Parvalux Sd 21 Motor Wiring

vial of serum No. 136

The Last Supper 136.

I'm sitting at a table. The table is so long that I can not see nor hear the person sitting at the other end of the table. I immediately thought, for some reason, that the goal is to eat and still believe that sooner or later comes the first dish. I do not know who my diner on the other end of the table, or rather not I invited the diner. I could not determine why I can not remember which house they are. Strictly I could not even say it's a lunch. Could be an interview. It seems certain that there must be someone at the end of the table. But is it really safe? Who can guarantee it? And if there is none? A bizarre idea for a moment I seduces: it is a last supper? And if it was just my mood this predisposition certainty of being with someone? This may be a party to a hearing. Maybe they are inside a prison? Yes but why should I not see with whom I speak? Perhaps the nature of the person with whom I speak is too superior to mine? And I is not given to see it? To contemplate? Possible can be a conversation with my guardian angel? With my judge? Or with St. Peter at the gates of heaven? It may be that even God himself? This last conclusion seems very unlikely and narcissistic, because God himself should speak to me? With me being a meaningless without faith and full of sins, defects! And who says that God exists? It could be Satan? Or a distant emissary? But perhaps even Satan does not exist. Yes, good and evil, all right, but because they think of Good or Evil? It could be that my partner is not part of human culture, or even being part may be that for him the terms good and evil are completely meaningless. The categories may be just and ingiusto, oppure bello e brutto, o alto e basso, o maschio e femmina, o pari e dispari, o buio e luminoso, o sostanza e accidente, o necessario e contingente, assoluto e relativo, o uno e due, finito e infinito, o qualsiasi altra cosa non pensabile dalla mente umana. Un extraterrestre? Potrebbe anche trattarsi di una cosa sola, di un’entità che non ha distinzione perché tutto ingloba. O con la distinzione ma dentro una unità. Può darsi infatti che tutti gli universi facciano parte di un solo organismo. Tornando alla stanza e al tavolo, non riesco nemmeno a stabilire se siamo di giorno o di notte, di mattina o di pomeriggio. Infatti sul lungo tavolo di legno c’è una luce diffusa un po’ cerulea, tenue; tale da can be either a light of dawn, is a twilight, and a moonlight or light consumptive one of those gray winter days. Even a blue neon light of a mortuary. And, conversely, it could even be a light summer's dog days, except that the table may not be close to an opening directly outside. Yes, yes, I see a large window with glass, but who tells me that it does not turn into another room with another window? I can not see out of here and a diaphanous shadow covers me in all directions. However if it is with someone - which is not that part of my suggestion -: What should this tell me qualcuno? O cosa dovrei dire io a lui? Chi ha convocato chi e per dire cosa? Meglio stare zitto e aspettare gli eventi. Ma fino a che punto mi conviene questa tattica? Magari sarebbe più semplice alzarmi e andarmene. E se davvero al capo del tavolo ci fosse Dio io che faccio mi alzo e me ne vado voltando le spalle a Dio? Ma poi andare dove? Non può essere invece proprio che tutto il mio cammino sia stato volto a questo tavolo, a questo incontro? Che tutta la mia esistenza e perfino tutto il karma delle mie esistenze presenti passate e future non preveda questo? E se mi alzo non lo torni a prevedere magari fra centinaia e centinaia di esistenze? Infatti ho una sensazione fortissima di déjà vu. Ecco, rifletto, il perché del mio dèjà vu: if I get up I'm sure I'll be back sooner or later - and perhaps not the first time that I live - to live this moment exactly how at this moment. I rather suspect that you can not physically get up. Better not try. I still have to assess carefully before you get up or stay, I would not make a choice inconclusive. But then why go on? I do not remember why I came here and after all this could be my home. I do not remember if I came here or if I've been here, without all eternity. I do not know where to go and if I came here to say that this place should reveal something. It 's a very old wooden table, full of scratches and worn with some holes confirming the presence of termites. And 'obviously an old table and this table have supported many hands, elbows, ate, drank. I turn around, all over the house hovers like a mist, and I see no other furniture except for a long pendulum wall