Sicily | Brad Spurgeon's Blog

Theatrical and Musical Adventures from Aubervilliers and Asnières to Castellammarre del Golfo, Sicily

July 27, 2023
bradspurgeon

Academy of the Unfulfilled in Palermo Flash Mob

CASTELLAMMARE DEL GOLFO, Sicily – I have been wrapped up in a whirlwind of theatrical and musical adventures over the past month that have been so many and varied that I have had not a single moment to write about them here, despite itching to do so every day. Now I am sitting high in the hills above Castellammare as I start these words, taking a break from setting down harmonies for the next song in a musical show that we will be performing at this Azienda Agricola Acquaviva this coming Sunday, 30 July, and I finally found a moment to get a few words down in the blog about these incredible experiences.

Brad Spurgeon as Einstein in TAC production

The first was my cameo role as Albert Einstein in TAC Teatro‘s next play, the work-in-progress tentatively titled “La Première Fois.” The show is in its early stages of creation, but TAC Teatro put on a show of the work-in-progress at its theater space in Aubervilliers at 164 rue Henri Barbusse. I loved creating this role with Ornella Bonventre directing, because I cannot imagine that many other wonderful true-life personalities to play than Einstein. And, surprise surprise, I discovered through the necessity of growing my hair and my moustache, that I am capable of growing a moustache that is a pretty damn convincing version of the mathematical genius’s moustache! (Now if only I discovered I could also emulate his mathematical genius.) In any case, the show went off very well, with the TAC Teatro actors demonstrating more than ever their diversity of talents, as the show is full of music, magic and illusion, along with some beautiful songs. My role is minor, opens the show at the moment, and will probably appear again later on.

TAC Teatro school performers take a bow at yearend show at Studio Théâtre of Asnières-sur-Seine

The sad story there was that this was the last show that TAC Teatro performed in the space where it has been housed for the last two and a half years, since the middle of the Covid epidemic. The owners of the former warehouse decided they want to try to sell the lot on which it sits, and so they took it back from us, and the same day we handed over the keys, they had the space demolished so that no one got the idea of squatting it. In a sad, sad irony, while the rich owners wanted to demolish our space to keep squatters out, that same night during the riots that tore France apart after the police killed a 17-year-old for no reason, TAC Teatro’s new space for the coming season, in Asnières-sur-Seine was demolished, looted, burned down, by the rioters. So the coming season poses some challenges.

In the meantime, TAC Teatro also celebrated its yearend of performances of the students of the classes in Asnières, which took place in the 200-seat, magnificent Studio Théâtre. There, I was called in to do the job of MC, and I was given the opportunity to do this by playing a song between each performance of the classes. I matched the nature of each song with the play performance. The plays of the children were Peter Pan, the Addams Family and the Petits Chaperons Rouges; the adult class’s play was “The Bear,” by Chekhov. It was a fabulous festive evening of shows with a full house spectators and a great capping to a season of drama classes for TAC Teatro and its students.

Brad Spurgeon MCing the TAC Teatro yearend show

No sooner did we finish that event than we packed the car to go to our annual summer address in Castellammare del Golfo in Sicily, not far from Palermo. Here, this year, I started my first week participating in the great Chiringuito Jam session in Scopello, that I had discovered only last year, and which we learned was run by Ornella’s cousin, Michelangello Bologna. I again did a couple of songs with a complete band, and with Michelangello, who is a Michelangello of the harmonica in addition to the MC of the evening.Then, suddenly irresistibly, surprisingly, and synchronistically, after we had discovered that Castellammare del Golfo had been chosen as the location for a big crazy theater workshop by the illustrious Mario Biagini and his group called Accademia dell’Incompiuto – Academy of the Unfulfilled, we decided to take part. This workshop, or residency, lasts for the entire second two weeks of July, and in addition to consisting of working with Biagini’s troupe to create a final show – called “The Thirsty Ones” – for the 30th July, we also had two other performances of some of the work.

Teaser for the show of Accademia dell’Incompiuto – Academy of the Unfulfilled

Extraordinarily, one of those performances had been planned – without any input or prior knowledge from us – as taking place during the Wednesday night jam at Chiringuito! So for the second time in the month of July I ended up performing on the stage outside in Scopello, but now, I did first a performance of a couple of songs in the usual way with me on the guitar with other performers at the jam; then, second, I worked with the dozen or so actors and singers of the theater workshop performing the songs we had been working on, with their fabulous harmonies and many languages. I played guitar and filled in here and there with vocals.

