Massimo Sangalli: the swing between fame and life

We are talking about a foreign world where the USA were the absolute protagonists, a world, however, that was only shown in the USA in the magazines dedicated to celebrities: it is the post-dolce vita Rome, which follows the Rome – Dolce Vita, so called, because brilliantly depicted by my mentor Federico Fellini in his famous film of the same name. 

We are in 1995 in Rome. The poets, the writers, the filmmakers, the global stars all frequent the literary café “Caffè Greco” and the night clubs. My friend Prince Egon Von Furstenberg, who introduced me to Joan Crawford in NYC, and I were leaving the famous Jackie O’ nightclub, in homage to Jackie Onassis, with a group of movie stars to continue the night at “Gilda”, another famous nightclub dedicated to Rita Hayworth, owned by my friend Giancarlo Bornigia. Wild dancing with songs by Corona, Cher, Haddaway and a group of fans around their idol took up all our space. The idol was the adolescent star of photo stories, the fascinating Massimo Sangalli, accompanied by Doriana Bianchi, the favorite actress of movie director Marco Ferreri.

I called the director of Gilda, my friend Angelo Ciccio Nizzo, to calm down Sangalli’s fans and to have some space for us to dance too. I met Sangalli and Doriana Bianchi, we started dancing together, but we also started a friendship that never ended. With the great poet Dario Bellezza, a pupil of Pasolini, we were working on a big show, based on the novel by Dario Bellezza: “Turbamento” about Pasolini. I invited Sangalli and the Italian star Sebastiano Somma to act with me. It was a great success for Sangalli in his theatrical debut and then he became internationally famous. Sangalli is currently starring in “Music in the Forest” by Roberto Lippolis with Nastassja Kinski, John Savage, Cassandra Gava, Vincent Spano, soon to be released.

In Lippolis’ film, set in the Second World War, Sangalli plays Zigmund, a Jewish poet. Both female and male beauty in the world of cinema is certainly important, since it is the easiest road to fame, which, however, survives only if you have talent and gradually put aside roles based on the beauty of physical appearance and often superficial, to interpret psychologically complex and profound roles, as in the case of Sangalli. Of course, the world of fashion, especially in Italy and France, opens the doors to perfect bodies and enchanting faces and so Massimo Sangalli has participated in events of the famous fashion designer Anton Giulio Grande. He is the testimonial for “Angel” by Dolce & Gabbana. He has been photographed by Helmut Newton, Louis Vidal, Carlo Bellicampi, Dario Plozzer, working in cinema with prestigious directors such as Tinto Brass, Pupi Avati, George Lucas and others.

Sangalli will soon be in an Italian-Californian film about Pirandello and in an interesting film written by Hollywood authors, based on the transition between the era of communication without the internet and with the internet. Cinema continues to be an important reference for all of us to improve ourselves, but I fear that it will continue to always be based on “fame” which for Hannah Montana by Michael Poryes, instead falls to second place, since life reconquers the first. https://synchchaos.com/?s=Poryes&submit=Search . 

A difficult swing for those who, like Sangalli, face this aspect on a daily basis.

The Day

The day.

The day.

The day.

The day.

The day.

The day.

The day.

The day won’t start.

The day won’t.

The day.

The day.

The day won’t.

The day won’t start.

The day won’t start.

The day.

The day.

The day is not.

The day is not.

The day is not.

The day is not.

The day is not.

The day is not.

The day is not.

The day is not.

The day is not.

The day is not getting.

The day is not getting.

The day is not getting anything done.

Anything done.

Done.

Done.

Done.

Done.

Done.

Done.

Done.

Done.

Done.

Done.

The day won’t done.

The day won’t get done with me.

The day won’t get done with me.

The day won’t get done with me.

The day won’t start.

The day won’t end.

The day won’t start.

The day won’t start.

The day won’t start.

The day won’t start.

The day won’t end.

End.

End.

End.

End.

End.

End.

End.

End.

End.

End.

The day.

The day won’t.

The day won’t.

The day won’t.

The day won’t.

The day won’t.

The day won’t.

Won’t.

The day.

Won’t.

The day.

Won’t.

The day.

The day.

I’m trying to get my life organized.

O THAT MACBETH HAD READ A POEM!

In fact, while doing some evil deed, a man does not need to think. But if he is doing some good deed, he has to stop and consider what consequences he may have to face.

****

When stones start sparkling with emotions, literature can be said to have performed its part to perfection.

-Anand

It is no exaggeration to say that evil dominates the human psyche more than any other emotion, like love or compassion. Macbeth and Dr. Faustus appear as objective correlatives of evil. But this article questions were they entirely evil? Is goodness an outer growth over evil, or is evil an outer growth over good? My thesis is that all men invariably are made of the shining stuff, and evil is a super imposition, and can be erased with sharp tools of wit, wisdom and satire.

