Swastika Combinationalt

eyelid

Authors: Gianni Canova Publisher: Garzanti, Milano, 2010 Collection: - Pages: 230 Price: € 13 Language: Italian

Index: First Movement ANDANTE WITH BLOOD Second movement MOVED IN THE RAIN Entr'acte Third Movement SLOW BETWEEN THE EARTH Fourth Movement SOON WITH FIRE Epilogue ADAGIO THE PUNISHMENT Thanks, annotations and notes

As you know, Gianni Canova is one of the most tireless critics Italian: founder and director of the monthly Duel (now Duelists), curator of the Cinema Garzantine, dean and professor at the Faculty of Communication filmology IULM of Milan, and author, among others, one of the most significant theoretical texts of the last fifteen years, The alien and the bat - The crisis of form in contemporary cinema . For his first test fiction, thriller Canova chose the robes of the historical novel with pretensions. We are in fact in 2003, the peak industry-post-11/09 of fear and war in Iraq, on TV when you can see the beheading of Nick Berg and salt Tarantino's Kill Bill. In Milan barricaded by racism and fear of the Other, Giovanni Vigo, precarious university researcher and collaborator of Radio Popolare in his spare time, is involuntary witness to a series of heinous crimes that would lead, after a hellish this will scorched earth of its resources, psychological and emotional, to an underground market in human bodies, a totalitarian system for the sale of monstrous images, where a new "meat" crystalline film seems to declare itself as a metaphor for the times of terror and monstrosity exhibited of the first millennium . The fact that eyelids, starting from the title, seems propose, rather than as a novel, short treatise on the visibility (and, in this case, the policy that is written), it is clear from many indications. Already the names of the characters are self-explanatory: Giovanni Vigo, trying to see reality better than the surface even at the risk to undermine the existing and lose his own life, in the name refers to Jean Vigo, film director dead heretic prematurely, while the same can apply to the dall'eloquio exciting polemicist George Simmel and the dark lady Mia Quentin Tarantino (as Mia Wallace in Pulp Fiction ). The process seems to follow the naming of the characters didactic Manzoni, not surprisingly cited among the references: Manzoni as moralistic characters are defined a priori, from the pen of Canova leaving the three-dimensionality of the types that have nothing, with the fate already written clearly in the name. But the problems are much deeper on the visual and woven throughout the novel, back in fact many of the critical issues Canovian, dall'accecante flow of contemporary images, which thins the memory to the present and avoid the possibility of distinguishing truth from artifice , until the monstrous hybrid body obsession for a clear brand cronenberghiana (which Canova wrote the indispensable Castorino). The theoretical starting point in this sense is more evocative and stimulating in the difference placed between the representation of Inferno from Dante and Giotto's version, head in modernity: the first type of hell where those who sin of envy is forced to cigliatura (or the seam of the eyelids), to finally see each other in after have seen for so long out on their own, shown in the fresco by Giotto in the Hell of the Scrovegni Chapel envious are forced to keep my eyes open (in this regard, Canova does not miss the explicit reference to A Clockwork Orange ) as the possibility of being part of the same conviction to suffer, and how in the audience today, it is worth all the and the fault of contemporary life. Place the unique charm of these reflections on poverty is difficult to defer the substance of their narratives eyelids. As Canova, be sure to mention Scerbanenco and Houellebecq, the characters seem driven by topoi more worn, the plot seems a bodycount without backbone, imaginative in the final images but well known in its entire course, and, what is worse perhaps justifying the kind adopted (chosen field or saleability?), opt for a neutral prose, submissive, little or no staff. The critical Canova, also in the style of writing, we have become accustomed to something else. Dario Stefanoni

How To Make Cake Paint

FILMS OF DARIO ARGENTO

Authors: Roberto Lasagna Lino Molinario Publisher: falsopiano , Alexandria, 2009 Collection: Light Pages: 224 Format: 11.5 x16 Price: € 13 Language: Italian

Index: Introduction - Slag of the past L ' image that reveals Stilemi death Visions from the edge Like inside a tunnel The place of oblivion Forget The tale begins Before the revaluation Under the eyes dell'assassiono hyper-sensitivity For your eyes open Travel America Asia The State of Things The ghost of freedom The artist and the stove fitter The "ransom" Filmography References