I want to jump back a little and say why this serendipitous meeting of the Biagini group and Ornella and me was so surprising: We had met Biagini for the first time last year when we went to the Teatro Ridotto outside of Bologna, Italy in order to interview him for a project that Ornella and I are working on about some of the theater greats of the last 60 years. Biagini is known for having worked closely with the legendary intellectual figure of 20th century avant garde theater, Jerzy Grotowski. In fact, Grotowski, who died in 1999, had left Biagini and another man, Thomas Richards, in charge of the Grotowski Center in Pontedera, Italy – Workcenter of Jerzy Grotowski and Thomas Richards – where Mario Biagini had worked since 1986.

Biagini and Richards ran the center until 2021, when they decided to go their own ways. Grotowski was one of the seminal figures of modern theater, and Biagini is a torchbearer of his world, along with Richards. Now this links into the next meeting, which happened a couple of months ago in Paris, when Ornella and I went to the Grotowski event at the Théâtre des Abbesses in Paris where Biagini was present to launch the latest edition that he edited of a translation of Grotowski’s theoretical – and other – writings that has just been published in French. It is a fabulous collection of the theorist’s work, including the writings that would eventually make up his famous and influential “Towards a Poor Theater” book that was first published by the Odin Teatret publisher and founder, Eugenio Barba. (Whom I have written about a few times here.

We also made a connection at one remove with Biagini at the beginning of April this year, when a group that he has directed that came out of Teatro Ridotto, also took part in the annual international residency called Finestres – see my previous post! – that Teatro Ridotto has put on for decades in Italy and that TAC hosted this year in Aubervilliers at the beginning of April. I am speaking about the fantastic Collettivo Hospites, who, incidentally, just put up a video of their memories of that week of activities.

FINESTRE sur le jeune théâtre from Collettivo Hospites

So it was quite amazing to discover that Biagini was holding this workshop in Ornella’s home town in Sicily during our stay here. And we joined in. The performance at Chiringuito was then followed by a flash mob performance a few days later in the streets of downtown Palermo. Here again we sang our songs, and I played guitar along with the musical anchor of the work, Viviana Marino on her classical guitar. There was a film production company on hand in Palermo, so you can see the work of this company, Ponte di Archimede Produzioni, in the teaser for Sunday’s show that I posted above. The teaser was also filmed partly on location at the base in the hills above Castellammare, where we are preparing and will put on the show, and where I am sitting writing these words. You only catch a tiny glimpse of me playing in Palermo, and a bit of Ornella and her daughter, Morgana, are also visible momentarily!

Segesta temple burning July 2023

I hope to have more videos and photos to follow, but this is what I have at the moment. Until then, if you can make it to the show on Sunday, I understand the airport in Palermo is open again…. Oh, yes, that’s another bit of news to follow up with: After the burning down of TAC’s new space in Asnières and the demolition of the old space in Aubervilliers, the 2,000 year old theater in Segesta, next to Castellammare del Golfo, and the neighboring 2,000 year old temple were both engulfed in flames in recent days during the catastrophic fires that we have been experiencing during the massive heatwave that lifted temperatures to well above 40 degrees celsius. A couple of years ago, TAC had been in negotiations to put on a performance on that ancient stage. The flames are following us from town to town, country to country!

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Looking Back at Writing “Formula 1: The Impossible Collection” For Assouline During Lockdown

September 17, 2021
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Formula 1: The Impossible Collection http://www.assouline.com

PARIS – The point of this blog for me is usually to write about things happening right now in my life. For more than a year now, I have kept quiet here about one of the biggest things that happened in my life during most of the Covid period we are still living through. I was so busy first doing it – and keeping my mouth closed and fingers crossed about it – and then once finished, talking about it everywhere except for here, with one published interview or review after another – I will run a list of links of those at the end of this post – that I simply did not find the moment to talk about it here! In short, I am referring to the book that I had the opportunity to write about the 100 great, extraordinary, “impossible” moments in Formula One history, since the series began in 1950 and up to the end of last season. The first 70 years of the world’s most popular auto racing series summed up in words and extraordinary images and published by Assouline, one of the world’s top luxury book publishers. So, I am coming late to it here, but since I also see this blog as a personal record of important moments in my life, I have decided that it is better late than never to talk about it!