As far as human society is concerned, goodness has already been pushed to the margins. The animals and birds also indulge in killings but this violence cannot be classified as Evil. People do show sparks of goodness, but very occasionally, while evil is on the elephant ride in the streets of this kingdom, which belongs to God, but is run by monsters. The good remain huddled in corners of existence, whereas the centre stage is grabbed by evil mongers. When evil multiplies and threatens the very fabric of the society, God sends apocalyptic beings like Lord Krishna and Jesus Christ. But it is also a fact that as soon as they disappear from the world, people come back to their original setting, of vileness, suppression and exploitation of the good. The pages of human history depict either wars or men who created havoc with the masses in the name of religion.  It appears either there were no good periods in history, or they are intentionally ignored because they do not offer thrills which a reader expects from the reading of history.

Footfall at the Gate of Hell

The  Reception at the Gate of Heaven remains closed most of the time. Once or twice during a month, the office opens to admit one or two persons at the most. In fact,  it is the Reception at the Gate of Hell where you find most festive conditions. People come in hordes singing folk songs, carrying drinks and beauties in their laps. It is another thing, the monsters welcome them, and after a thorough investigation, they are directed to the Purgatory.

The scene inspires horror when we try to guess how rampant is evil in our society. Some scientists from Lustus University lost their lives when a speeding bus tumbled into an abyss while negotiating a sharp turn high on a mountain. On reaching the Gate of Hell, they were engaged in a verbal duel with the Reception staff.

‘There is no goodness in this world. It is not possible to find one person who believes in good. Close down the  Reception Centre for Heaven,’  they argued so vehemently that  senior functionaries of Hell and Heaven had to intervene.

Course Correction

Brahma detailed Indra to bring them to the Emergency. All of them were laid on different tables, and given injections of inertia. When the operation was over, and the Professors of Lustus University were back in their senses, a video was played which showed how each man’s consciousness was turned naked, and then, with sharp-edged appliances, the dirt frozen on their consciousness was layered off. After several days of deep digging, a shining layer of light was visible.

The merchants of darkness were stunned to realize that they were essentially made up of the shining stuff. However, man becomes oblivious of this sublimity of his being when layers of dust fall and freeze on the shiny surface.  What really transforms the evil souls is the power of goodness, exampled by its practitioners [like the Bishop in Victor Hugo’s novel Les Miserables] Man not only learns but he even unlearns by example.

The Flop Triumvirate

With evil so rampant, if we are getting oblivious of the dividing line between good and evil, it is because our elders have not learnt their ropes well. The teachers, the parents, the religious leaders – are responsible if the moral fabric of the society has deteriorated. The reality is that Evil comes to man far more naturally than good. In fact, while doing some evil deed, a man does not need to think. But if he is doing some good deed, he has to stop and consider what consequences he may have to face. It is the fear of consequences of being good, straight, honest and kind that most of the people have said good bye to this domain.

The emotional demography of good and evil can be understood with the help of the following graph. Thirty percent people can go to any extent in the domain of evil. Five percent people practice goodness and cannot be deflected from their path. However, the remaining sixty five percent keep shifting from good to evil and evil to good depending on their necessities.

Re-forming the Social Fabric

If we want to re-form and re-organize our society, we have to contend with the truth  that religion and fears of hell do not horrorize any Faustus now. Millions of people will be ready to sign in blood a contract with the Devil which ensures them twenty four years of thrills. The horror of Faustus’ destiny is no longer a deterrent for evil-mongering which has now become a  romantic fantasy.

Art and Literature

Society lacks the tools with which it should be able to touch the souls of the people. The best way is Art and Literature.  A poem is truly magnificent if it can tear off the layers of unreality, faithlessness, despair and doubt, from the consciousness of a person who has no direct or indirect connect with art or literature. When stones start sparkling with emotions, literature can be said to have performed its part to perfection.

Dr. Jernail Singh Anand, [the Seneca, Charter of Morava, Franz Kafka and Maxim Gorky awards Laureate, with an opus of 180 books, whose name adorns the Poets’ Rock in Serbia]]  is a towering literary figure whose work embodies a rare fusion of creativity, intellect, and moral vision.

Heralding God’s Magnificence

Lord, thank you for grace
For you are with me always as I run my race
Inspite of my nakedness, you shield me with your lace
By faith, I can move mountains
For you’ve made me an ace
Christ is my base
I can’t be shaken by life’s rays
For in God’s presence, I’m more than all mays
And in Christ, I put my enemies at infinite bays
The Lord God is in charge of my case
For His word is greater than what anybody says
His death on the cross is greater than all my big pays
So, I’ve chosen to serve Him, Grace!

(D)

We Are Children!

We make the world go round

but we are taken to the ground

We make ourselves ready to be used

but we are abused!

We make the world a proud place

but we are pushed aside in many ways!