Talk about Dario Argento today is not easy. It is not because the criticism that rained on him for over a decade appear to be nearly unanimous positive reviews and read in the aftermath of The Dealer or The Third Mother are very few. But above all it is not because the yellow Italian maestro who wrote so many. Roberto Lasagna and Lino Molinario but do not fall into the traps into which would be collapsed if they had written with the specific purpose to evade the two difficulties mentioned above, the authors opt for an intellectually honest approach as possible silver and this universe is undoubtedly the most correct. Do not expect it to be original in strength and thus circumvent the risk of lead in the above-mentioned using analysis turns on the side of over-semiotic. Simply: the chapters are more or less, the film directed by Dario national and the two authors give a personal reading and careful to treat his film with a look somewhere between that of the biggest fans and critical more damaging, taking the helm dell'intelleggibilità straight: indeed surprising as the volume, compact and portable to tell the truth, can be eaten with such facililtà, also because of the attention, sometimes exaggerated, the plot of each film. To underline the interpretation of new work argentiani: films like The Third Mother and I'm not sleepy are in fact analyzed by finding the elements of continuity with the director's other films, often exceeding the limits imposed by a critical analysis closer to demolish the figure to reflect on strengths and weaknesses of some works not very successful. Speaking of the work of Dario Argento Taking apart on their end would be impossible, so watch out spoiler to . Michelangelo Pasini

Are Killer Whales Aggressive Or Do They Fight

I TYPOGRAPHICAL FILM POSTERS - THE COLLECTION OF ITALIAN FILM LIBRARY FOUNDATION 1919-1939

Authors: Roberto Della Torre and Elena Mosconi (ed.) Publisher: Il Castoro, Milano, 2001 Collection: Il Castoro Cinema Pages: 158 Size: 17x24 Price: € 14 Language: Italian

Index: Abstract Elena Mosconi and Roberto Della Torre The poster along the streets of cinema Fabio Radaelli The poster typography: structure and functions of Roberto Della Torre advertising and billboards Roberto Della Torre card. Profile of a cinema: the film X Giulia Marcora The film show Gianluca Casadei card. Between cinema and variety: Anna Fougez and Polidor Gianluca Casadei "Sublime interpretation of ...": forays into stardom through posters typographical Milan Raffaele De Berti card. A star-author: Lucio D'Ambra Stefania Mignoli Gender and communication practices: the verbal text of the posters and text structures of gender Robert Marasco card. The kind of historical posters typographical Savinia Colombo between the public and film posters Elena Mosconi chat with the exhibitors. Interview with Ambrose and Moro Ulderico Bonfanti Roberto Della Torre The experience of the viewer through the postcards of the Central Cinema Francesco Casetti traces of modernity in the postcards of the cinema of Central Lorena Iori Glossary Clipboard Stock

During the seventies the Italian film libraries open, between wonder and admiration , a substantial acquisition of materials of very different origins and disparate filmic: photo archives, private funds, records of soundtracks and posters, diaries and letters. The same equation cinema film, already in the form not exactly brilliant, suffers a crucial flaw. In this context, the Italian Film Library, semi-private institution funded by the Milan group of current (Rognoni, the Comencini, Lattuada, Luigi Veronesi, etc..) acquired an important collection of 120,000 posters not shown on the programming of more than 150 city halls from 1919 to 1939. How is the whole film show in Milan two decades. Unfortunately, the materials acquired from the film archives have not filmed life poor, are condemned as such are removed from the dusty shelves in the best case scenario for an exhibition. Unless you have the good fortune to attract the interest of a research team that, as in this case, the Catholic University, determining the historical value and provide an appropriate enhancement. All entrusted to the leadership of Elena Mosconi and Roberto Della Torre, two experts from different perspectives (researcher and archivist she him) to show and film spectatorship, and composed of graduate students and doctoral candidates. posters printing, especially if collected in such a wide bottom, are a silver key for navigating the passages of local history, not to mention the fruitful detours that a careful analysis allows us to glimpse (as demonstrated by Raffaele De Berti and Roberta Marasco). Thus, in a complex web of market laws and self-representation, the posters are made plural and polysemic source, mirror unfaithful and precious resource. Game of interpretation and reinterpretation, then, requires skilled hands, perhaps at times more than those of young researchers of the Catholic Church. The volume remains, even with its fall due more to the lack of consistency of some interventions (including the Mosconi cumbersome paper) than to a lack comprehensive, unique, and for printing the posters - of course - that experimentalism of a work built around a collection parafilm, used as a crowbar to force more of an outpost (the public, but also genres, the publicist, the star system, legislation and practice). In Appendix Francesco Casetti and, even better, Loretta Iorio analyze beautiful postcards of the Central Cinema, the legendary hall of the Gallery. Joseph Fidotta

