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LETTERE MERIDIANE — “TEATRO-EDICOLA” OF SAN SEVERO CONQUERS THE WORLD SOURCE: https://www.letteremeridiane.org/2026/10/il-teatro-edicola-di-san-severo-conquista-il-mondo/?fbclid=IwY2xjawU4oqFleHRuA2FlbQIxMQBwZG9mAXNydGMGYXBwX2lkEDIyMjAzOTE3ODgyMDA4OTIAAR5rVEwYs6UUXg7v-P0SyIQ_DRb_F6ZiY58OcseYoV4J7atcTiERnhWaqKM2pw_aem_Njle1jq1XLzHr93KLBUcVA After “Broadway World”, the “Los Angeles Journal”, “The Psychologist (British Psychological Association)” and Hollywood Beat Magazine, its “academic consecration” has now arrived courtesy of Stanford University. As I have already emphasised in my article on the revival of the GIO Festival in Foggia, celebrated by BroadwayWorld for the world stage premiere of the Giordano’s opera Marina (1888), the province of Foggia has long ceased to be peripheral. It happens when it finds an idea that shifts the coordinates: well, in San Severo, 40 kilometres from Foggia, it has happened again. Only this time an orchestra was not needed; six chairs were enough. The celebrated Teatro-Edicola of San Severo artistic director Francesco Gravino of the theatre company Foyer ’97 has been featured in the academic journal “Stanford Social Innovation Review (SSIR)” as an academic case study. The news, relayed on 19 September 2026 by ANSA Nazionale, looked like a misprint. Then it became clear that it was not. SSIR, an award-winning publication covering multisectoral solutions to global problems, included the project in its Dispatches section with the reportage “The Six-Seat Revolution”. It is the inverse trajectory to that of the GIO Festival: not a forgotten opera returning to a grand historic Italian horseshoe theatre, but an entire theatre reborn inside a disused place, forgotten by man. There are moments when past and future intertwine to create something visionary, innovative, artistically “revolutionary”: San Severo experienced one of those moments on the morning of 27 March 2026, during World Theatre Day, when the shutter of a newsstand closed for six years in Via Matteo Tondi was reopened “not to sell newspapers, but to offer stirring stories”, to quote Gravino’s motto. The idea of the visionary Francesco Gravino, artistic director, stage director and actor of the San Severo company Foyer ’97, active for at least 30 years in Capitanata, centred on the kiosk, hexagonal in metal and glass, granted free of charge by its owner Pino Frau, by now an urban relic created by the publishing crisis of the early 2000s: today in Italy active newsstands have fallen from about 35,000 in 2005 to about 20,000 in 2024, a decline of 42.8%. Gravino and eleven other actors restructured it in two weeks of work, without institutional funding, and transformed it into what is now under examination by the London commission of Guinness World Records as the “world’s smallest theatre”. The formula is deliberately austere: six spectators at a time outside, actors inside at less than a metre’s distance, 15-minute performances, continuous rotation from 11:00 to 20:45, texts ranging from Goldoni to Chekhov, from Ibsen to Dacia Maraini. On the door a QR code with an original theatrical warning: “Warning! This QR code transforms passers-by into actors. Scan only if ready.” The numbers immediately showed that it was no boutade: more than 60 people in a single afternoon, three inaugural days that sold out. But above all a positive echo that went beyond the borders of San Severo. “Broadway World” (just as in the previous case of the GIO Festival), the world’s most influential theatre criticism outlet with over 5.5 million monthly views, devoted exclusive coverage to it on 27 April 2026: “An Abandoned Italian Newsstand Just Became the World’s Smallest Theatre”. Not a mere listing, but an analysis: “There is no foyer, there is no balcony, there is no grid. There is barely a wing. What there is is something almost unrecognisable as an evening at the theatre, and for that very reason it is all the more powerful.” “Broadway World” captured Gravino’s manifesto idea: “This is a theatre of proximity. In an era of digital distance, we are putting human contact back at the centre,” framing it as “More than a clever exercise in site-specific theatre. It is a reappropriation.” All of this, in a Mezzogiorno of Italy often narrated only in terms of organised crime and marginalisation. To that seal of approval was added another, even more disorienting for a newsstand in San Severo: the “Los Angeles Journal”, one of the most influential publications on the West Coast for the performing arts. On 12 May 2026, it headlined thus: “San Severo’s Teatro-Edicola as an Innovative Model for Los Angeles Theaters?” opening as follows: “In a city in southern Italy that Hollywood has never heard of, a theatre director has just built the smallest stage in the world: six seats, fifteen minutes, zero distance. Los Angeles should pay attention.” The “Los Angeles Journal” does not indulge in folklore, but places the kiosk in Via Matteo Tondi alongside the prestigious 1,600-seat Ahmanson Theatre in Los Angeles, the Pantages of Broadway in Hollywood, the 99-seat plan of Rogue Machine, the Odyssey, the Victory Theatre and the Hollywood Fringe. It even recalls Ethan Marks’s Electrical Box Theatre, a veritable electrical box lined with red velvet in downtown Los Angeles, to argue that Gravino has taken to the extreme the question Los Angeles has been asking itself for decades: How small can a stage become before it ceases to be a stage? And it recognizes the San Severo urban model: almost zero cost, two weeks of work and six chairs, in return for immediate provincial, regional and national media coverage, recognition by the San Severo’s Municipal Administration, and a format exportable anywhere. Then, the third American piece came from “Hollywood Beat Magazine” on 20 April 2026: Six seats. Fifteen minutes. One actor. No stage. The magazine recounts the kiosk in Via Tondi left disused for almost six years, the contemporary six-seat cultural outpost, placing Francesco Gravino in a distinguished genealogy: Richard Schechner and environmental theatre, Jerzy Grotowski and poor theatre, Nicolas Bourriaud and relational aesthetics. But it closes with pragmatism: it is not a thesis, it is fixing a street corner, that is, repairing an urban street corner by asking not how large a theatre can become, but how small it must become again to recover its original power. And finally, the celebrated London-based “The Psychologist”, the journal of the “British Psychological Society (BPS)”, the oldest psychological society in the world, transformed the Teatro-Edicola into a scientific case study: on 30 July 2026 it published “The world’s smallest theatre — and Psychologists’ next act”, starting from the same detail, the morning of 27 March when the metal shutter of the hexagonal kiosk in Via Tondi reopened after six years, six people inside, an actor at less than a metre’s distance beginning Chekhov. It describes the formula: six spectators, 15 minutes, 11 actors over 10 hours, from Goldoni to Euripides, inside a kiosk where the fourth wall does not break because architecturally it never existed. But the BPS goes a step further: it cites the 2025 studies by Damien Gabriel in IBRO Neuroscience Reports, that live performance generates measurably stronger emotional and physiological activation than video, and introduces Edward Hall’s proxemics: below one metre is intimate space, reserved for doctors, close friends, lovers. In that one-square-metre space, the actor’s breath is audible, micro-expressions legible, the self-other boundary becomes permeable. The Teatro-Edicola “does not make theatre better, it makes it inevitable”. And it is here that one understands why Stanford is studying it as an academic case study in social innovation, not as a case of artistic originality. In Italy, meanwhile, the national media circuit had already picked up the phenomenon: RaiNews — TG2 Storie brought it to RaiDue at midnight on 19 April. RTL 102.5 devoted space to the format conceived by Gravino and developed by Foyer ’97 in the heart of San Severo in Via Tondi, defining it as a permanent micro-stage capable of bringing theatre into public space. ANSA.it, Gazzetta del Mezzogiorno, La Repubblica, TG2000, Radio Capital, Swiss RSI, ANSA Brazil and many others followed. And for the record: Fiorello praised it in La Pennicanza as an artistic case inspired by his Edicola Fiore, and Biagio Antonacci, on his tour in the Augustan amphitheatre of Lucera, made a “fact-finding” stop at the Teatro-Edicola singing the celebrated and nostalgic Iris in front of an audience certainly larger than the “six seats”. Francesco Gravino’s theatre company Foyer ’97 was not born yesterday: behind it lie the Teatro-Cantina of 2016, the underground theatre, and in 2011 a performance on the bell tower of a church in the centre of San Severo at 45 metres high. The Teatro-Edicola completes, in Gravino’s words, “the entire vertical extension of theatre: underground, street level, rooftop”. And it is preparing for its thirtieth anniversary in 2027 aiming to purchase the kiosk to make it permanent, exporting the “San Severo Model” to Rome, Lucca, and to the festivals of Santarcangelo and Todi. As with the GIO Festival, someone might dare to claim that it is merely a stunt, but when BroadwayWorld places you alongside the Los Angeles Opera House, the “Los Angeles Journa”l proposes you as a model for Hollywood, “Hollywood Beat Magazine” reads you through Grotowski and the “British Psychological Society” uses you to explain mirror neurones, it is no longer a stunt but an excellent artistic and academic positioning. To those who still whisper that Foggia and Capitanata are provincial, the answer is now written on two opposite and complementary fronts: on 5 June in Foggia a 138-year-old opera found the stage again at the Giordano ending up on BroadwayWorld; on 27 March in San Severo a 4-square-metre kiosk invented a stage that did not exist, ending up at Stanford, in Los Angeles, in Hollywood and in London. The periphery, when it has a precise idea, becomes the centre. Even with six chairs. Luciano Magaldi Sardella

