“I was in my car, | watching for the bend, | I was looking for you. | Dal balcone ammiravo il vuoto, | che ogni tanto un passante riempiva… | è stato solo un presentimento.”

“We cannot excuse you | for your behaviour, | the great China, | the divine empire, | has fallen into dishonour. | Politicians kill the monks, | refusing to listen and to reason. | Keep your hands off Tibet now.”

“I was a fool tonight. | Ooh, I should've seen the light, | 'cause you were too young to be loved. | I should've turned away | though you were begging me to stay, | 'cause you were too young to be loved. (da Too Young to Love, n. 2)”

“Adesso vi devo dire qualcosa di molto importante, è difficile essere un vero Manowar. I nemici del vero metal in passato hanno cercato di eliminarci in ogni modo. Credetemi, questa è la verità. Devo dire qualcosa a quei bastard, devo dirlo ora. You, fuck you, fuck off, fuck yourself e morte die. Come on, come on, come on. Noi, non vi abbandoneremo mai. Messieurs all togheter, we come back to Italy for the Monsters of Rock. Will you be there? Will you be there? Are you with us? Fuck the world, hail to Italy.”

“Uguali diritti per uomini e donne! (da una lettera alla moglie Edwina, asking for the right to also have affairs).”

“There's no reason for you to love me | after all of the heartaches we've been through. | But I love you, I just can't help it. | You're so beautiful, what else shall I do? | You say you didn't make me love you | and you tell me that you're not to blame. | But it still hurt me the same. | Darling, love is not a game. | 'Cause it hurts, oh. | It hurts, yeah. (da It Hurts, n. 3)”

“Central Park, | I love in the dark, | Ich bin klein, | people sang, | around the campfire ground, | I remember | prehistoric sound, | was the time of dinosaur age, | Oh, Nein. | Chan-son Egocentrique, | self centred song.”

“Nota: 1960s, "Specific Objects," 1965, Context: A work needs only to be interesting. Most works finally have one quality. In earlier art the complexity was displayed and built the quality. In recent painting the complexity was in the format and the few main shapes, which had been made according to various interests and problems. A painting by Newman is finally no simpler than one by Cezanne. In the three-dimensional work the whole thing is made according to complex purposes, and these are not scattered but asserted by one form. It isn't necessary for a work to have a lot of things to look at, to compare, to analyze one by one, to contemplate. The thing as a whole, its quality as a whole, is what is interesting. The main things are alone and are more intense, clear and powerful. p. 77. Partly quoted in: Washington Gallery of Modern Art (Washington, D.C.), ‎Barbara Rose (1967) New aesthetic: Exhibition May 6-June 25, 1967. p. 45

Origine: https://le-citazioni.it/community/translations/188146/”