Lindsey Dawn Low Angle

LE CINEMA Garzantine

Authors: Gianni Canova (ed.) Publisher: Garzanti, Milano, 2009 Collection: The Garzantine Pages: 1582 Size: 14 x 21 Price: € 39 Language: Italian

Index : Abstract Dictionary of Film - Film directors, actors, scriptwriters, set designers, costume designers and composers, genres and current critical and historical homes production, festivals, schools, magazines; theories, techniques, languages \u200b\u200b Appendices Film Awards - Oscar - International Exhibition of the Venice Film - Cannes Film Festival depth cards (in the corpus of the Dictionary ) - Dozens of items Tables outside the text Index of names

twenty-first century. The years of internet, wikipedia, google, which scans books and makes them available for free consultation. 2009. The third edition of the Cinema Garzantine . Operation extraordinarily courageous, in line with what the publishing house in Milan has been doing all these years. Today, that knowledge seems more and more entrusted to the network and especially a means of popular culture like the cinema seems to fit perfectly to the media that is depopulated on the other, Gianni Canova remains convinced of the necessity of an encyclopedia on film paper. It is not wrong at all. His most powerful weapon against the free update and immediacy of the Internet? Accuracy. Many websites, either because they are often managed as a hobby and passion, because it seems to want a website you can forgive blunders and omissions, they are very deficient this point of view. Canova and his collaborators, from edition to edition, review, correct and build upon thousands of items of their word list, now at an altitude of 6500 definitions. Without the claim, for obvious reasons, to complete, but with the aim of providing a navigation map to the reader who wanders in that vast sea that is the world cinema of all kinds, country and time. Be careful, you will not find in the film only Garzatina . Cinema at 360 °, by gender, the workforce, the criticism of the technical terms and theories. In order to provide the user real time-space coordinates dedicate the last pages of the volume cinematic history: each year since its inception, the authors make a brief selection of major events (from different points of view: awards, technological innovations, the birth of film genres or current) and restore it in chronological order. Orientation, as Canova says in the introduction, as always Eurocentric, but without forgetting the existence of cinema other than those that have always made the figure of the lion. Dictionaries and encyclopedias there have always been accustomed to a quality paper really saving for weight and grain: beautiful Garzantine browse and remember the classic exception confirming the rule. Michelangelo Pasini

Watch Streaming Yaoi Anime

Magazzini Salani - Website

Audrey Hepburn - A Life magazine cover - Scott Brizel

Bangbros Watcing Free

CHARTER - HISTORY AND STORIES OF ITALY IN SCREENPLAY

Authors: Mariapia Comand (ed.) Publisher: Lindau, 2006, Torino Series: Essays Pages: 320 Size: 14 x 21 Price: € 22 Language: Italian