clock whose face seems to emerge from the fog of a railway station. It 'an ancient clock. The pendulum continues to swing slow and solemn, but one of the big hands is uprooted and fallen behind curved glass screen, and apparently has never been adjusted. It 's the hour hand and it is impossible to determine the time. The large glass windows are now clouded and streaked with rain. Tinkle. It would seem therefore to conclude that take a bow out and that it's raining outside, but I would not be able to establish with certainty that either. In fact I said that in the room hangs a mist from my place and I can not determine whether the drops are inside or outside the glass. In any case I consider inappropriate at this time to get up to go and check. The clinking of glasses could also be given even by some sound vibration inside. The large window could give to another large room or in a cloister. Although it is very remote that someone builds a large window that gives just in another room, yet it is not excluded altogether. It could also be that the house will be expanded later to other accretions and other rooms and that the large window has been left where it was. Everything is important to consider and nothing ruled out. The presence of fog in the great room could be due to moisture, to temperature changes, steaming some kitchen is not far away. So just to be in this house, sitting on a long table in a room shrouded in mist. I think with a shudder at the possibility that I am actually dead and that I am here as a territory in the middle waiting for my destination in the afterlife. It may be that my destination of the afterlife really is just this, that is to sit at this table for eternity and continue to think about infinity. Maybe I should essere io il primo a profferire parola? Magari per vedere se c’è qualcuno nell’altro capo del tavolo. Veramente un eventuale silenzio di risposta non dimostrerebbe che non ci sia nessuno ma solo che se anche c’è qualcuno questo qualcuno non mi risponde. Magari ritenendo inopportuna la mia impazienza e la mia insolenza. Mi conviene cercare di resistere quanto più possibile ed aspettare in silenzio. Una sentenza del tao dice: “Chi sa non parla, chi parla non sa”. Così resto in silenzio, anche se il mio silenzio non significa che io sappia qualcosa, perché, come ho detto, non so assolutamente nulla. Nondimeno aspetto e valuto. Certo ogni soluzione è rischiosa e anche non parlare e non fare nulla, benché is the least risky. In fact it may be that those on the other side - provided there is - a word from me is sitting issues and the fact remains that I can damage my inane situation. It may be that I have a serious fault and that's about me going to a conviction or acquittal. So I have to defend myself or I could be ordered immediately with the aggravating circumstance of sloth or dell'ignavia for my silence. But to defend myself from what? It is not equivalent to defend myself to admit to being accused of a crime? The defense, however, having no evidence of any kind, is the right thing to do, and the best defense involves not make the first move. Yes, I just defend myself: wait and respond with counter-moves. In fact, without knowing the opponent's attack, strength, amount to a reckless move that could only lead to a more likely defeat. I begin to inspect the table. Its surface is antiquated, as I said, full of scratches. I see that there are some signs that seem to parallel bars, as when in prison is hard to navigate mark the day by digging furrows in the wall with a bit dark. So I think that others before me have passed from this table. And they waited - as I do not speak or stand up - days and even months. In fact, there are many bars, provided that their meaning is this. Maybe they are just stray marks instead of a table randomly marked by time. Of what crime you can accuse me? Of course living I made so many mistakes. But the mistakes are sins? And even if they blame the fault can be avoided? Who decides guilt? Errors made them ourselves, and ourselves the guilt on the basis of our opinion? Or do I think that there is a higher court and objective? A supreme court? Living've made serious mistakes, I was cowardly, hypocritical, relapsed, unfaithful, barely human, a little generous, selfish, gossip. I also know and judge me based on my own values. Sure maybe I combined some good things, I think I was sensitive, thoughtful, deep, but I almost never put into practice my beliefs and my intuition. As a strong tree that however, has not been good. Maybe my opinion is too hard, but who has lived a normal life like all others with its ups and its downs. It may be that