LETTERE MERIDIANE — IL TEATRO-EDICOLA DI SAN SEVERO CONQUISTA IL MONDO SOURCE: SOURCE: https://www.letteremeridiane.org/2026/10/il-teatro-edicola-di-san-severo-conquista-il-mondo/?fbclid=IwY2xjawU4oqFleHRuA2FlbQIxMQBwZG9mAXNydGMGYXBwX2lkEDIyMjAzOTE3ODgyMDA4OTIAAR5rVEwYs6UUXg7v-P0SyIQ_DRb_F6ZiY58OcseYoV4J7atcTiERnhWaqKM2pw_aem_Njle1jq1XLzHr93KLBUcVA Dopo Broadway World, Los Angeles Journal, The Psychologist (British Psychological Association) ed Hollywood Beat Magazine, ora è arrivata la sua “consacrazione accademica” a cura della Stanford University. Come ho già sottolineato nel mio articolo sulla rivincita del GIO Festival a Foggia, celebrata dal BroadwayWorld per la prima mondiale scenica della giordaniana Marina (1888), la provincia di Foggia ha smesso ormai di essere periferia. Accade quando trova un’idea che sposta le coordinate: ebbene, a San Severo, a 40 chilometri da Foggia, è successo di nuovo. Solo che questa volta non serviva un’orchestra, ma sono bastate sei sedie. Il celebre Teatro-Edicola del sanseverese direttore artistico Francesco Gravino della Compagnia Teatrale Foyer’97 è finito sulla rivista accademica Stanford Social Innovation Review (SSIR) in qualità di caso di studio accademico. La notizia, rilanciata il 19 settembre 2026 da ANSA Nazionale, sembrava un refuso. Poi si è capito che non lo era. La SSIR, pubblicazione pluripremiata che copre soluzioni multisettoriali ai problemi globali, ha inserito il progetto nella sezione Dispatches con il reportage The Six-Seat Revolution. È il percorso inverso rispetto a quello del GIO Festival: non un’opera dimenticata che torna in un grande teatro storico italiano a ferro di cavallo, ma un teatro intero che rinasce dentro un luogo dismesso, dimenticato dall’uomo. Ci sono momenti in cui il passato e il futuro si intrecciano per creare qualcosa di visionario, innovativo, artisticamente “rivoluzionario”: San Severo ha vissuto uno di questi momenti la mattina del 27 marzo 2026, durante la Giornata Mondiale del Teatro, quando la saracinesca di un’edicola chiusa da sei anni in Via Matteo Tondi è stata riaperta “non per vendere giornali, ma per offrire emozionanti storie”, citando il motto graviniano. L’idea del visionario Francesco Gravino (nella foto sopra), direttore artistico, regista e attore della compagnia sanseverese Foyer ’97, attiva da almeno 30 anni in Capitanata si è basata sull’edicola, esagonale in metallo e vetro, concessa a titolo gratuito dal proprietario Pino Frau, ormai un relitto urbano creato dalla crisi dell’editoria degli inizi anni 2000: oggi in Italia le edicole attive sono scese da circa 35.000 nel 2005 a circa 20.000 nel 2024, con un calo del 42,8%. Gravino e altri undici attori l’hanno ristrutturata in due settimane di lavoro, senza fondi istituzionali, e l’hanno trasformata in quello che oggi è sotto esame della commissione londinese del Guinness World Record come “teatro più piccolo del mondo”. La formula è volutamente austera: sei spettatori alla volta fuori, attori dentro a meno di un metro, spettacoli di 15 minuti, rotazione continua dalle 11 alle 20.45, testi da Goldoni a Čechov, da Ibsen a Dacia Maraini. Sulla porta un QR code con un originale avvertimento teatrale: “Attenzione! Questo codice QR trasforma i passanti in attori. Scansionate solo se pronti.” I numeri hanno sùbito detto che non era una boutade: più di 60 persone in un solo pomeriggio, tre giornate inaugurali che hanno registrato il tutto esaurito. Ma soprattutto un’eco positiva che è andata oltre i confini sanseveresi. BroadwayWorld (proprio come il previo caso del GIO Festival) la più influente testata mondiale di critica teatrale con oltre 5,5 milioni di visualizzazioni mensili, il 27 aprile 2026 gli ha dedicato una copertura esclusiva: An Abandoned Italian Newsstand Just Became the World’s Smallest Theatre. Non una segnalazione, ma un’analisi: “Non c’è foyer, non c’è balconata, non c’è graticcia. C’è a malapena una quinta. Quello che c’è è qualcosa di quasi irriconoscibile come serata a teatro, e proprio per questo è ancora più potente.” BroadwayWorld ha colto l’idea manifesto di Gravino: “Questo è un teatro di prossimità. In un’epoca di distanza digitale, stiamo rimettendo il contatto umano al centro,” incorniciandolo come “Più che un abile esercizio di teatro site-specific. È una riappropriazione.”. Il tutto, in un Mezzogiorno d’Italia spesso raccontato solo per criminalità organizzata e marginalizzazione. A quel sigillo se ne è aggiunto un altro, ancora più spiazzante per un’edicola di San Severo: il Los Angeles Journal, una delle testate più influenti della West Coast per le arti performative. Il 12 maggio 2026, titola in questo modo: San Severo’s Teatro Edicola as an Innovative Model for Los Angeles Theaters? aprendo così: “In una città del Sud Italia di cui Hollywood non ha mai sentito parlare, un regista teatrale ha appena costruito il palcoscenico più piccolo del mondo: sei posti, quindici minuti, zero distanza. Los Angeles dovrebbe prestare attenzione.” Il Los Angeles Journal non fa folklore, ma mette il chiosco di via Matteo Tondi accanto al presigioso teatro losangelino Ahmanson da 1600 posti, al Pantages di Broadway in Hollywood, ai 99-seat plan di Rogue Machine, all’ Odyssey, al Victory Theatre e all’ Hollywood Fringe. Rievoca persino l’Electrical Box Theatre di Ethan Marks, una vera e propria scatola elettrica foderata di velluto rosso in downtown Los Angeles, per dire che Gravino ha portato all’estremo la domanda che Los Angeles si fa da decenni: Quanto piccolo può diventare un palco prima di smettere di essere un palco? E riconosce il modello urbano sanseverese: costo quasi zero, due settimane di lavoro e una sestina di sedie, a fronte di una immediata copertura mediatica provinciale, regionale e nazionale, riconoscimento dell’ Amministrazione Comunale sanseverese, e un format esportabile (quasi) ovunque. Dopodiché, il terzo tassello americano è arrivato dall’ Hollywood Beat Magazine il 20 aprile 2026: Six seats. Fifteen minutes. One actor. No stage. Il magazine racconta il chiosco di Via Tondi rimasto dismesso per quasi sei anni, il presidio culturale contemporaneo da sei posti, inserendo Francesco Gravino nella genealogia alta: Richard Schechner e l’environmental theatre, Jerzy Grotowski e il teatro povero, Nicolas Bourriaud e l’estetica relazionale. Ma chiude con concretezza: non è una tesi, è fixing a street corner, ovvero aggiustare un angolo di strada urbana chiedendosi non quanto grande può diventare un teatro, ma quanto piccolo deve tornare per recuperare il suo potere originario. E infine, il celebre londinese The Psychologist, la rivista della British Psychological Society (BPS), la più antica società di psicologia al mondo, ha trasformato il Teatro-Edicola in caso di studio scientifico: il 30 luglio 2026 pubblica The world’s smallest theatre — and Psychologists’ next act, partendo dallo stesso dettaglio, la mattina del 27 marzo in cui la saracinesca metallica del chiosco esagonale di Via Tondi si riapre dopo sei anni, sei persone dentro, un attore a meno di un metro che inizia Chekhov. Descrive la formula: sei spettatori, 15 minuti, 11 attori su 10 ore, da Goldoni a Euripide, dentro un chiosco dove la quarta parete non si rompe perché architettonicamente non è mai esistita. Ma la BPS fa un passo oltre: cita gli studi del 2025 di Damien Gabriel su IBRO Neuroscience Reports, la performance live genera attivazione emotiva e fisiologica misurabilmente più forte del video e introduce la prossemica di Edward Hall: sotto il metro è spazio intimo, riservato a medici, amici stretti, amanti. In quello spazio da un metro quadrato, il respiro dell’attore è udibile, le microespressioni leggibili, il confine sé-altro diventa permeabile. Il Teatro-Edicola “non rende il teatro migliore, lo rende inevitabile”. Ed è qui che si capisce perché Stanford lo studia come caso di studio accademico di innovazione sociale, non come caso di originalità artistica. In Italia, nel frattempo, il circuito mediatico nazionale aveva già intercettato il fenomeno: RaiNews — TG2 Storie lo porta su RaiDue alla mezzanotte del 19 aprile. RTL 102.5 dedica spazio al format ideato da Gravino e sviluppato da Foyer’97 nel cuore di San Severo in Via Tondi, definendolo micro-palcoscenico permanente capace di portare teatro nello spazio pubblico. ANSA.it, Gazzetta del Mezzogiorno, La Repubblica, TG2000, Radio Capital, RSI svizzera, ANSA Brasile e tanti altri seguono. E per diritto di cronaca: Fiorello lo ha elogiato in La Pennicanzacome caso artistico ispirato al suo Edicola Fiore, nonché Biagio Antonacci, nel suo tour nell’anfiteatro augusteo di Lucera, ha fatto tappa “conoscitiva” nel Teatro-Edicola cantando la celebre e nostalgica Iris davanti ad un pubblico sicuramente maggiore dei “sei posti”. La Compagnia Teatrale Foyer ’97 di Francesco Gravino non è nata ieri: ha alle spalle il Teatro-Cantina del 2016, il teatro sottoterra, e nel 2011 una performance sulla torre campanaria di una chiesa del centro di San Severo a 45 metri d’altezza. Il Teatro Edicola completa, nelle parole di Gravino, “l’intera estensione verticale del teatro: sottoterra, piano strada, tetto”. E si prepara al trentennale del 2027 puntando ad acquistare l’edicola per renderla permanente esportando il “Modello San Severo” a Roma, Lucca, nei festival di Santarcangelo e Todi. Come per il GIO Festival, qualcuno potrebbe osare di affermare che si tratta solo di un exploit ma, quando BroadwayWorld ti mette accanto alla Los Angeles Opera House, il Los Angeles Journal ti propone come modello per Hollywood, Hollywood Beat Magazine ti legge con Grotowski e la British Psychological Society ti usa per spiegare i neuroni specchio, non è più un exploit ma un eccellente posizionamento artistico ed accademico. A chi ancora sussurra che Foggia e la Capitanata siano provincia, la risposta ora è scritta su due fronti opposti e complementari: il 5 giugno a Foggia un’opera di 138 anni ha ritrovato la scena al Giordano finendo su BroadwayWorld; il 27 marzo a San Severo un’edicola di 4 metri quadrati ha inventato una scena che non esisteva, finendo a Stanford, a Los Angeles, a Hollywood e a Londra. La periferia, quando ha un’idea precisa, diventa centro. Anche con sei sedie. Luciano Magaldi Sardella

