimosso i semi dalla zucca, prima che la polpa si asciughi.
2. Posizionare il semi di zucca in un unico strato su un foglio di carta da forno, mescolando con una paletta. Se si preferisce, omettere il petrolio e il cappotto con i non-bastone cucina spray.
3. Cospargere di sale e cuocere a 160 gradi fino alla tostatura, per circa 25 minuti, mescolando e controllando ogni 10 minuti.
4. Lasciate raffreddare

Potete servire i semi di zucca tostati in un contenitore o utuilizzare la stessa zucca che avet svuotato per dare un tocco decorativo a questa deliziosa ricetta di Halloween

Biscotti alla zucca

Ingredienti per i biscotti di zucca (dosi per 4 persone)

• 250 g di polpa di zucca
• 1 bicchierino di liquore all’arancia
• 175g di zucchero
• 530 g di farina
• colorante alimentare arancione
• 170 g di burro
• 1 uovo
• scorza grattugiata di un limone
• 70 gr di cioccolato al latte

Preparazione

Pulite la zucca e ricavate 250 gr di polpa, cuocetela al vapore senza aggiungere niente. Quando sarà morbida mettetela in un pentolino con 50 gr di zucchero e il liquore, schiacchiatela con la forchetta e fatela cuocere per 5/8 minuti.

Impastate la farina con lo zucchero rimasto, il burro ammorbidito, la scorza di limone, l’uovo e la polpa di zucca, mescolate bene il tutto e poi lavorate con le mani fino ad avere un composto omogeneo, a questo punto aggiungete qualche goccia di colorante arancione, distribuitelo su tutta la pasta e poi formate una palla, avvolgetela con la pellicola e fate riposare in frigorifero per un’oretta.

Stendete la pasta con il mattarello e con l’apposito taglia biscotti formate delle zucche. Disponetele sulla placca del forno coperta dalla carta da forno ben imburrata, mettete i biscotti distanziati l’uno dall’altro e fateli cuocere in forno preriscaldato a 180°C per circa 20 minuti. Nel frattempo sciogliete il cioccolato a bagnomaria, quando i biscotti saranno pronti, fateli raffreddare sulla gratella e poi passate alla decorazione.

Mettete il cioccolato fuso in un cono di carta da forno, spingete il cioccolato all’estremità e poi fate un taglietto con la forbice, usate questo cono come se fosse una siringa da pasticcere, e disegnate gli occhi e la bocca alle zucche. Fate solidificare di nuovo il cioccolato e poi servite questi deliziosi biscottini!

Pan dei morti

Ingredienti per circa 16 pezzi

• Amaretti
  100 gr
• Biscotti secchi
  100 gr
• Cacao in polvere
  50 g
• Cannella
  in polvere 1 cucchiaino

• Farina
  250 g
• Fichi
  secchi 120 gr
• Lievito chimico in polvere
  10 g
• Mandorle
  (pinoli o nocciole) 120 g

• Noce moscata
  una spolverata
• Uova
  6 albumi
• Uvetta
  120 g

• Vino
  santo (o altro vino liquoroso) 100 ml
• Zucchero
  300 g
• Savoiardi
  300 gr

Il pan dei morti è una ricetta antichissima, originaria del milanese ma diffusa in varie zone dell’Italia del Nord, tipica del periodo della ricorrenza dei defunti; questo dolce, infatti, veniva preparato e mangiato per rendere omaggio alle persone care scomparse. In realtà questo rito dell'offerta era già presente in tempi molto antichi: i Greci, ad esempio, offrivano questo dolce a Demetra, la Dea delle messi, per assicurarsi un buon raccolto. Ancora oggi, in molte zone d'Italia, è una cosa comune mettere a tavola e servire, anche per le persone defunte, il pan dei morti. Soprattutto in Toscana, le ricorrenze dei morti e dei santi sono molto sentite e per questo motivo la produzione di questo dolce è molto intensa e di grande tradizione, tanto che si può affermare che il pan dei morti, sia diventato anche un dolce tipico toscano. In ogni caso, al giorno d'oggi, forse per il suo nome un po’ lugubre, è uno dei dolci legati alla festa di Halloween, la notte delle streghe. Quindi, che vogliate prepararlo per la vostra festa di Halloween o per celebrare i defunti, eccovi la ricetta del pan dei morti.