the best fruit of this tree of life are precisely the doubts and contradictions. But then I speak to the past as if I had died and I had to really be accountable to someone in the balance of my life? Part of me thinks that every day I should imagine that at this point, every day of my life, and thus to act with due firmness. Now I do not know what to do. Every day when I thought I would change my life and be more profound and authentic postponed forever. Now I realize I have already delayed until there was nothing more to do, having wasted my life in the everyday life of no choices. And I find myself as always groped to drive even the evidence of this. I hope in fact that I can still wake up and discover that he had a nightmare. I do pinch very strong inside the left thigh under the table. I do not wake. I can not resist cold and less to keep me not to talk and not get up. However I'm not pinching spirit otherwise I would not hurt. I still have a body? Or after death remains the ability to relate to a body and feel pain or pleasure as if the body was still there? I have heard of disabled veterans who still feel that pain in the longer. But what is the difference between dead and alive? And between waking and dreaming? I wonder then if the trial and the guilty must necessarily relate to good and evil done in life. And if there was any bias at all? And if we were tuned to good and evil only in our own way of thinking desired by the dominant power to regiment the conscience? However, I always head back to the table as associated with food. And - as I said before - if she really was the last supper table? And I was Judas himself back at the table to settle with the question of whether Jesus Christ was from eternity destined to betray him? If I could have chosen? If in fact I was not a chosen one destined to be sacrificed for the most thankless task, arduous and noble as the betrayal of Christ? I wonder if you can choose to sin or if you are predestined to sin, if Judas was predestined before birth or was chosen for his merits in the great task of betraying. But then if there is eternity, the eternal truth that does not mean that the larger mission of truth is to betray the truth? Whether that is undermining this dictatorial immobility called eternity? Satan, then, was a seeker of truth? Betrayal also does not verify that there is just one truth? If you do not betray the truth as can be determined? Can be no truth without the necessity of falsehood? You can arrive at the truth, to his knowledge, without passing by the knowledge of falsity? How could it stand? As the truth could be the end if we were not in falsehood? So it could still be the Last Supper between Christ and me? Between me and God? After all, we sit at a dining table? But maybe this is a dinner date and maybe all these problems are just anxious torments without the sense of a hypochondriac. Maybe now materializes a woman in silky veils that performs in a sexy belly dance, who knows. I enjoy this atmosphere and this fog suspended. Possibly a thunderstorm rages outside. Every now and then the windows will illuminate bluish glow. Drops falling from high ceiling of the room and create a sort of amplification as polyphonic inside a cave. There is no cold, indeed, it seems that a certain warmth radiate from somewhere. It is not unlikely that a fireplace is hosting a fire. The clock continues to be broken and foggy and I wait, wait without getting tired. Gone are the days and nights. I can not understand how much we're sitting at the table to wait. Maybe a minute, maybe a year, maybe a lifetime, perhaps forever. It 'possible that those who had to come has come and is gone without my having seen. It 's true I did not hear any sound relevant, but this does not prove anything. The table is so long that I can not infer how long the room and at a distance certainly does not feel any footsteps. And if I were underground? Inside the coffin? And if the wood is the inner cover of the coffin and the rest is just imagining it? But that gloomy thoughts! I prefer to think more. Now I'm going to wipe all the kisses I gave in my life. But I have to consider the situation less advantageous to me, so you do not find me unprepared for having to deal with. But here I feel at last the sound of footsteps. A shadow looms behind the glass and goes to an opening in front of me. Here I hear a distant door creak on its hinges. The steps are now locked in the room. You stand there with a sound much more pronounced. Shadow shapeless silhouette is defined by a blank face, which stops right in front of me I stand staring at me. I realize that I have the same shape.