This book project was offered to me in August 2020, when I was in Sicily and like everyone, found myself in that momentary lull between waves of the biggest pandemic to hit humankind in a century. And, as many readers of this blog will know and be able to relate to themselves, I had one part of my life absolutely wiped out by the pandemic: Performing music and doing my other theatre-related activities in public. The performing arts, as everyone knows, were amongst the worst hit – well, of course, not to mention the restaurant industry, the travel industry, airlines and airports, etc. – since to perform in public was one of the easiest and most natural things to ban. And rightly so.

But that left me, like so many musicians and actors and performers, feeling as if we might not be able to breathe if we came down with Covid, but we were not able to breathe without our moments on stage, either! Fortunately for me, I had spent decades of my life devoted exclusively to my other passion of being closed up in my room – or a media center or newspaper office – and writing. Living through words. Living in the mind and not in the outside world or on a stage.

Formula 1: The Impossible Collection promo video by Assouline (turn up the volume!)

So when in August 2020 I was offered this opportunity of writing a book about Formula One for Assouline’s most prestigious collection – the Ultimate – in the series known as “The Impossible Collection,” I didn’t just jump at it, I instantly stopped feeling any regret, pain or other horror for losing that other aspect of my life, consisting in performing on stage. Here was a fabulous project offered to me by Assouline that thrived off the lockdown isolation as it required intense concentration, research and writing at just the very moment that the second wave of the pandemic came to hit us.

First Hungarian Grand Prix 1986. Photo Credit: Bernard Asset

Suddenly, I came entirely back to life thanks to this project. I also felt a huge sense of responsibility: The task was much bigger than I expected when I said yes. I had to come up with the 100 greatest, iconic, most important, “impossible” moments of Formula One over 70 years. I had been hired for my experience of more than 20 years covering the series for the International Herald Tribune, and The New York Times, and I realized that I had a responsibility for a big book that would sell for 920 euros, and/or $995, not just for an article on a piece of paper that would be used to wrap up fish the next day! My choices of moments have to be as close to perfect as possible.

Responsibility of Choosing the Impossible Moments for Formula 1: The Impossible Collection

It’s not that I doubted my ability to choose those moments. But I knew that Formula One is a series that has millions of fans who are not only passionate, but are often just as knowledgable as many of the journalists who cover it their whole lives. I also knew that any choice for a great moment that I made would also leave out several other possibilities that some other journalist or fan might feel very passionate about and cry foul!

“HOW could you not put in THIS moment!” they might say.

But that is also when I decided that, in any case, any list of 100 moments over 71 seasons that anyone made would have to have an element of personal preference or style to it, and I would have to assume that. Still, it took months to make the final choice of 100 great moments. I narrowed an initial selection down to 150, and then began eliminating, or at the suggestion of my editors at Assouline, in some cases, joining moments together – such as when I did only one moment for the two times that Ayrton Senna and Alain Prost crashed into each other at the Japanese Grand Prix in Suzuka in 1989 and 1990, thus drawing their championship duel to a close.

McLaren Technology Centre team factory. Photo Credit: McLaren F1 Team

I also said to myself that it would be absolutely necessary in a series like Formula One to include in the great moments not just sporting moments, but technical ones – the introduction of the Ford DFV engine in the 60s that would dominate for so many years, or the first rear-engine victory, etc. – as well as business advances or reversals, new venues, etc. Formula One has so many different aspects to it, that it would be impossible to do it justice while focusing on just one part of it.

While it was easy to make my first list – I started by working off the top of my head, then I went through several histories, timelines, collections of statistics, etc., to make sure I missed nothing that I might have overlooked – the most difficult thing was really what to cut out of the list. So many things had to go at some point. It was with great regret, for instance, that I did not include Jean Alesi’s sole victory in the series when he drove his Ferrari to win the Canadian Grand Prix in 1995 after Michael Schumacher, who led all but the last 11 laps of the 68-lap race, had to make a pit stop to change his steering wheel, and could not engage the gear, and so handed the lead to Alesi, who kept it until the checkered flag. It was a hugely dramatic moment during a season dominated by Schumacher, and involving the two teams that would exchange those same two drivers for the following year. (Schumacher went to Ferrari the following year, while Alesi and his Ferrari teammate, Gerhard Berger, both went to Benetton.)