Index : Foreword by Nereus Boat Introduction. Charter sings Mariapia Comand 1. The script, by George area Tinazzi - 1.1. The case Cerami 2. Scenarios. The script in silent film by Silvio Alovisio - 2.1 From the origins to the '20s: a proposal of periodization - 2.2 Writers and Cinema: Some report - 2.3 The first appointments and the creation of the subject - 2.4 The process of the script - 2.5 The forms of writing - 2.6 screenwriter and stage director - 2.7 Writing for the film and staging - 2.8 Writing captions - 2.9 A new professional vocabulary - 2.10 The dialogue and acting - 2.11 The design of the scene written 3. Before and after the image: paths between literary text and film in the cinema of the 30s Luca Mazzei - 3.1 "Turn!", Then dies. Cines-Pittaluga and the first public - 3.2 Sons of 'NN' - 3.3 Factory screenwriter - 3.4 box, and iron - 3.5 Theory and practice of the Office subject - 3.6 before and after the movie screenplay - 3.7 The collective creation and the problem of authorship - 3.8 After the image: the writer as a spectator 4. The ashes of Balzac. Screenplay writers and neo-realism in Giuliana Muscio - 4.1 The lesson of Barbaro - 4.2 neorealist screenwriter - 4.3 From 1945 to the split of 1948 - 4.4 Amidei, Zavattini, Fellini and Pinelli - 4.5 Pride and 'Cinema' - 4.6 In Neorealism maturity - 4.7 debuts illustrious 5. Grief and euphoria. The screenplay in the 50s Federica Villa - 5.1 The observance of mourning - 5.2 Rites of passage - 5.3 Italian Funeral 6. Serving the author. The screenplay of the film "Masters" of the '60s and '70s Giacomo Manzoli - 6.1 Modernization as a crisis on Italian screens - 6.2 Writing Workshops at the service of the Authors - 6.3 Build commitment - 6.4 The case Pasolini - 6.5 Towards the decline 7. Comedy and the surrounding area. Writing genre in the '60s and '70s Andrea Pergolari - 7.1 A necessary precondition - 7.2 The play and its authors - 7.3 The bright trail of Age and Scarpelli - 7.4 adepts and followers - 7.5 Solitary irregular and non-integrated - 7.6 The case Sonego - 7.7 At the edge of the genus - 7.8 Out of gender - 7.9 The comedy film - 7.10 The '70s: mannerism, hallway and pecoreccio - The sneers of 7:11 Welcome and De Bernardi - 7.12 The latest proposals 8. Death and Rebirth of "craft." Writers and screenplays of the 80s and 90s Vito Zagarrio - 8.1 The script does not exist - 8.2 The 80 - 8.3 The large funnel television - 8.4 Veterans - 8.5 The last things - 8.6 The 90s - 8.7 For a mapping of the writers 90 - 8.8 Conclusions 9. Open-ended. Narratives of the millennium Mariapia Comand - 9.1 The nth spring of Italian cinema - 9.2 Migration and transformations. The "grammar of the suspension" - 9.3 The script, avantgarde Memory - 9.4 Stories 'glocal', plainly 10. The popular novel by Paolo D'Agostini - 10.1 on "The Best of Youth" of Petraglia and Rulli Bibliography Index of names

Ugly Duckling of film studies, especially in Italy, the script has in recent years found a place in the limelight thanks to the excellent work of young researchers. This generation of scholars, born at the turn of the '60s and '70s, it was found to share - from different observation towers - the need to start thinking about the specific role the script in the process of construction (and in the wider context of the history of Italian cinema), to be a more polished, adjusted for the ideological and theoretical paradigms with which their predecessors approach to the subject. Outside, therefore, the mold and post-structuralist semiological, free from the shackles of the theory of the authors. On paper with Mariapia Comand calls together the "best of youth" of the film studios on: divided by decades of Italian cinema "written" is not at all isolated from the hands of insecure, among others, Silvio Alovisio (now in authority of the Italian silent a few years), James and Andrea Manzoli Pergolari (both, albeit from different perspectives, experts in popular cinema and gender), Vito Zagarrio (perhaps the only one who knows how to extricate themselves in the hells of the last three decades, Italian) and Federica Villa (Turin, already the author of important scholarly essays on the script) . To frame the contributions rather weak in the "old" boat, Tina and Paul D'Agostini. Individually, the grants to highlight the merits of historiography (unpublished research papers on Alovisio of Italy), prospects for interesting analysis (and the Comand Zagarrio on the crisis of Italian cinema), for completeness (Manzoli) or ability to renew a wrought so much ground (the Muscio with neorealism). Overall the wise, besides being the most advanced study in our country, no lack of light and organic. Joseph Fidotta

Heather Harmon Brooke What Happened

Tarkovsky - THE NOSTALGIA OF HARMONY

Author : Francesca Pirani Publisher: Hands Microart's , Genova, 2009 Collection: Extralights Pages: 141 Size: 23.5 x 28.5 Price: € 12 Language: Italian

Index: Introduction: his solitude Andrei Rublev - Legacy difficult - The history and the story: what it's about the movie? - History - The story - The reverse perspective and neglect of the reverse Stalker - History - the writer, scientist, the Stalker: three forms of non-existence - The Zone: fantasy world or dream world? - The absence of the reverse: if now there was the void? - The loss of harmony: the woman, the Stalker, the daughter mutant Offret / Sacrifice - History - In the beginning was the Word, a film of ideas and words - uncertainty for doubt: from Alexander to Boriska - The pagan woman, the mutant baby, the Good Witch: results of the female conclusions. time off in the mind: an end announced Filmography Bibliography