Drivers Licenserenwal Columbus Ohio

The Cure - Burn

Burn

"Don't look don't look" the shadows breathe 

Whispering me away from you 

"Don't wake at night to watch her sleep 

You know that you will always lose 

This trembling adored 

Tousled bird mad girl... " 

But every night I burn 

Every night I call your name 

Every night I burn 

Every night I fall again 

"Oh don't talk of love" the shadows purr 

Murmuring me away from you 

"Don't talk of worlds that never were 

The end is all that's ever true 

There's nothing you can ever say 

Nothing you can ever do... " 

Still every night I burn 

Every night I scream your name 

Every night I burn 

Every night the dream's the same 

Every night I burn 

Waiting for my only friend 

Every night I burn 

Waiting for the world to end 

"Just paint your face" the shadows smile 

Slipping me away from you 

"Oh it doesn't matter how you hide 

Find you if we're wanting to 

So slide back down and close your eyes 

Sleep a while you must be tired... " 

But every night I burn 

Every night I call your name 

Every night I burn 

Every night I fall again 

Every night I burn 

Scream the animal scream 

Every night I burn 

Dream the crow black dream 

Every night I burn 

Scream the animal scream 

Every night I burn 

Dream the crow black dream 

Dreaming the crow black dream...

Dreaming the crow black dream...

Dreaming the crow black dream...

Dreaming the crow black dream...

Written by Robert Smith, Simon Gallup, Boris Williams, Perry Bamonte

Performed by The Cure

Courtesy of Fiction Records Ltd. and Elektra Entertainment. (1993)

The Crow Soundtrack, 1993

Ci sono tanti tipi di opere, di composizioni, di poesie, di canzoni, di parole, ma ognuna di queste cose si può distinguere dalle altre only for one reason only: the ability to transcend itself and to convey a flow of emotions that power to stun, confuse, disrupt, destroy, bring joy, to annihilate.

This is a story that has its roots in the goth of the eighties, that glorious period in which the word "vanguard" was still reason for being in the world of music artists such as Joy Division, Bauhaus, Dead Can Dance, and The care, were able to evoke the sacred fire of poetry in their works, transforming the way of making music around the world, and creating a new "wave" that will bring some disruption in every field of art.

During that decade, and dark magic, between 1981 and 1989, James O'Barr create and complete his magnum opus: the Raven.

flowing strongly in its pages, the air of those years is transformed into visual poetry, the highest art possible, result of merger between the media and viewpoints, including different ways of poetry, including ways to give rise to different emotions .

Eric, the Crow, is a piece of folly which carries with it the dark shadow of a thousand desperate people, a thousand stories black curse of a thousand poets. He is a lullaby sung by Ian Curtis, a desperate cry of Robert Smith, and the fury black abyss, the dark bottomless pit from which arises all of wearing melancholy and sadness.

So, this comic reaches the Nineties, and becomes film, pulling other stories dark, other deaths, other new chapters to be written to the abyss.

Robert Smith, led by the curious voice that could see him as a visual reference model used by James O'Barr to give birth to Eric - a rumor denied several times by the same O'Barr - decides to participate in the soundtrack of the film, writing a piece, unpublished.

That piece is called "Burn."

With a growing distressing but glorious, flash those few frames that make a memorable film, giving the history of film one of his greatest moments of inspiration and visual beauty and hard of hearing, beyond the true artistic value of the film, not up to the immense story told by O'Barr on the pages of his comic. Eric, just emerged from the world of darkness, returns to his apartment where his fiancee was brutally raped and murdered, and flashbacks, violent and sudden, stunning ... and are slowly recovering his memory.

Eric is killed along with his new love, Shelly, and try all those emotions, one after another. As long as the firing stun, and then created a new awareness ... a burning sense of anger that slowly rises from the depths of his soul and burn it as "burn", which climbs gradually along with the dark force, and red, and unstoppable.

It 'vengeance.

Eric, mad with grief, reborn from the darkness, transforming itself to be fragile and disoriented, to that perfect instrument and cold determination that led him to destroy the lives of those who took everything away. His face transforms, becoming the form of revenge, while Eric made themselves up as the Crow, the white death, black despair, a dark smile, that will bring death to those who have since died. The mask that reveals what is actually true and deep in him, perhaps in all of us. The lines of perfect

Smith, and the sound dramatic and fatal accompanying them, creating a devastating climax that destroys the meaning, burning every possible escape route, forcing us to reach Eric the limit, beyond which we can only continue to live or die. And we are on the brink with him.

The desperate voice of Smith describes the obsession with the heat, the dark dream of the Raven, which returns every time, in the form of shade, talking to the spirit tormented man who lost everything. Along with memories, the "dark dream of the Raven" hits harder and harder, because the pain serves to remind him what to do, what his job because he's back.

Every night he dreams of and she is gone. Every night screaming his pain, but it's a pain that is both constant and furious is always present, a pain that is not common because the heart is uncommon to prove it.

So, says the shadow, the Raven, do not watch her sleep, because otherwise you will know what you missed. Do not look ... not to look ...