Michael Schumacher’s first win for Ferrari in the wet in Spain in 1996. Photo credit: Agence de Presse ARC/Mario Luini

There were countless moments like this that I loved, that were big, important, but it was impossible to use them all. One of the ways that I chose moments, in fact, was to try to choose them for their larger effect on the series. That applied especially, for instance, with the moments that involved fatalities. The early years were so full of fatalities, and each was as tragic as the other. As time went on and safety improved, there were fewer and fewer. But still, while I did not mention the death of Elio De Angelis in 1986 after a testing accident, I could not, clearly, avoid talking about the moment involving the death of Ayrton Senna (with Roland Ratzenberger having died the previous day) at Imola in 1994. Nor could I avoid talking about the death of Wolfgang von Trips and the 15 spectators at Monza in September 1961.

I could not, either, avoid moments that included the great records, Schumacher’s equalling Juan Manuel Fangio’s 5 world titles in 2002, and then beating that record. And how satisfying and beautiful it was for the book to end on the note of Lewis Hamilton equalling Schumacher’s record of seven titles – and beating his number of victories – in the final season that the book covered, 2020, which was unfolding as I wrote it.

Catharsis in Writing the Introduction to Formula 1: The Impossible Collection

It was the work on the moments, both selecting them and writing them – in all their minute detail – that would make up the biggest part of the job. When I took on the project, I had thought it would be the writing of what became a 65-page introduction – with lots of photos – that would be the hardest part. In fact, the introduction was probably the most fun part to do, as I saw it as an opportunity to sum up and focus all of my knowledge about Formula One accumulated over a lifetime of being a fan – the first race I attended was the first Canadian Grand Prix, at Mosport in 1967 – and nearly a quarter century of writing about it professionally. So in a way, the introduction – that even went into the previous era of Grand Prix racing, starting with the precursor auto races sponsored by the founder of my former IHT newspaper, James Gordon Bennett Jr. – was even cathartic, in a way.

It was an incredible bit of unexpected icing on the cake when after I submitted the completed book to the editors, I learned that both Jean Todt, the president of the International Automobile Federation, and Stefano Domenicali, the CEO of Formula One, had written forewords to the book. What an honor. (But just as great an honor was my having been the writer that Jean Todt recommended to do the book when Assouline asked for his advice on who to call.)

When Formula 1: The Impossible Collection Finally Arrives

Me at home with my advance copy of the Formula 1: The Impossible Collection book. Photo Credit: Ornella Bonventre

But the day my advance copy of the book arrived – all nearly 10 kilograms of it – that was when I saw the reality that I could never truly have imagined for a book that is an absolute “bijou” as the French say for a jewel, and I could see immediately not only why it was being sold for 920 euros, but that it seemed worth much more than that in the paper and hand craftsmanship alone. Printed at a luxury quality printer in Milan (called Grafiche Milani, a favourite of Jimmy Page) and many of the photographs – the photographic research job, as well as many of the photos themselves, was done by Bernard Asset, a top F1 photographer, while the final choices of photos and images was done by Martine Assouline, of the husband and wife team that own the company – were separately glued to the pages. The cover had a soft feel to it, and a wafting sent of the printer’s workshop came emanating from the box when I opened the book package. Astounding!

Jimmy Page video of his experience with Grafiche Milani printer of Formula 1: The Impossible Collection

By the time the book was completed, and published in May, I had begun to think about playing music again, and I was, in fact, able to do so at a few places, as the pandemic died out a little where I live, and the vaccination process began – I got my second one at the end of May – and then I returned to Sicily, where I was able to perform a couple of times, as I have done back home in France since then.

On the other hand, I have also been working all out on another book project in recent months, which I will also only announce when the time is appropriate! (I’m entering a virtuous cycle here!) And again, I can thank this new project for taking me through the third wave!!!

The book “Formula 1: The Impossible Collection,” is available around the world in both Assouline’s own stores, as well as some select shops. It is also available to buy online at Assouline’s site.

Great Press Coverage of Formula 1: The Impossible Collection

Actually, I said the cherry on the cake were the two forewords, but there was another aspect to doing the book that I had not expected to this degree, and that was great coverage by some of the world’s top magazines, some of which involved several interviews with me…that once again showed me how difficult it can be to be on the other side of the journalistic table, as the subject of the interview rather than the interviewer!