CIVICO 33 - "ORTA NOVA SOUND LAB": FROM CAPITANATA TO "BROADWAY WORLD", THE "COMMUNITY BAND" PROJECT CONQUERS NEW YORK The social laboratory promoted by ANBG and the Ministry of Culture lands on the largest theatrical network in the world thanks to the article co-written by Chris Rabinowitz and the Orthese author Luciano Magaldi Sardella. There is a brass thread connecting Piazza Mario Frasca to Broadway. "Orta Nova Sound Lab" is the Community and Social Regeneration Band through Music, the project officially presented on September 21 at the C-Lab MAO FM 19.77 by brothers Luca and Erminio Ferrandina, which is experiencing unprecedented media attention for a band initiative born in the province of Foggia. The journalistic success is marked by its appearance on September 28 in Broadway World, the most authoritative global portal dedicated to theater and live performance, based in New York with over 1.5 million monthly global visits. This is not an insignificant result, projecting a story from the Apulian periphery into the realm of international cultural information. The article, titled "Orta Nova Sound Lab Launches Youth Community Band in Southern Italy," is co-authored by New York editor Chris Rabinowitz, a journalist for the American publication, and his Italian co-author Luciano Magaldi Sardella, an international author originally from Orta Nova, an engineer, academic journalist, and researcher active between Italy and abroad. The dual Italian-American signature symbolizes how a "good local practice" can become global news when told with expertise and roots. The Project: the Band as Social Regeneration "Orta Nova Sound Lab" is promoted by the National Association of Marching Bands (ANBG), chaired by Benedetto Grillo, and has been approved for funding under the public notice of the Ministry of Culture as per D.D.G. April 7, 2026, rep. n. 149, aimed at "Enhancing research and dissemination of musical practices in peripheral and areas of high social vulnerability." It is realized with the support of the Municipality of Orta Nova and with the collaboration of a solid civic network: the A.P.S. MAO FM 19.77, the "A. Olivetti" Higher Education Institute, the "Sandro Pertini" Comprehensive Institute, the Music Art association, and the C.I.S.A. of Foggia. As highlighted by "Broadway World," this is the first initiative in Italy to reinterpret the distinctive tradition of marching bands and youth orchestras within a ministry grant dedicated to urban peripheries and social vulnerability. A model that explicitly dialogues with the spirit of the so-called "Caivano Decree" (D.L. 123/2023) for combating youth discomfort, educational poverty, and juvenile delinquency. The idea, in its disarming simplicity, was summarized by the project director for ANBG, Antonella Spagnoletti: "The band is aggregation! The band is cohesion. Bringing these kids together to learn and live differently from the social world is among the primary objectives of our association." This concept was reiterated by the Mayor of Orta Nova, Ing. Domenico Di Vito: "This is an important project that can definitely make a difference compared to the past because it has all the ingredients to connect the entire world of culture and social issues that exists in Orta Nova and needs to be valued. The administration's commitment is to ensure sustainability, structure, and continuity over time." At the press conference presentation, moderated by journalist Giuseppe Di Bisceglie, participated alongside President Grillo, Director Spagnoletti, and Mayor Di Vito, Regional Councillor Grazia Maria Starace, Councillor for relationships with the third sector Sebastiano Battista, Councillor for Culture Vittoria Mastrogiacomo, and educational professor Alfredo Coppola, delegate of the Olivetti Institute. Why the News Became International The "Orta Nova Sound Lab" marching band project demonstrates that when a project has anti-mafia roots, pedagogical value, and a credible institutional network, the press responds. From local and national outlets like Cassa Armonica, Ansa Puglia, TGNorba, Corriere della Sera Bari, RaiNews TGR Puglia, La Gazzetta del Mezzogiorno, Amica9TV, Brindisi In, Blasting News Italia, TRM Network, Secolo XIX, FoggiaToday, PlayNews24, Stato Quotidiano, and many others that well-documented the conference, it reached BroadwayWorld, which viewed the Orthese experience as a "social laboratory" capable of responding to the mafia with music. This leap in scale comes from joint efforts and the bridging work done by Luciano Magaldi Sardella, who managed to translate for the English-speaking audience alongside New York editor Chris Rabinowitz the deep meaning of a village band that in Apulia is not folklore, but a civil presence, a concrete alternative to screens and disintegration. In a South often narrated only for its emergencies, Orta Nova chooses to be told for its ability to generate community. And this time, the news has made its way around the world, starting from a square in Daunia. The Schedule The path, entirely free, includes instrumental workshops for brass and percussion, ensemble music lessons, and collective rehearsals with qualified teachers and conductors, open to aspiring musicians, families, schools, and citizens. The program that attracted the attention of national and now international press is organized as follows: October 2026: parade of bands marching through the streets and public spaces of Orta Nova, to recover the historical value of the band as a popular and identity expression. November-December 2026: high-profile concert season with the Grand Band Concert of Conversano and the Grand Band Concert "Biagio Abbate" City of Bisceglie, artistic training for the young students. Focus on inclusion: a special evening dedicated to female music with the Orchestra Note di Puglia, a formation composed entirely of professionals, to reinforce the values of equal opportunities. January 2027: first official concert of the newly formed Community Band of Orta Nova, a foundational act and public restitution of the work done. (translated)