The words are all negatives, the Raven speaks for negatives, as in "The Raven" by Edgar Allan Poe, and his "Nevermore!", "Never again".

Never again. You can not touch it anymore. It will never be in your arms. You can never touch her heart, cross his eyes full of love. Never again. Never again.

And so every night he dreams that may not have. Every night his spirit burning, waiting for the world to end, everything is destroyed, because nothing is more important, nothing.

And so every night all over again.

"Every night I burn

Dream the crow black dream."

Links

The Cure - Burn

The sequence from the film

The Cure Official Site

The Crow: The Movie - Wikipedia

The Crow Italian Tribute

Writing A Community Service Letter For A Sorority

Valkyrie

color, USA / Germany, 2008 , of Bryan Singer

Duration: 120 min.

Genre: thriller war

Cast: Tom Cruise (Colonel Claus von Stauffenberg), Kenneth Branagh (Major General Henning von Tresckow), Billy Nighy (General Friedrich Olbricth), Terence Stamp (Colonel General Ludwig Beck), Tom Wilkinson (General Friedrich Fromm), Carice Van Houten (Nina Schenk Graff von Stauffenberg), David Bamber (Adolf Hitler), Thomas Kretschmann (Major Otto Ernst Remer), Christian Berkel (Colonel Albrecth Ritter Mertz von Quirnheim), Eddie Izzard (General Erich Fellgiebel), Harvey Friedman (Dr. Joseph Goebbels), Matthias Freihof (Heinrich Himmler), Kenneth Cranham (Field Marshall Wilhelm Keitel).

Screenplay: Christopher McQuarrie, Nathan Alexander

Music: John Ottman

Distribution: MGM, United Artists

La storia che nessuno ha mai raccontato

Era il 20 Luglio del 1944, quando il complotto ordito da mesi fu finalmente messo in atto. Un'esplosione, durante un briefing militare nel rifugio segreto del Wolf's Lair, in Polonia. Adolf Hitler doveva morire in quella stanza, attorniato dai suoi generali, e porre così fine ad una guerra insensata, e alle atrocità che il Partito Nazista stava mettendo in atto da anni.

Claus von Stauffenberg, e alcuni altri importanti membri della Wehrmacht e dalla politica della Germania, portarono avanti il sogno di una nazione tedesca senza Hitler, di un nuovo ordine, that it was abolishing the follies of the Nazi hierarchy, which they did their part, before opening his eyes and wake up from this nightmare.

It 's a true story, very dramatically, which has tragic implications in itself, but marked an important step in the history of German resistance to Nazism, which shows that not all Germans were blinded by propaganda, by lies, dall'irregimentazione, from total control by the adoration, dall'aberrazione. A story that shows that humanity sometimes emerges in the most unexpected moments, in the most unlikely, even in subdued hearts from evil.

A story that, unfortunately, few people know, e che andava raccontata.

L'Operazione Valkyrie

Il film parte dalle premesse storiche e ne segue per filo e per segno l'andamento, in un modo molto fedele, puntellando la storia qua e là di finzioni narrative atte a reggere la trama. L'incipit è la formazione del cavaliere integgerrimo che porterà avanti la sua crociata, nonostante tutto. In mezzo alle sabbie dell'Africa, gli Africakorps stanno resistendo, anche se la guerra volge loro contro. Stauffenberg è lì, con i suoi dubbi, già da allora, che pensa, e si rende conto che Hitler non è solamente il nemico dell'Europa e del mondo, ma soprattutto the Germans.

A hard man, Colonel Claus von Stauffenberg, because he's torn between Africakorps, and why is mutilated by the dedication to his country, but perhaps more than anything else, given the error in having the dedication to the Nazi Party.

The Mustang covering the sky, and the Allied bombing. Stauffenberg finds himself alone, buried in the sand, now forever marked by the madness that is war, which is greater than anything human, and that spares no one. His mutilation, the loss of the left eye, right hand and two fingers of his left hand, are real injuries, that the real Colonel has suffered, but in This story takes a different meaning. And 'the image of a regime that has deprived the Germans of their autonomy, subjugating the lives and thoughts, mutilation pride, wrenching humanity, depriving them of their free will.