Here is a list of links to a few of the major interviews and reviews of the book, so you can click on any one of them to read the review or interview:

Robb Report: Assouline’s New $995 Formula 1 Book Was 70 Years in the Making

MAXIM: A LOOK BACK AT FORMULA 1’S MOST MEMORABLE MOMENTS

MAXIM: RACE THROUGH F1 HISTORY WITH THIS HIGH-OCTANE COFFEE TABLE BOOK

BOSS HUNTING: ‘Formula 1: The Impossible Collection’ Is The Ultimate Coffee Table Book For Racing Fans

F1Total.ca : INTERVIEW l Brad Spurgeon and Assouline release ‘Formula 1: The Impossible Collection’, a one-of-a-kind $995 book

Motorsportweek: Feature: Writing the Impossible Formula One book

GQ Australia: 11 coffee table books you actually won’t be able to put back down

L’Automobile Magazine: F1: un livre collection sur les plus grands

L’Equipe: Un livre pour célébrer les 70 ans de la F1

Quattroruote (Italy)

Bunte (Germany)

Le Figaro Magazine (France)

L’Automobile (France)

FIA AUTO MAGAZINE ISSUE #34

The book was reviewed or promoted in many, many other parts of the internet, on many different kinds of sites, making me realize there is a landscape out there for talking about books and products of a size and kind that I had never even suspected existed (the landscape I mean, not the size of the books!). And so it was a fun, learning experience all over to have been blessed with this not impossible dream of writing a book about Formula One’s impossible moments for Assouline.

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Time Past and Time Present are Both Perhaps Present in Castellammarre del Golfo – from an Old Time Parade to Dolce & Gabbana

August 12, 2020
bradspurgeon

CASTELLAMMARE DEL GOLFO, Sicily – “That’s not Italy!” Such was the idea behind a message a Facebook friend wrote when six days ago I posted a brief dream moment that I captured in a video when Ornella and I found ourselves in the back streets of this Sicilian town, hearing loud Italian music coming from a window while church bells rang simultaneously. Not Italy, perhaps. But not Sicily? A few days later, we encountered a traditional parade through the marina area of the town, and Ornella told me that it was the kind of thing she had so many fond memories of in her childhood here. So, was that not Sicily?

I know what my Facebook friend meant: It’s a little like those American novels set in Paris in which the French are all about wearing beret hats and eating baguettes and they are “oh so quaint, oh so silly.” But sometimes the clichés and real life come together.
Castellammare del Golfo, Yesterday & Today

I took a lot of video footage of the parade in Castellammare del Golfo with my telephone camera and then we decided to make an edited video of the footage along with the reading of a poem of a local poet, now dead, named Castrenze Navarra. That was Ornella’s idea – to read the poem – after we had found a wine bar in the town that was not only named after the poet’s first published collection, Timpesti e Carmarii, but it was located in the groundfloor building area where the poet also had his photographic studio, as he was also a photographer.

There was an exhibit of his handwritten manuscripts and letters on the walls, and his old camera is still there, and the owner of the bar decided during the lockdown this year to publish a new edition of his collected poems called, Timpesti e Carmarii, which first appeared in print in 1938, when the poet was 46 years old.

The parade that I show in the video, by the way, was part of a huge celebration of an evening in the presence of the famous Italian fashion designers, Dolce & Gabbana, who were in the town to show the film about them called, “Devotion.” (Dolce was born outside nearby Palermo.) The film was made by Giuseppe Tornatore, who is a famous Italian director, who filmed, notably, “Nuoco Cinema Paradiso,” and as he also has had a long association with Ennio Morricone – who died recently – Morricone composed the music for the film.

Tornatore’s was a fabulous film, by the way, although it was also clearly designed as an advertisement for the fashion house. For me, best of all, it was a great excuse to bring the past back to the presence in the form of the parade. There was a fabulous moment during the parade – which I put in the video – in which the performers sing a popular song from here, called, “Si maritau Rosa.” This will strike home very strongly with the actors of TAC Teatro (of whom I am one) as it is a song that we are singing in the new show, and which none of us knew anything about. It was, of course, Ornella’s idea.

But in any case, there it was, the past in the present. The folklore moment of ritual, bright colours, dance and music that may not be Sicily in many peoples’ minds, but it certainly was Sicily last weekend! I’ve edited part of the video in old looking black and white to show that the images we see of the town and the parade look like something we imagine having seen in the past, no more relevant to today…but then the color comes and it looks very much like today…as the past would have no doubt to our eyes had we been there…!