CIVICO 33 — “ORTA NOVA SOUND LAB”: FROM CAPITANATA TO “BROADWAYWORLD”, THE “COMMUNITY BAND” PROJECT CONQUERS NEW YORK SOURCE: https://www.civico93.it/orta-nova-sound-laab-dalla-capitanata-a-broadwayworld-il-progetto-banda-di-comunita-conquista-new-york/ The social laboratory promoted by ANBG and the Ministry of Culture has landed on the world’s largest theatre network, thanks to the article co-authored by Chris Rabinowitz and the Orta Nova-born author Luciano Magaldi Sardella. There is a brass thread linking Piazza Mario Frasca to Broadway. It is called “Orta Nova Sound Lab” — the Community and Social Regeneration Band through Music — the project officially presented on 21 September last at the C-Lab MAO FM 19.77 of brothers Luca and Erminio Ferrandina, which is enjoying unprecedented media coverage for a band-cultural initiative born in the Province of Foggia. Its journalistic success was sealed on 28 September last by its arrival on BroadwayWorld, the world’s most authoritative portal dedicated to theatre and live performance, based in New York with over 1.5 million global monthly visits. A result that was by no means a foregone conclusion, which projects a story from the Apulian periphery into the international cultural news circuit. The article, entitled Orta Nova Sound Lab Launches Youth Community Band in Southern Italy, is jointly by-lined by New York editor Chris Rabinowitz, journalist for the American publication, and his Italian co-author Luciano Magaldi Sardella, an international author originally from Orta Nova, engineer, academic journalist, and researcher active between Italy and abroad. The dual Italo-American by-line symbolises how a “local good practice” can become global news when it is recounted with expertise and rootedness. The Project: The Band as Social Regeneration “Orta Nova Sound Lab” is promoted by the Associazione Nazionale Bande da Giro (ANBG), chaired by Benedetto Grillo, and was admitted for funding under the public call of the Ministry of Culture pursuant to Director General Decree of 7 April 2026, reg. no. 149, aimed at the “Strengthening of research activities and dissemination of musical practices in peripheries and in areas of high social vulnerability”. It is realized with the support of the Comune di Orta Nova and with the collaboration of a solid civic network: A.P.S. MAO FM 19.77, the Istituto di Istruzione Superiore “A. Olivetti”, the Istituto Comprensivo “Sandro Pertini”, the Music Art association, and the C.I.S.A. of Foggia. As BroadwayWorld itself emphasised, this is the first initiative in Italy to reinterpret the distinctive tradition of touring bands (bande da giro) and youth orchestras within a ministerial call dedicated to urban peripheries and social vulnerability. A model that dialogues explicitly with the spirit of the so-called “Caivano Decree” (Law Decree 123/2023) for combating youth distress, educational poverty, and juvenile crime. The idea, in its disarming simplicity, was summarised by the project director for ANBG, Antonella Spagnoletti: “The band is aggregation! The band is cohesion. Bringing these youngsters together, educating them, and enabling them to live in a manner different from the social-media world is among the primary objectives of our association.” A concept reiterated by the Mayor of Orta Nova, Eng. Domenico Di Vito: “This is an important project that can certainly make a difference compared with the past, because all the ingredients are there to network the entire cultural and social world that exists in Orta Nova and that must be valorised. The administration’s commitment is to ensure sustainability, structure, and continuity over time.” Taking part in the launch press conference, moderated by journalist Giuseppe Di Bisceglie, in addition to President Grillo, Director Spagnoletti, and Mayor Di Vito, were Regional Councillor Grazia Maria Starace, Councillor for relations with the third sector Sebastiano Battista, Councillor for Culture Vittoria Mastrogiacomo, and educational professor Alfredo Coppola, contact person for the Olivetti Institute. Why the Story Went International The “Orta Nova Sound Lab” band project demonstrates that when a project has anti-mafia roots, pedagogical value, and a credible institutional network, the press responds. From local and national titles such as Cassa Armonica, Ansa Puglia, TGNorba, Corriere della Sera Bari, RaiNews TGR Puglia, La Gazzetta del Mezzogiorno, Amica9TV, Brindisi In, Blasting News Italia, TRM Network, Secolo XIX, FoggiaToday, PlayNews24, Stato Quotidiano, and many others, which thoroughly documented the conference, the coverage reached “Broadway World”, which read the Orta Nova experience as a “social laboratory” capable of answering the mafia with music. This change of scale derives from joint work and also from the liaison work carried out by Luciano Magaldi Sardella, who, together with New York editor Chris Rabinowitz, succeeded in translating for an Anglophone audience the profound meaning of a town band which, in Apulia, is not folklore, but a civil garrison, a concrete alternative to the screen and to social disintegration. In a South often narrated only for its emergencies, Orta Nova chooses to be recounted for its capacity to generate community. And this time, the news has travelled around the world, starting from a piazza in the Daunia. The Calendar The pathway, which is entirely free of charge, provides instrumental workshops for wind and percussion, ensemble music lessons, and collective rehearsals with qualified teachers and conductors, open to aspiring musicians, families, schools, and citizens. The programme that has attracted the attention of the national and now international press is structured as follows: October 2026: parade of marching bands through the streets and public spaces of Orta Nova, to recover the historic value of the band as a popular and identity-based expression. November–December 2026: high-profile concert season with the Gran Concerto Bandistico di Conversano and the Gran Concerto Bandistico “Biagio Abbate” Città di Bisceglie, an artistic training ground for young pupils. Inclusion Focus: a special evening dedicated to women in music with the Orchestra Note di Puglia, an ensemble composed entirely of professional women musicians, to reinforce the values of equal opportunities. January 2027: first official concert of the newborn Community Band of Orta Nova, a foundational act and public restitution of the work accomplished. (translated)