Despite Andrei Tarkovsky is known to all of the historiography of the cinema as one of the greatest filmmakers of modernity, we are talking less and less of his work, inexplicably scaled from the recent critical oblivion and overshadowed by an injury that he wants the Russian film director, author of unbearably slow and cuts, in stark anachronism with the vitalistic and accelerated our time, dominated by the bulimic consumption of images of music videos and commercials. This is certainly a movie theater since expanded, marked by a contemplative approach, philosophical, but still remains evocative and semen, given the influence and proximity style Tarkovsky in respect of which retains many of the most talented filmmakers of our time, by Aleksandr Sokurov in Bela Tarr, by Carlos Reygadas to Tsai Ming-Liang, not to mention the homage tributatogli recently by Von Trier with his final Antichrist. A work of only seven feature films in more than twenty years: a few, very few, for a strong and innovative artistic voice, marked by an impressive attention to visual composition, almost painterly, and a chaotic and mysterious symbolism, that just lends itself to harassing sovrainterpretazionismi. Among these films, Francesca Pirani, director and screenwriter graduated from the Experimental Centre of Cinematography, chooses to focus on three of the most famous, Andrej Rublevo (1966), Stalker (1979) and Sacrifice (1986), designated as the vertices of an ideal poetic and philosophical trilogy. All three films in question are in fact analyzed in detail in key scenes and read as allegories dream capable of recalling that reality rather fuzzy in the first months of his life in a subtle interweaving of language and language of the reality of the dream, "eye turned out "and one eye turned inward" the other. On this view, no doubt impressive, lies this brief critical reflection that "nostalgia harmony "identifies the poignant regret for his pure perception and harmonious state newborn, where one is able to enjoy the forms of nature without the psychological and perceptual dell'irregimentazione superstructures of domestication and adult culture. With this essay, although it is burdened with a psychoanalytic subtext at times forced and slightly redundant arguments, prejudices about Tarkovsky out in the open are so fully and ironically reversed: there never was more hypnotic and compelling film of his, turned almost spiritually under more than the brain, able to express in images only the supremacy of the sensitivity on rational thought. Michelangelo Pasini

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AUDREY HEPBURN - A LIFE TO COVER

Author: Scott Brizel Publisher: Magazzini Salani, Milan, 2009 Collection: - Pages: 272 Format: 23, 5 x 28.5 Price: € 28 Language: Italian

Index: Introduction Cinema, fashion and magazine Children and War (1929-1947) Years English and discovery (1948-1952) Roman Holiday (1953) Sabrina (1964-1955) Ondine ( 1954), marriage and Oscar War and Peace (1956) Funny Face (1957) Arianna and Mayerling (1957) The Nun's Story (1958-1959) Green Mansions and The Unforgiven (1959-1960) Breakfast at Tiffany's (1961-1962) The Children's Hour, Charade and Together in Paris (1962-1964) My Fair Lady (1964-1965) How steal a million dollars and live happily and Two for the Road (1966-167) From movie stars to Roman housewife (1967-1975) From home to Rome Ambassador of Hope (1976-1993) Conclusion Thanks