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Saving Claretta’s Eggs through Song and Art on the Beach in Sicily

July 30, 2020
bradspurgeon

TrinArt Turtle Event Poster

ALCAMO MARINA, Sicily – The last thing I imagined finding myself doing yesterday evening as the sun set on the Mediterranean was to be standing on the vast sandy beach of the Alcamo Marina playing songs to save the lives of unborn Loggerhead sea turtles. But that is precisely what happened, thanks to an invitation from TrinArt, an association based in Castellammare del Golfo, that in turn had been invited by the association – called Thalia – that was interested in protecting the turtles after a recent attack by vandals of the beach site where the turtle eggs are buried.

I will likely be speaking more in the coming days about TrinArt and its artist founder, Simona Nasta, but for the moment back to the event on the beach to save Claretta’s eggs! Claretta is the name of the turtle – no doubt for its scientific name of Caretta caretta – that laid the eggs on the beach. The site was cordoned off with the help of various associations, including the World Wildlife Fund, but when some idiot man went and allowed his dog to go in and tear apart the nest, destroying some of the eggs, it was time to draw attention to the fact that the eggs needed protection.

Singing Mad World on the Beach in Sicily

So TrinArt set up an event to invite artists to the nest yesterday to perform and attract attention to the turtles. These sea turtles are in a precarious situation in the area – in fact, it is an endangered species – so it has been celebrated whenever they have been laying eggs anywhere. The beach that Claretta chose, however, is a very popular one for vacationers, and is, in fact, lined with vacation homes. But only a very small fraction of the turtles that will be hatched from the eggs is ever expected to make it to adulthood, once it leaves the nest and goes into the sea. So any disruption to the already perilous process is highly to be discouraged.

Turtle Egg nest in Alcamo Marina, Sicily

Nasta had invited Ornella and me, and so it became a TAC Teatro experience, and I brought along my guitar to play music with the other artists. Strangely, the first musician who played stole two of the songs I had planned to play, which I considered on theme: “Stand By Me,” and “What’s Up!” with its strong and appropriate line: “What’s goin’ on?!?!?”

More performing at turtle event in Sicily

So I decided when it was my turn, at the prodding of Ornella, to do “Mad World,” and “You Ain’t Going’ Nowhere,” finishing off with my own song, “Borderline.”
Nasta led a blindfolded ritual painting with the public, and I have decided to show the result of that work here – done by her, and several members of the public, who led her blindfolded to the canvas in front of the turtle egg nest.

wwf turtles

For TAC Teatro, it was a nice moment tying together with the company’s past, as Ornella has led theater research projects along with the World Wildlife Fund in the past, and this reminded her of those great moments. For me personally, as we drove back to Castellammare del Golfo, I suddenly remembered the last time that I had taken part in an artistic event to save a species. Unfortunately it dates back to what is now more than 40 years! I was living in Nairobi, Kenya, and I was invited to perform an act with my ventriloquist’s dummy, Peter McCabe at a “Save the Rhino” event. I guess that worked out pretty well for the Rhino, even though they still have big problems. I only hope this event yesterday will save the sea turtle – or at least Claretta’s eggs….

Save the Rhino interview with Peter and me from 1970s

Another performer at the turtle event

Borderline on the Beach in Sicily

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In Castellammare del Golfo, the Calm After the Storm … with a Bit of Mafia on the Side

July 25, 2020
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Castellammare del Golfo

CASTELLAMMARE DEL GOLFO, Sicily – How many times during lockdown in Paris from March to May this year did Ornella and I say to each other that if we managed somehow to get to our favorite summer retreat again this year we would feel blessed? No doubt too often to count. In any case, we have now been here for three weeks, and we still feel blessed every day. After the confinement of lockdown we find ourselves in an average of 30 degree temperatures, cloudless skies and warm, smooth Mediterranean waters. Still, it might be the calm after the storm, but I am reading the Italian press daily to keep an eye on the possibility of rough waters to come, and a storm after the calm. Needless to say, it is a holiday like none before….
But this small former fishing village of Castellammare del Golfo – the castle on the sea – on the north coast of Sicily, less than an hour’s drive from Palermo, is about as good – and for the moment safe – as holiday locations can come. Sicily was not as badly hit as the rest of Italy with the virus, suffering still to date fewer than 300 deaths, and around 3000 infected (that’s a pretty high percentage of deaths per infections, though, isn’t it?) Since we came here, though, the town of 15,000 people is filling up rapidly with tourists from the rest of Europe, and we hold our breaths and wear our masks in an effort to believe that things will not this summer get out of hand here as they have in some other vacation spots in Europe, such as southern Spain.