“PUGLIA IN”: “ORTA NOVA SOUND LAB” CONQUERS NEW YORK: THE “COMMUNITY BAND” LANDS ON “BROADWAY WORLD” SOURCE: https://www.pugliain.net/303862-orta-nova-sound-lab-new-york-banda/ I am delighted that my article submitted to editor Chloe Rabinowitz has been accepted and published. In any case, we are not talking about just any website, but the largest theatre website in the world on the internet, the one that covers Broadway, the West End and beyond, with over 6 million visitors per month, present in 100 US cities, 45 countries and in 12 languages worldwide. __________________________________________________________________________ Orta Nova (FG) — The social and musical project “Orta Nova Sound Lab” debuted last week on the prestigious US portal BroadwayWorld, an international live performance network based in New York. The initiative, born in Orta Nova in the heart of Capitanata, nothern Puglia region in South Italy, to create a youth community band, was presented overseas as an innovative model of inclusion and urban regeneration for the Mezzogiorno. The Pulgian model of social regeneration through music, promoted by the “Associazione Nazionale Bande da Giro (ANBG)” chaired by Benedetto Grillo and supported by the Municipality of Orta Nova, has been admitted for funding by the Ministry of Culture under the call for strengthening music in suburbs and vulnerable areas. The project follows in the wake of interventions to counter youth distress and educational poverty envisaged in the spirit of the “Caivano Decree”. The article published in the American outlet is co-authored by New York editor Chris Rabinowitz and by Orta Nova author and researcher Luciano Magaldi Sardella. The text illustrates how the centuries-old Puglian wind-band tradition has been reinterpreted as an instrument of prevention and civic cohesion, thanks to collaboration between the MAO FM 19.77 association, the Olivetti Institute, the Pertini Institute, Music Art and the C.I.S.A. of Foggia. Why the News Went International The “Orta Nova Sound Lab” band project demonstrates that when a project has anti-mafia roots, pedagogical value, and a credible institutional network, the press responds. From local and national outlets such as Cassarmonica, Ansa Puglia, TGNorba, Corriere della Sera Bari, RaiNews TGR Puglia, La Gazzetta del Mezzogiorno, Amica9TV, Brindisi In, Puglia IN, Blasting News Italia, TRM Network, Secolo XIX, FoggiaToday, PlayNews24, Stato Quotidiano, and many others, which thoroughly documented the press conference, coverage has now reached “Broadway World”, which has interpreted the Orta Nova experience as a “social laboratory” capable of answering the mafia with music. This leap in scale derives from joint work and from the liaison work carried out by Luciano Magaldi Sardella, who, together with New York editor Chris Rabinowitz, succeeded in translating for an Anglophone audience the profound meaning of a town band that in Puglia is not folklore, but a civic garrison, a concrete alternative to young people’s dependence on electronic screens and to social disintegration. In a southern Italy often narrated solely through its emergencies, Orta Nova chooses to be narrated for its capacity to generate community. And this time, the news has travelled around the world, starting from a square in the Basso Tavoliere. The Stages of the Programme and the Major Concerts in Capitanata The programme, entirely free of charge for participants, offers training courses for wind and percussion instruments alongside ensemble music lessons. During October 2026, the streets of Orta Nova will host band parades and processions, whilst between November and December the area will see performances by the prestigious Gran Concerti Bandistici of Conversano and Bisceglie. The bill will reserve a specific space for equal opportunities with the all-female performance of the Orchestra Note di Puglia. The journey will culminate in January 2027 with the first official concert of the newly formed Banda di Comunità of Orta Nova, the culmination of a training itinerary that projects the social redemption of the Province of Foggia onto the global cultural scene.