Tom Cruise, despite the controversy about his being suited to the role or not, shows a Nazi officer cold, hard, as it should be Stauffenberg, because Africakorps, because a soldier of the Wehrmacht, but also because it marks for the war ever, and the awareness of this loss for a false ideal, rests on him like a boulder. Yet you never complain of what he lost, because he is a soldier, a man who seeks one purpose only think to finish it, without question, without letting anything could stop him. In this, the strict discipline that was imposed by a lifetime, it is perhaps useful purpose.

His attachment to family values \u200b\u200bis evident from the Germans as it is presented, how it is used to surprise the number of children. It will be your family to be its spur, the last thought in life, before losing that life.

Stauffenberg is part of a committee plotting behind the scenes to change the destiny of Germany. Together with a large number of the conspirators, he now destroyed the soul e nel corpo, si dimostrerà l'uomo più deciso tra tutti nel voler porre fine ad una tragedia che ormai sta dilaniando il suo popolo e il suo paese, nonchè mietendo vittime in tutto il mondo. Lui è il più grande nemico di Hitler e del suo sogno folle, ma ancora questi non lo sa.

La fredda, cieca determinazione dello Stauffenberg mostrato da Cruise, doveva essere molto vicina a quella del personaggio che interpreta, perchè fu ordito un complotto quasi perfetto, dove tutto aveva un suo scopo, atto alla completa distruzione dello status quo, per far rinascere una nuova Germania, guarita dal pericoloso virus dell'antisemitismo, della follia xenofoba, fuori dalle nebbie di improbabili motivazioni razziali and historical carrying on a war that was just a mere instrument of conquest and pure violence.

Throughout history, Stauffenberg proved to be immovable pivot around which every event will run willy-nilly. He will design an "aftermath" to the death of Hitler, using the same defense plan designed by the staff in the event of civil unrest or riots: Operation Valkyrie.

This mechanism infallible, commenced operations to confirm the state of emergency and ensure the strategic places of Berlin, and thus the strength of the chain of command, through the Army Reserves, which would have taken control of rapidly each district and command center is vital to maintaining public order. Through the alteration of some of the key steps of the Valkyrie, Stauffenberg was so successful in turning against their own Nazi last resort, their shield against a threat of a plot such as that of Colonel. Ironically, Operation Valkyrie would turn against them, cutting off the serpent's head Nazi.

An interim government, formed by the committee decision of the conspirators, would replace the highest offices of state, and as the first instance, was executive Germany's surrender to Allied forces.

A government that never came to power, because, as la storia ci racconta, il disperato tentativo dei congiurati e di Stauffenberg, di cambiare il destino della loro patria, fallì e fu soffocato nel sangue.

Lottare contro la marea

Fin dall'inizio, con le urla del giuramento nazista, il film getta gli astanti nel vortice nero dell'esaltazione di massa che a quell'epoca il popolo tedesco stava sperimentando. L'angoscia che pervade tutta la pellicola, i silenzi di Cruise i suoi sguardi gelidi e corrucciati, sono tutti protesi ad enfatizzare il senso di ineluttabilità che la storia ha in sè come inevitabile conseguenza del fatto che essa è ben nota, e quindi è inevitabile comparison with the historical truth.

Though rarely disseminated in a manner worthy, the story of the July 20 plot is unknown, and everyone knows for a fact that Hitler saw the end of that year, as opposed to what they wanted the plotters. So you play on this, the sense of identification that is created between the viewer and the protagonist, because they know, and the profound meaning of this link shows it as one man, a dead man walking, maybe a hero, Knight scored from a fate which pursues its mission, despite already knows that it will take his life, and perhaps much more.

The historical accuracy is remarkable compared to other films based on major events, whose pomposity and have overwhelmed the sense of the events narrated. The gesture is noble and important, is to be commended: to tell this important part of the Second World War is an act that gives due weight to the historical facts, but also above all a great moral gesture. Shows a different German people, who manages to wriggle through the pain, from the grip of propaganda, and is willing to sacrifice himself for the love of his country, but this time the right side. So not for fanaticism, but for love.