We make up the figure

but we  are not shown the gesture!

We make forgiveness our priority

but we are faced with cruelty!

We make the truth our watch-word

but we are influenced by the Liar’s Rod!

We make the world one

but we are treated as none!

We make freedom play out itself

but we are stuck in the growing years of  self!

We make ourselves happy at school

but we are not just cool!

We make our elders better brethren

but we are children!

The Myth of the Last Shelter

AI GENERATION

The world was a graveyard of metal and dust. Once, it had been a thriving ecosystem—a place of green forests, blue skies, and quiet lakes. Now, all that remained were ruins. The air was thick with the acrid scent of burning plastic and oil, and the ground was cracked, barren, like a wound that refused to heal.

Three piglets—small and fragile in the face of this post-apocalyptic landscape—struggled to survive. Each had their vision of how life could continue in the ruins, each had their own idea of shelter, safety, and salvation. But the truth was simple: none of them were truly safe.

The first piglet, named Ironhoof, built his fortress of steel. Tall spires of metal rose like the bones of a giant, sharp and cold, stretching toward the gray sky. He filled his walls with machines—giant gears that turned without purpose, engines that roared in the silence, weapons that gleamed with dangerous promise. To Ironhoof, survival was about control, about the power of human-made structures, about making a world where nothing could touch him. But the walls of his fortress did not protect him from the constant hum of emptiness. As the wind howled outside, he sat alone in his sterile tower, staring at the screen that flickered in the dark. He wanted power, but it was the lack of meaning that gnawed at him.

The second piglet, Greenwhisk, crafted a dwelling of glass and plants. Her structure was a delicate blend of bio-tech and nature—vines curled around the frames, and bio-luminescent moss lit the pathways at night. She dreamt of a world where harmony with nature could return, where the earth could heal itself. The winds whispered through the leaves of trees that grew in the heart of her shelter, their roots entwined with the very wires that powered her home. Yet, Greenwhisk found no peace in the rustling of leaves. The gentle hum of life outside her walls was tainted by the constant reminder of the world’s decay. She wondered if she was merely hiding in a fragile illusion—a fragile dream that would wither when the last resource ran dry.

The third piglet, named Wildtail, had built his home in the ruins of nature itself. His shelter was less a building than an extension of the land—a cavernous space woven into the roots of an ancient tree, where branches reached down like veins connecting the past to the future. His philosophy was that true survival lay in returning to the land, in living as one with the forgotten world, in surrendering to the rhythms of the earth. Yet, as he lay in his shelter, he could hear the groans of the land itself, the cracking of the trees, the faint whispers of extinction in every gust of wind. How long could the earth withstand the weight of their need?

The world outside was constantly shifting—storms brewed and passed, but each one left its mark. The threats were always there—bandits who roamed the broken roads, scavengers who preyed on the weak, and the unrelenting erosion of the planet’s resources. But as each attack came, each threat loomed larger, the piglets began to see a different truth.

One evening, as the sun fell beneath a sky the color of ash, a violent storm raged over the land. Ironhoof’s fortress shook as the winds slammed against its steel walls. His machines buzzed erratically, flickering in and out of power. Greenwhisk’s plants withered under the pressure, their bioluminescent glow dimming, leaves curling in defeat. Wildtail’s tree was bent, its branches snapped like bones under the force of the storm.

The piglets emerged from their shelters and met in the middle of the ruined land. They had survived the storm, but the cost was clear. Ironhoof’s walls were battered and rusting. Greenwhisk’s glass cracked under the pressure. Wildtail’s roots had begun to decay.

“We are losing,” Ironhoof said, his voice hollow. “None of our shelters stand up to this world. We build, and it is destroyed. Over and over again.”

Greenwhisk, staring at the shattered remnants of her plants, spoke softly, “Perhaps we were never meant to fight against the world. Maybe we were meant to live with it. But even that… it’s slipping away.”

Wildtail, his eyes reflecting the dying light of the storm, whispered, “Maybe we’re not meant to survive at all. Maybe we’ve already lost.”

The three piglets stood in silence, facing the crumbling ruins of their shelters, and in that silence, they realized the true destruction was not in the storm, not in the broken world—but in themselves. They had built their shelters to protect against the world, but they had never stopped to question their own hearts, their own contradictions.

Ironhoof had sought power, but in the end, he was trapped within his own fortress of isolation. Greenwhisk had sought harmony with nature, but had she been blinded by her idealism, too fragile to withstand the world’s cruelty? Wildtail had sought surrender to the earth, but the earth was already dying, and with it, so was he.

They stood there, each lost in the ruins of their beliefs. The world was no longer something they could fight against—it was something that had already claimed them. The storm had passed, but the true storm—the one within them—raged on.

In the end, there was no answer. There was only the wind, the empty sky, and the sound of their hearts slowly breaking, one beat at a time.