“PUGLIA IN”: “ORTA NOVA SOUND LAB” CONQUISTA NEW YORK: LA “BANDA DI COMUNITA’ “APPRODA SU “BROADWAY WORLD” SOURCE: https://www.pugliain.net/303862-orta-nova-sound-lab-new-york-banda/ Lieto che il mio articolo inviato all’editor Chloe Rabinowitz sia stato accettato e pubblicato. Comunque, non stiamo parlando di un sito qualsiasi, ma de il più grande sito di teatro al mondo su internet, quello che copre Broadway, il West End e oltre, con oltre 6 milioni di visitatori al mese, presente in 100 città USA, 45 paesi e in 12 lingue nel mondo. _________________________________________________________________ ORTA NOVA (FG) — Il progetto sociale e musicale “Orta Nova Sound Lab” ha debuttato la scorsa settimana sul prestigioso portale statunitense BroadwayWorld, network internazionale dello spettacolo dal vivo con sede a New York. L’iniziativa, nata a Orta Nova nel cuore della Capitanata per creare una banda giovanile di comunità, è stata presentata oltreoceano come un modello innovativo di inclusione e rigenerazione urbana per il Mezzogiorno. Il modello pugliese di rigenerazione sociale attraverso la musica promosso dall’ “Associazione Nazionale Bande da Giro (ANBG)” presieduta da Benedetto Grillo e sostenuto dal Comune di Orta Nova, il laboratorio è stato ammesso a finanziamento dal Ministero della Cultura nell’ambito del bando per il potenziamento della musica nelle periferie e nelle aree vulnerabili. Il progetto si inserisce nel solco degli interventi di contrasto al disagio giovanile e alla povertà educativa previsti dallo spirito del “Decreto Caivano”. L’articolo pubblicato sulla testata americana porta la firma dell’editor newyorchese Chris Rabinowitz e dell’autore e ricercatore di Orta Nova Luciano Magaldi Sardella. Il testo illustra come la secolare tradizione bandistica pugliese sia stata reinterpretata quale strumento di prevenzione e coesione civica, grazie alla collaborazione tra l’associazione MAO FM 19.77, l’Istituto Olivetti, l’Istituto Pertini, Music Art e il C.I.S.A. di Foggia. Perché la Notizia è Diventata Internazionale Il progetto bandistico “Orta Nova Sound Lab” dimostra che quando un progetto ha radici antimafia, valenza pedagogica e una rete istituzionale credibile, la stampa risponde. Dalle testate locali e nazionali come Cassarmonica, Ansa Puglia, TGNorba, Corriere della Sera Bari, RaiNews TGR Puglia, La Gazzetta del Mezzogiorno, Amica9TV, Brindisi In, Puglia IN, Blasting News Italia, TRM Network, Secolo XIX, FoggiaToday, PlayNews24, Stato Quotidiano, e tanti altri, che hanno ben documentato la conferenza, si è arrivati a “Broadway World”, che ha letto l’esperienza ortese come “laboratorio sociale” capace di rispondere alla mafia con la musica. Questo salto di scala deriva dal lavoro congiunto anche al lavoro di raccordo svolto da Luciano Magaldi Sardella, che ha saputo tradurre per il pubblico anglofono insieme alla redattrice newyorchese Chris Rabinowitz il significato profondo di una banda di paese che in Puglia non è folklore, ma presidio civile, alternativa concreta alle dipendenze giovanili dagli schermi elettronici e alla disgregazione sociale. In un Sud spesso narrato solo per le sue emergenze, Orta Nova sceglie di farsi raccontare per la sua capacità di generare comunità. E questa volta, la notizia ha fatto il giro del mondo, partendo da una piazza del Basso Tavoliere. Le tappe del programma e i grandi concerti in Capitanata La programmazione, totalmente gratuita per i partecipanti, propone percorsi formativi per strumenti a fiato e percussioni affiancati da lezioni di musica d’insieme. Durante il mese di ottobre 2026, le vie di Orta Nova ospiteranno sfilate e parate bandistiche, mentre tra novembre e dicembre il territorio vedrà l’esibizione dei prestigiosi Gran Concerti Bandistici di Conversano e Bisceglie. Il cartellone riserverà uno spazio specifico alle pari opportunità con l’esibizione al femminile dell’Orchestra Note di Puglia. Il percorso culminerà a gennaio 2027 con il primo concerto ufficiale della neonata Banda di Comunità di Orta Nova, traguardo di un itinerario formativo che proietta il riscatto sociale della provincia di Foggia sulla scena culturale globale.

The article emphasizes how the participation of the Vice President of the Piedmont Region, Maurizio Marrone, in the rituals of a chivalric order linked to the House of Savoy is not just folklore, but a strategic action aimed at gathering support among monarchy nostalgics and representing a threat to the democratic constitutional order. #MarroneCrociato #EmanueleFiliberto #PoliticaPiemonte (translated)

povo fica falando do folklore, mas o outro lá tava com a taylor tb quando ela escreveu o lover e na época os comentários eram os mesmíssimos dessa era sei lá, ok vcs não gostarem do marido dela, mas é tanto malabarismo pra inventar motivo pra falar mal dele e dela. soa ridículo #TaylorSwift #Folklore #Lover

Po světě jsou 2 miliony potomků Čechů, lidí kteří si uvědomují 🇨🇿 původ. To je populačně další dva kraje. Nejde jen o folklorní tanečky. Řada synků zahraničních 🇨🇿 pomáhala Československu vzniknout a vyháněls z něj nácky. Obzor temní a tahle složka diplomacie-aby byli ochotni bít se za “ vzdálenou zemi o které málo víme” -je podstatná . #ČeskáRepublika #holocaust #diplomacie

Nicolas Sarkozy a raison. La France a des racines judéo-chrétiennes. Et on ne se coupe pas de ses racines. Un peuple qui oublie d’où il vient finit par ne plus savoir où il va. La France n’est pas née d’un décret abstrait. Elle s’est formée dans une longue histoire : celle de la Bible et de l’Évangile, du droit romain repris et transformé, des cathédrales, des écoles, des hôpitaux, de l’idée que chaque personne a une dignité irréductible. Ces racines judéo-chrétiennes ne sont pas une relique folklorique. Elles ont façonné notre rapport au temps, à la justice, à la liberté de conscience, à la solidarité et même à la laïcité, qui n’a de sens que parce qu’elle est née dans ce terreau-là. Reconnaître cela n’est pas fermer la porte aux autres. C’est simplement refuser l’amnésie. Un pays qui nie son héritage se condamne à n’être plus qu’un espace administratif, sans mémoire et sans forme. On peut accueillir, dialoguer, évoluer. On ne peut pas tout reconstruire à partir de rien. Les racines ne sont pas des chaînes. Elles sont ce qui tient debout.​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​​ Si on coupe un arbre et ses racines, il n y a pas des branches ni de feuilles. 😉 https://t.co/2FtoAZVIig #France #Histoire #Identité