Stauffenberg's words when he says that to save his country will betray her, are a clear example of how a life of service to certain ideals, have nevertheless left a deep scar within, an unresolved conflict, perhaps, but that does not stop even know which road leads to darkness, and as the light.

Bryan Singer safely guides the plot, and lingers on the figure of Stauffenberg, a man who is alone, closed in upon itself, conscious of the dead end it is pursuing. They are well see the other characters, all inextricably wrapped up in this web fatal, each with its capacity to cope with their fate, with its heavy load of responsibility in the eyes.

Good interpretations of Hitler and his entourage, with particular attention to Goebbels, treacherous and spectral, a container for freezing a delusional madness. Even if the Fuhrer is still a particularly awkward to perform, because they are too famous, too heavy in the pages of history books, the role is good joust, no abuse of appearances on screen, no events due to bloated cliché. Hitler is here indeed a man bent over, grim, locked in a silence completely opposed to the screaming scenes from the pulpit. It 's a curious but not more truthful representation of the character.

Gliss totally on the controversy concerning the making of the film, since they are irrelevant to the way history is represented here. The accuracy of the facts, and the drama of the narrative, deserves respect, as well as the desire to tell a fact that is of great importance in German history, and that shows how bad at times, are never entirely bad , but only momentarily darkened. The voice of reason can emerge at any time, you only need the mind and heart open.

So they decided they've had enough, which is too much you move or change a cruel fate, against forces that are known to be much more powerful than you can stand up against. While Operation Valkyrie is in place, and dismayed to witness a power inside of Berlin, the pages history at school we were never told, we know that it is useless, that the blind insistence Stauffenberg in carrying out his plan, despite the attempt has failed, is the latest effort of a man whose will to change Things have gone far beyond the capabilities of its human greatness could have.

Faced with the effort of these men, these great men who fought against the tide immense, infinite, we can not but observe a minute's silence, remembered not only for what they have already done, but also for what they failed to do, and that history has then to their completed, nine months later, with the capture of Berlin and the suicide of Hitler.

just wait to see their dream realized, but we honor them just because, unlike everyone else, they did not wait at all.

Links:

Official Site

Wikipedia

Web Albums:

Valkyrie

Action Replay On Hdloader

Gallows Pole


Gallows Pole

Hangman, hangman, hold it a little while,
Think I see my friends coming, riding many a mile.
Friends, did you get some silver?
Did you get a little gold?
What did you bring me, my dear friends, to keep me from the Gallows Pole?
What did you bring me to keep me from the Gallows Pole?
I couldn't get no silver, I couldn't get no gold,
You know that we're too damn poor to keep you from the Gallows Pole.
Hangman, hangman, hold it a little while,
I think I see my brother coming, riding many a mile.
Brother, did you get some silver?
Did you get a little gold?
What did you bring me, my brother, to keep me from the Gallows Pole?
Brother, I brought you some silver,
I brought a little gold, I brought a little of everything
To keep you from the Gallows Pole.
Yes, I brought you to keep you from the Gallows Pole.


Hangman, hangman, turn your head awhile,
I think I see my sister coming, riding a many mile, mile, mile.
Sister, I implore you, take him by the hand,
Take him to some shady bower, save me from the wrath of this man,
Please take him, save me from the wrath of this man, man.
Hangman, hangman, upon your face a smile,
Pray tell me that I'm free to ride,
Ride for many a mile, mile, mile.
Oh, yes, you got a fine sister, she warmed my blood from cold,
Brought my blood to boiling hot to keep you from the Gallows Pole, Your brother
Brought me silver, your sister warmed my soul,
But now I laugh and pull so hard and see you swinging on the Gallows Pole
Yeah, swingin 'on the gallows pole!

(Traditional Arranged, "Led Zeppelin III", 1970 Atlantic Records)

La Forca
(translation edited by Angela Branca and David Wisdom)

Executioner, Executioner, wait a minute,
I think I see my friends coming, after a long ride.
Friends, you have silver?
Avete un po' d'oro?
Cosa mi avete portato, amici cari, per sottrarmi alla forca?
Non ho potuto portare argento,
non ho potuto portare oro,
sai che siamo troppo poveri, dannazione, per sottrarti alla forca.