Audrey Hepburn is the exception that proves the rule. That of the beautiful but frivolous, the charming but lacks the talent, the word that the contemporary cinema (and not just the movies) is trying to pouring out. And this unique combination of charm and a propensity for acting totally out of the ordinary if they all noticed immediately: the first at Paramount Pictures, when the first specimen prefer it to Elizabeth Taylor for the role of Princess Anne in Roman Holiday , Cary Grant, who then worked to change the titles of the film so that the names of both were given the same importance, and finally came the Academy Awards, which give it the Oscar for best actress at the first important performance on the big screen. The book edited by Scott Brizel study this transformation through the links and the plots that cinema, fashion and press have developed over decades and more than many others that Audrey has helped to create. The career of the actress as seen through the covers of magazines around the world, in a seamless succession of images from newspapers, weekly and monthly from every corner of the globe. The author of the book is well aware of the significance of curating a photographic book, but in particular that seems to escape many of his colleagues. It is not enough to run one minute of research in libraries and newspaper libraries of the four continents, and publish their findings in a book-quality paper and printing as high as possible. And 'necessary condition, of course, but not quite adequate. And 'in fact essential to take specific positions on the text and caption of the work, as well as on the disposal of hundreds of selected photos. Brizel Scott realizes that the hand must take the reader through the story of the career of the actress, aware that as is known, it is difficult for even the most experienced user will know the implications of the road that led to success. In doing so, however, realizes the need to measure the possible words, to have to summarize the text and to become simply a track that opens the path to each chapter of the professional career of the diva. Here it is then make their presence but in a totally discreet, provide captions for each photo essential and clear and above all alternate images so elegant to further emphasize the beauty of the actress. The rest of the work he does Hepburn, who, with his smile from the covers of magazines, Italian, American, Japanese, Chinese, Iranian, and even Malay, French, Brazilian, makes this work is not a volume but a true work of art and collectibles, sold, inter alia, at a price reasonably content. Jacket, large format pages in full color glossy and heavy. Precious. Michelangelo Pasini

My New Tattoo Has A Ringworm

Bucatini and turnip greens with anchovies and pecorino

When everything is missing and hunger began to be felt here and sostazioso a simple pasta dish that saves us from the malaise kebabbaro materialized in the house or in fintocinese at home (which given what else should be more than propina the "house"):

Bucatini with anchovies and pecorino.

Why Bucatini and not just spaghetti? or linguine? or bibs?
Simple: because the pecorino romano is absolutely suited for this type of pasta and especially the bucatini and hearty, humble and fill the pot like no other medium.
Try bucatini, then if you do not like you do in your own way, so to me that me ... vabò.

x 4 doses students

• 500 gr bucatini
• 20 anchovies in olive oil (the recipe would with fresh ones, but because the target seemed too ...) 500 g cherry tomatoes
• parsley 2 garlic cloves
• hot pepper or cayenne red pepper (to taste those if the jelly)
• grated pecorino romano avalanche

Take a large pot and fill it with water, bucatini need much water, and trust are so many bucatini pound.
I had a roommate who used small pots with very little water to boil pasta, it was so why was boiling the water first, but his dishes were crap, the base of support, if he could he would eat raw spaghetti to cook crumbled in the stomach by swallowing a carafe of hot water, would save time.
then understand? a lot of pasta water if so, at least 5 liters per pound of pasta. Pending
that the water reaches the temperature you take a good frying pan large enough, say enough for one pound of bucatini to whip it would take a huge pan, probably because you did not say a normal pan you will need it just to make the sauce with anchovies, then stir into the pot of cooking pasta. After sprinkled
extra virgin olive oil the bottom of the frying pan fry the garlic cloves cut in half, if you love garlic and you are single rate onanism I recommend chop, then add the chilli, chilli and pepper if red cayenne pepper, finely chopped, then wait, it will be added later.
Remove the anchovies from Boccaccio and scagliatele in the pan and add a little water for cooking over medium heat with a wooden spoon chopped anchovies, which soon disappear, amalgamating the mixture made of garlic, chilli and anchovies.
When the anchovies are dissolved, add the cherry tomatoes cut in half and a lot of the pasta cooking water, salt (add ground red pepper if you have not done before) and cover, simmer for about 5 / 8 minutes.
Drain the pasta al dente and rituffateli in the pan, add the sauce, being careful not to splatter all over the kitchen (if you have dogs that can assist to avoid this, usually wear a crazy bad luck, they just hope that you escape the frying pan Hand e. ..), stirring constantly while adding copious handfuls of grated pecorino and chopped parsley.

The result is a rough and tasty dish, just as it should be!

if you want to add a touch of class premuratevi to cook for a few minutes a little bit of anchovies in a separate pan with some oil, you will use the to garnish the dishes along with a sprig of parsley, then his girlfriend will think that you are not a "Bujaccaro" whatever, but a Bujaccaro * with a certain style.

Scofanatevi all combined in a white wine left over from the night before (which will have the most Paraculo used to soften the anchovies, but I tell you to it ..) and the song " Bomber" from his self-titled album saw Motorhead the movie " Bomber" from the filmography of anonymous Bud Spencer .






This used egg noodles because
wants to be cool, but trust me
better the pasta;).


Bujaccaro *: person just fine.