Zelená neziskovka psala zákony? Nikdo nehnul ani brvou Máme tu nový skandál. Spolek "Společnost pro ochranu svobody projevu" (SOSP) měl ovlivňovat znění evropského nařízení DSA a podávat připomínky k jeho zapracování do české legislativy. Reakce? Všichni šílí, Seznam pro jistotu vypublikoval hned tři články střídající se na titulní straně, redaktoři pohoršeně zaplavují sítě příspěvky a vyzývají k odsouzení naprosto bezprecedentního vměšování se do státních záležitostí. https://t.co/KeX1IFoD6k Má to být nezákonný lobbing. Je třeba to vyšetřit, prověřit a případně i spolek sankcionovat, co si to vůbec dovoluje... Pak tu máme jiné "vykuky". Například neziskovku "Fakta o klimatu", oficiálně zapsanou jako Otevřená data o klimatu z,ú. Tahle neziskovka jeden zákon, respektive strategický vládní dokument přímo napsala (!!!). Jde o Politiku ochrany klimatu (POK) - z dokumentu vychází nastavení výzev Modernizačního fondu, vychází z ní vyhlášky a další poměrně podstatné věci, například ESG reporting firem. To je, když vám firma sebere služební auto a nařídí jezdit na kole, aby měla nižší emisní stopu, jinak nedostane úvěr. Smlouva 1 - https://t.co/Cjq7p5SOxW Smlouva 2 - https://t.co/f0Bn3nBLh7 Fakta o klimatu vede Ondráš Přibyla, bývalý předseda Strany Zelených. V listopadu roku 2023 si od neziskové organizace objednalo sepsání vládního strategického dokumentu přímo Ministerstvo životního prostředí, respektive jeho nejmocnější úředník, bývalý zaměstnanec Hnutí DUHA, Petr Holub. Stálo to přes 600 tisíc korun. Neziskovka dokument nejen, že sepsala, ale dokonce jej za resort obhajovala v takzvaném připomínkovém řízení s dalšími resorty. Bylo to součástí smlouvy a klimatičtí aktivisté měli v práci naprosto volnou ruku. To není vše. Fakta o klimatu opravdu nesnáší uhlí a fosilní energetiku. Když se projednával zákon LEX OZE III, vytvořila neziskovka studii "Konec uhlí v České republice". Výroční zpráva 2024 - https://t.co/VyeXl9sRgP Petr Hladík studii vzal a dokument s daty, kde se do ceny OZE nepromítají náklady na přenosovou soustavu, využil jako legislativní podklad k tomu, aby byly pozměňovací návrhy vyzývající k použití zdravého rozumu zamítnuty. Šlo o společný návrh ANO a ODS. Studie - https://t.co/jT4Uk2biOw Co k tomu říká Ondřáš Přibyla, když ve výroční zprávě neziskovky sám sobě klade dotaz, na co je nejvíc hrdý? "Na to, že naše práce měla přímý dopad na legislativu – konkrétně na zákon Lex OZE3. V tomhle případě naše analýza posloužila jako podklad pro argumentaci proti návrhům, které by v původní podobě mohly vést k dotování provozu uhelných elektráren. To nám vlastně trochu ukázalo, že jsme dozráli jako organizace." Co naplat, že jsou data ve studii zcela vyfabulovaná. Není v nich cena zdrojů vyvažujících výkon OZE a chybí investice do infrastruktury. To už je u OZE takový folklór. Neziskovou organizaci Fakta o klimatu platí (...dramatická pauza) Solární Asociace, Krsek Family Foundation. Wienerberger, European Climate Foundation, PPG Group, HW Group, ČSOB a také Státní fond životního prostředí. Kromě ČSOB a státního SFŽP jde ve všech (!!!!!) případech o firmy podnikající v sektoru OZE a čerpající miliardové dotace závislé na provozní podpoře zdrojů. Evropská unie pak Fakta o klimatu podporuje přesně proto, aby neziskovka prosazovala a podporovala její politiku. Zdroj financování, výroční zpráva, str. 24 - https://t.co/VyeXl9sRgP To už stojí za několik těch milionů, aby ty zákony Ondráš Přibyla sám napsal a zlé uhelné elektrárny odstavil vyfabulovanými daty. Vážený Sezname a další "nezávislí" redaktoři. Mám takový pocit, že spolek SOSP legislativu přímo nepíše, natož, aby mu stát za psaní strategických dokumentů platil. Natálie Vachatová je oficiální poradkyní stejně, jako byl poradcem na MPO lobbista Štěpán Chalupa z Komory OZE a na MŽP Martin Sedlák ze Svazu moderní energetiky. Poslední jmenovaný jaksi zvlčel a ministerstvo fakticky řídil. Pravděpodobně při tom porušil i množství zákonů, nejen těch o skrytém a neohlášeném lobbingu, jak uvádím v poslední reportáži. https://t.co/6UI3pUMrsH Až se budou v Seznamu divit, že je nepouští do Poslanecké sněmovny, až se budou redaktoři hájit "nezávislou a objektivní" žurnalistikou, stačí se podívat na tento příklad maximální nevyváženosti, politické angažovanosti a zcela nepokrytého přehlížení průšvihů těch, kterým redakce fandí na úkor těch, kteří jsou jejími ideologickými nepřáteli. Dnešní média totiž stále častěji přebírají role politruků, tedy ideových kontrolorů prosazování stranické linie v rámci veřejné debaty. Nezisková organizace ovlivňuje zákony? Brojí proti DSA, Chat Control, Agora EU, RRS a dalším nařízením Evropské komise? Ne, to je ideologicky špatně. Jiná nezisková organizace ovlivňuje zákony? Píše národní strategické dokumenty, fabrikuje studie ovlivňující energetickou bezpečnost? Aha, ona prosazuje bezemisní ekonomiku a je financovaná těmi správnými "klimaticky" přívětivými investory, navíc jí vedou naši oblíbení Zelení... To je, samozřejmě, ideologicky naprosto čisté. Jako lobbisté přitom nejsou zapsáni ani členové SOSP, ale ani členové neziskovky Fakta o klimatu. A takhle se, vážení, rodí autocenzura. Pak se všichni divíte, proč vám klesají prodeje či příjmy z inzerce a proč se propadá také index důvěry čtenářů. Ne, není to politickými útoky, můžete si za to sami. Šalom. Foto Přibyla: Fakta o klimatu Foto Vachatová: Facebook #neziskovky #legislativa #klima

Diese abgedroschene Folklore, in der die demütig stolpernde deutsche Selbstverachtung und reaktionäre Import-Ideolog*innen im Gleichschritt tanzen, um ihren antiwestlichen Kurs gemeinsam feierlich abzusichern- es ist einfach perfekt. https://t.co/HCgHE2oaiU #Deutschland #Folklore #Selbstverachtung

📌 La différence entre le soutien populaire et le folklore payé ! 🔥🇸🇳 ❌ Pas de pancartes financées ❌ Pas d'argent distribué ni de tee-shirts distribués ❌ Pas de logistique louée 🟢🔴 Que de l'amour pur et spontané pour notre PROS ! Tout est 100% improvisé par le peuple. C'est ça la vraie légitimité ! ⚡ #SoutienPopulaire #VraieLégitimité #AmourSpontané

