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Giannino Malossi is an independent Cultural Operator, working on the theory and practice of Creative and Cultural Industries and its relations with Economics and Finance, active also as Strategic Consultant for Companies and Institutions, Exhibition Curator and Author. Specialties: Theories and Practices of the Creative and Cultural Industries, Culture Management, Fashion and Design Management, Digital Culture, Contents Creation, Off and Online Media, Brand Management, Exhibition Design, Publishing, Iconography, Photography. Working for the fashion brand Fiorucci (1976-1981) he started the Fiorucci DXing center for interdisciplinary fashion studies. His researches ended in exhibitions and events held at the Milan Triennale (1979), the Venice Biennale (1980), the Pitti Immagine Fairs in Florence (1986- 2000) The Fashion Institute of Technology Museum (1997) and the Art Directors Club of New York (2001) Camera Nazionale della Moda Italiana in Milan (2000) and the Agenzia per la Moda in Rome. He has published several books in Italy and abroad, including, among others: This was tomorrow, Pop from style to revival (Electa, Milan 1990); The Style Engine: Spectacle, Identity, Design and Business. How the Fashion Industry Uses Style to Create Wealth (Monacelli Press, New York, 1998); Volare: The Icon of Italy in Global Pop Culture (Monacelli Press, New York, 1999); Material Man: Masculinity, Sexuality, Style (Abrams, New York, 2000). He has been involved in year 2001 in the founding of Interaction Design Institute Ivrea and as Director of Communication and Professor of Communication and Knowledge Sharing and since then is engaged in new media and digital culture, mostly trough his managing partnership with Interaction Design Lab Milano. Adjunct Professor at Politecnico di Milano, Facoltà del Design (2002-2005). His articles have been published in: Abitare, Alfebeta2, Casa Vogue, Disegno, Domus, Flair Italia Magazine, GQ Italia, i-D Magazine, Idea, Il Giornale dell’Arte, L’Espresso, Lotus International, Modo, Panorama Icon, Print, Rassegna, Rolling Stones Italia, Vogue Italia.

Italian manufacturing. A washout.

(…) Italy’s makers of luxury clothing and accessories have done fairly well, boosted by strong demand from the emerging world’s new rich. But producers of low-price fabrics and clothes have been badly hit: overall, the textile industry’s output is down by 35%. Production of electrical goods has fallen by a similar proportion, and carmaking is down by 45%. Last year just 397,000 cars rolled off domestic assembly lines at Fiat, Italy’s largest carmaker, against 911,000 in 2007. Its output of vans has recovered a bit since hitting rock bottom in 2009, but at 207,000 last year was 18% below its pre-crisis peak.

Who Rules Italy? The P ower of Wasting Time. July 2013

“Who rules Italy?” Knowing the answer to this question is important to providing investors with a sense of how the country really works and allowing any serious reform project a chance to succeed. But understanding the dynamics of Italian politics is a difficult exercise, and even the country’s elites tend to hold hazy views of the power structure. Let’s take a look at each of the major players in Italian politics to see how much leverage they actually possess.

Cosa ci dicono i dati sui consumi. Claudio Gnesutta

Il crollo dei consumi nel 2012, certificato dal Rapporto annuale dell’Istat e anche dal report diffuso venerdì, fotografa una fase di transizione verso un modello sociale nel quale, senza strutturali interventi correttivi, la divaricazione tra i settori sociali favoriti e le famiglie e le persone in condizioni più disagiate è destinata ad allargarsi

Twitter antigas

Il capitalismo ha sempre funzionato così, trattenendo la potenza produttiva comune. Anche nelle sue fasi più primitive, quelle di cui parla Marx nel capitolo del Capitale dedicato alla Cooperazione. Il fatto è che il comunismo ben lungi dall’essere un’utopia, è al contrario la struttura stessa della società. Oggi questo «sequestro» della potenza produttiva sociale è ancora più evidente, ora che il capitale fisso più importante è costituito dalla conoscenza e dalla cooperazione che sono inseparabili dal lavoro vivo. Nella società della conoscenza il capitale si svela inutile e parassitario. I rapporti sociali capitalisti diventano rapporti feudali.

Green Onions – Booker T & the MG’s

The classic 1962 instrumental hit Green Onions by Booker T & the MG’s. Actors and actresses dancing to this very cool song include:

Marilyn Monroe, Eli, Wallach, Thelma Ritter, Clark Gable (The Misfits 1961)
Sophia Loren (It Started in Naples 1960)
Jayne Mansfield (Dog Eat Dog! 1964)
Natalie Wood (Gypsy 1962)
Kim Novak, William Holden (Picnic 1955)
Anita Ekberg (La Dolce Vita 1960)
Ann-Margret (The Swinger 1966)
Gina Lollobrigida, Rock Hudson (Come September 1961)
Romy Schneider, Jack Lemmon (Good Neighbor Sam 1964)
Brigitte Bardot (Come Dance With Me! 1959)
Elizabeth Taylor, Richard Burton, George Segal, Sandy Dennis (Who’s Afraid of Virginia Woolf? 1966)
Jill St. John (The Oscar 1966)
Mamie Van Doren (Untamed Youth 1957)
Shirley MacLaine, Gene Kelly (What a Way to Go! 1964)
Cyd Charisse, Robert Taylor (Party Girl 1958)
Raquel Welch (Flareup 1969)

Howlin’ Wolf – Smokestack Lightning

Howlin’ Wolf – Smokestack Lightning (1964)

Chester Arthur Burnett (June 10, 1910 — January 10, 1976), better known as Howlin’ Wolf, was an influential American blues singer, guitarist and harmonica player.
With a booming voice and looming physical presence, Burnett is commonly ranked among the leading performers in electric blues; “no one could match Howlin’ Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits. Many songs popularized by Burnett, such as “Smokestack Lightnin”, “Back Door Man” and “Spoonful” have become standards of blues and blues rock.