Boia, boia, aspetta un attimo,
mi sembra di vedere mio fratello arrivare, viene così da lontano.
Fratello, hai dell'argento?
Hai un po' d'oro?
Cosa mi hai portato, fratello, per sottrarmi alla forca?
Fratello, ti ho portato dell'argento,
ti ho portato un po' d'oro,
ti ho portato un po' di tutto per sottrarti alla forca,
sì, ti ti ho portato di che sottrarti alla forca.

Boia, boia, volta la testa un attimo,
mi sembra di vedere mia sorella arrivare, dopo una lunga cavalcata.
Sorella, ti prego,
prendilo per mano,
portalo in qualche luogo nascosto,
salvami dall'ira di questo uomo,
ti prego portalo via,
salvami dall'ira di quest'uomo.

Boia, boia, sul tuo viso un sorriso,
please tell me I'm free to ride,
ride for many miles.
Oh, yes, you have a lovely sister,
has warmed my blood was cold,
did it become hot
to escape the gallows, yes.
Your brother brought me silver, your sister
I warmed the heart,
but now I laugh and pull strong
and I see you hanging from the gallows,
yes, hanging from gallows, hanging from the gallows.

(From "LED ZEPPELIN - All lyrics with translation against - 1994 Arcana Editrice)

I never stopped to think better of this wonderful piece tradizioneale appropriately transformed in the capable hands of Led Zeppelin. Besides being an extremely popular, great for evenings in the local noise, and just as compelling, has a history behind it, I had the pleasure to discover.
The origin of this ballad is to be traced back to an old traditional piece called "The Maid Freed From The Gallows", which was later adopted by the storyteller blacks in the southern states in America.
tells of a girl who is brought to the gallows, and in short time following the first to be hanged, she saw several people running to get his name to her, hoping that some of these can help you escape the inevitable fate that conviction. At first, some are relatives, including his father and brothers, but they are all too poor to save her from the gallows, and reveal that they are there only to witness the execution. Finally, comes the lover who finally brings the gold to ransom his wife.
Riccardo Venturi study highlights the fact that the woman has been convicted of losing a highly valuable item - that metaphorically represent virginity before marriage. Hence the penalty capital, which is better for the historical period, and direction given to the repurchase by the lover.
The ballad ends well, of course, as the last stanza.

Led Zeppelin modified this piece, while keeping the structure intact, or a composition in verse repetition with small changes. Their contribution was mainly in the growing realization that the beautiful introduction rises steadily with the addition of new instruments as the characters come to save the anonymous pay one another in an attempt to appease the "wrath of the Executioner ". The crescendo goes perfectly with the structure of the ballad, because of the repetitiveness of its parts, which lends itself to every new cycle of renewal of the instrument compartment.
The most important change is in the text. The piece, initially, was traditionally tied to a metaphorical and symbolic meaning, and it was instructive. Morality was tied to the importance of keeping intact the virtue, to avoid a death that very often it was more spiritual, not physical.
when the ballad began to spread in America, certainly has acquired a different moral value, which has evolved in the last version of the Zeppelin.
The basic variant del finale, infatti, conferma questa sua trasformazione: qui il boia, nonostante sia stato riempito di doni, abbia approfittato della virtù della sorella del condannato, e sia stato quindi soddisfatto abbastanza per liberarlo, si dimostra spietato, e porta a termine l'esecuzione, non nascondendo un ghigno che rivela sadismo.
E' una metafora e un messaggio quello che gli Zeppelin cercano. Il messaggio è legato alla contestazione della pena di morte, che si concretizza nella sua visione come cieco strumento che non ascolta la ragione, che non si pone il problema dell'umana compassione e della pietas. La metafora è da legarsi all'inelluttabilità della vita, a determinati cambiamenti che non possono be implemented, because there is a superior will, most often human, which denies this, and takes everything in its tragic end with no solution.
inelluttabilità The grin is written on the Executioner who carries out his task in spite of everything, and that denies any possibility to change the course of things, and therefore denies the same life.

Links:

Wikipedia: Led Zeppelin III


Credits:

Songs Against War