Cette France-là ne fait pas de communiqué. Elle se lève à 4h, elle charge le camion, elle pêche, elle bosse, elle paie le gasoil et elle se tait. 
Jusqu’au jour où elle ne se tait plus. 
Fos ce matin, ce n’est pas du folklore. C’est le pays réel. Et que fait Macron au lieu d’entendre leur colère ? Il leur envoie les CRS pour les réprimer, comme il a toujours fait. C’est insupportable. 😤 https://t.co/0XczQQQukw #France #Colère #Répression

Pětadvacetiletý Karel Kryl si 9. září 1969 sbalil jízdenku od Čedoku, dvě gramodesky a zásnubní prsten. Mířil na písničkářský festival na zřícenině hradu Waldeck v západoněmeckém Hunsrücku. Měl se vrátit za čtrnáct dní. Nevrátil se dvacet let. Rozhodnutí padlo až tam. Podle dochovaných papírů z Národního archivu se k azylu odhodlal teprve v cizině. Doma nechal skoro všechno: rodinu, věci i přítelkyni Helenu Landovskou, sestru herce Pavla Landovského. Rodičům napsal větu, která zní skoro jako ukolébavka a zároveň jako výmluvu před sebou samým: „Žádnej strach, ve světě se neztratím. A hlavně klid, nic se neděje. Chleba je tu stejnej jako doma.“ Nebylo. Německy neuměl. Práci neměl. Posluchače taky ne. Měřil sto padesát osm centimetrů. Kytara mu sahala skoro k ramenům. Přesto z něj už před odjezdem byl „národní tragéd“, jak si později sám říkal. Rodina knihtiskařů z Nového Jičína přišla v roce 1950 o tiskárnu. Stroje komunisté rozbili před očima šestiletého chlapce a odvezli do šrotu. Z keramické školy v Bechyni a vojny v Dobřanech se vynořil básník, který psal tak ostře, že režimu nezbylo než ho umlčet. Píseň *Bratříčku, zavírej vrátka* spadla podle jeho vlastních slov „z nebe“ v noci po 21. srpnu 1968. Viděl v Jičíně dva kluky s hlavami v dlaních. Deska stejného jména vyšla začátkem roku 1969 u Pantonu, protože Supraphon ji odmítl. Na obálce byly fotografie Josefa Koudelky. Režim zbývající náklad nechal rozřezat cirkulárkou. V hitparádě *Čtrnáct na houpačce* Českého rozhlasu (@CRozhlas) *Bratříček* nejdřív skončil druhý, pak vyhrál. Pak zakázali píseň i pořad. Po prvním výročí okupace v srpnu 1969 zasáhly na Václavském náměstí Lidové milice. Krylovy koncerty se rušily jeden za druhým. Festival na Waldecku, poslední ze série *Chanson Folklore International*, byl tehdy jednou z mála cest ven. Po dvou týdnech požádal ve Spolkové republice Německo o politický azyl. Usadil se v Mnichově, kterému říkal Mníšek pod Alpou. Žil skromně, studoval dějiny umění a žurnalistiku, koncertoval pro krajany. Pro Rádio Svobodná Evropa (@RFERLPress) nejdřív pracoval jako externista, od roku 1983 jako řádný redaktor. Vedl i sportovní relace a vlastní okénko *Krylologie*. Německé občanství si nikdy nevzal, protože by se musel vzdát československého. Alba *Rakovina*, *Maškary* a *Karavana mraků* se do republiky pašovala v obalech od operet. Lidé je kopírovali na magnetofonech. Za šíření jeho písní padly u nás i dva nepodmíněné tresty vězení. Režim na něj přes hranici nedosáhl. Písně ano. Domů se podíval až 30. listopadu 1989, na pohřeb matky. Týden v rozjetém převratu označil za nejhezčí týden života. Pak přišlo zklamání z porevoluční politiky, z rozdělení Československa, z toho, že se nikdy nesešel s Václavem Havlem. Napsal *Demokracii*. Zůstal nepohodlný i ve svobodě. V roce 1991 stál v pražské Lucerně. Koncert k desce *Maškary*, hostem Ivan Hoffman. Pro mě jediný koncert, na kterém jsem kdy byl. Stál jsem hned u pódia s minikazeťákem a nahrával. Znal jsem nazpaměť všechny jeho písně. On na jevišti pořád vypadal jako člověk, kterému kytara přerostla přes hlavu, a přitom zaplnil sál tak, že z něj nebylo úniku. 3. března 1994 ho v Mnichově zabil infarkt. Bylo mu devětačtyřicet. Dva dny předtím ještě stihl Prahu. Zádušní mši sloužil přítel, břevnovský arciopat Anastáz Opasek. Před klášterem se tísnily čtyři tisíce lidí. Leží na Břevnovském hřbitově. Od toho zářijového rána s jízdenkou od Čedoku uplynulo přesně sedmapadesát let. Pásy se rozřezaly, hranice zmizely, magnetofony zestárly. Kazetu z koncertu u pódia v Lucerně mi ukradli vykradači bytů, které předtím pustili po Havlově amnestii. Písně nezestárly. Stále platí to, co Kryl věděl už v pětadvaceti: slovo, které se nedá zakázat cirkulárkou, přežije i toho, kdo ho napsal. P.S.: Byl Kryl i vaším idolem, nebo jste k němu přišli až později? Napište, která jeho píseň vám zůstala v hlavě. Každý den sem dávám aspoň jeden příběh, který stojí za to si znát. Like, komentář, sdílení, bookmark a follow, ať vám ten další neuteče. #KarelKryl #Hudba #ČeskáHistorie

On imagine souvent la campagne et la banlieue comme deux mondes qui s’ignorent. C’est faux. Depuis des années, les Bergers Urbains et l’association Clinamen prouvent le contraire : ici, à Saint-Denis, entre les tours, des moutons paissent, des bénévoles s’organisent, et une agriculture paysanne reprend racine en pied d’immeuble. Ce lien entre nos quartiers populaires et le monde rural, ce n’est pas du folklore. C’est une vraie question politique : qui a accès à la nature, à l’alimentation, au vivant ? Nos quartiers ont tout autant à apprendre — et à apporter — à ce dialogue. La transhumance nous a menés ensuite à La Courneuve, où j’ai une pensée amicale pour Ali Diouara et son engagement pour sa ville. Nos communes se ressemblent, se répondent, et ce troupeau qui traverse le 93 sans se soucier des frontières communales nous le rappelle avec malice. Merci à Julie Lou et à toute l’équipe des Bergers Urbains / Clinamen pour ce moment. La ville peut aussi être un territoire vivant, nourricier et partagé. #AgricultureUrbaine #Biodiversité #Solidarité

STÁT NENÍ POUŤOVÁ ATRAKCE To, co dnes předvedl Petr Macinka, už není politický folklór Motoristů. Je to ukázka toho, jak si představují výkon státní moci. Když se předsedy vládní strany novináři ptají na policejní prověřování nehody Filipa Turka a on odpoví, že je mu to https://t.co/j7ogXHLu6h #Politika #StátníMoc #Nehoda