We chose to give ourselves a quick escape method should things go wrong, by having driven here from Paris in my old Ford Focus, taking the ferry boat from Genova to Palermo, with the car aboard. It was a peaceful, fun, in fact magnificent journey, topped off on the boat by a fabulous seafood pasta in a restaurant that only we and an English couple, and perhaps another one or two people, decided to use. So there was little worry about the virus spreading there! The point was that if the pandemic grew back into the danger zone, as it has in Spain, we could just jump in the car and drive back to Paris or some other country. (Plus the flights were getting really expensive.)
A Free Music Performance in Castellammare del Golfo

We feel so blessed to have had this summer in Sicily, in fact, that this year we decided that we would live it a little differently than in past years: This year is devoted to staying as much at home and at the beach as possible, while avoiding the center of the town as much as possible on the weekends. The reason for that is that if you are currently aware that there is a virus out there, you would be entirely unaware were you to venture out into the nightlife of Castellammare del Golfo this summer: It is difficult to find any bars or restaurants not bursting with clients wearing no masks as if there were no cases of the virus at all on this island. (And, yes, that is actually almost true: the known daily cases are rising in single digits at the moment…but….)

In years past we had decided that every year we would discover a new part of this historical jewell of ancient Mediterranean civilisation. But this year, as I said, we are staying put and feeling blessed. Personally, I decided that I would use my experiences of learning about the island in the past years as a base for a new project: Reading the daily Giornale di Sicilia not only for the coronavirus statistics, but also in order to practice my Italian, and make a real, strong effort to finally learn the language as well as another way of exploring the local culture and getting to know the place of Ornella’s birth and childhood upbringing much better.

And what an education it is turning out to be. In addition to reading stories all about the places I have visited in the last few years with Ornella each summer – Marsala, Palermo, Trapani, among other cities, and such ancient archaelogical sites as Segesta or the Valley of the Temples outside Agrigento (which is also the home of Pirandello, Camilleri and Sciascia), as well as Scopello and Erice, the medieval town on the hill – I have found the second most comprehensible stories for my limited Italian to be those about all the local crime. Yes, like any such local newspapers, the Giornale di Sicilia – preferably my local Trapani edition – brings me daily news of mafia arrests and crimes.

Joseph Bonanno

This is particularly interesting to follow as it turns out that this beautiful small town of Castellammare was itself the birthplace of many of the figures of the legendary New York City mafia in the 1920s and 1930s, including Joseph “Joe Bananas” Bonanno, Salvatore Maranzano, Vito Bonventre, and was the base in Sicily of Don Vito Ferro who decided to try to take over control of the New York mafia from Giuseppe “Joe The Boss” Masseria – who had the famous future boss “Lucky Luciano” on his side – and they all got into a battle that became known as the Castellammarese War – named after this town, yes – that lasted from February 1930 to Apr. 15, 1931. The faction from this town won that war, by the way, but then the whole crime syndicate would change form, leading to the so-called sharing arrangement set up by Luciano and called “The Commission.”

Ornella Bonventre at the Greek Theater in Segesta, Sicily

Falcone and Borsellino

I see this beautiful little seaside town more like a future Monaco, however, and I hope it takes as long as possible before any such transformation happens. But the nightlife grows every year, the real estate value grows, and the boats keep getting bigger. For Ornella and I, as I say, we are enjoying the calm, the sun and the sea. And it turns out that there are numerous free concerts and other events – notably, and partly on the theme of this blog item, we saw a theatrical production the other day about a fictional interview with famous Palermo anti-mafia judge Paolo Borsellino, who was assassinated by the mafia in 1992 (weeks after his fellow Palermo anti-mafia judge Giovanni Falcone was also assassinated)….

So, after the storm, a break. Let’s hope it continues. I’ll check back in as soon as possible with more news about virus life from here or elsewhere….

Borsellino Theatre Piece in Castellammare del Golfo

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