August 25, 2011
La Cicciolina "My breasts have never done anyone any harm, while bin Laden's war has caused thousands of victims." -- October 2002
Ilona Staller at Eros Galicia at A Coruña 2009
|Birthdate||November 26, 1951 (1951-11-26) (age 58)|
|Birth location||Budapest, Hungary|
|Birth name||Anna Ilona Staller|
|Spouse(s)||Jeff Koons (1991-1998) |
(during early career)
|Height||5' 6" (1.68 m)|
|No. of films||38|
|(Italian) Official web site|
|Ilona Staller at IMDb|
|Ilona Staller at IAFD|
|Ilona Staller at adultfilmdatabase|
Ilona Staller (complete name Anna Elena Staller, 26 November 1951), also known by her stage name la Cicciolina, is a Hungarian-born Italian porn-star, sometimes politician, and singer. She continued to make hard core pornographic films while in office. She is famous for delivering political speeches with one breast exposed.
Anna Ilona was born in Budapest, Hungary. Her stepfather was an official in the Ministry of the Interior, her mother a midwife. In 1964 she began working for a Hungarian modeling agency, M.T.I. In her memoirs and in a 1999 TV interview, she claimed that she had provided Hungarian authorities with information on American diplomats staying at a Budapest luxury hotel where she worked as a maid in the late 1960s.
Pornography and show business career
Naturalized by marriage and settled in Italy, she met pornographer Riccardo Schicchi in the early 1970s, and, beginning in 1973, achieved fame with a radio show called "Voulez-vous coucher avec moi?" (French for "Do You Want to Sleep with Me?") on Radio Luna. For that program she adopted the name "la Cicciolina," which translates, loosely, as "cuddles". She has referred to her male fanbase and later the Italian parliament as "cicciolini", translating loosely as "little tubby boys". Although she appeared in several films from 1970, she made her debut under her own name in 1975 with "La Liceale," whose U.S. title was "The Teasers," playing a lesbian classmate of Gloria Guida. In 1978, on the RAI show "C'era due Volte", her breasts were the first to be bared live on Italian TV.
She appeared in her first hardcore pornographic film, titled "Il telefono rosso" ("The Red Telephone") in 1983. She produced the film together with Schicchi's company Diva Futura. She was rumored to have engaged in zoophilia with a horse in the movie "Cicciolina Number One", but her memoirs and other sources have disputed the claim.
Her memoirs were published as Confessioni erotiche di Cicciolina by the Olympia Press of Milan in 1987. That same year she appeared in "Carne bollente," called "The Rise and Fall of the Roman Empress" in the US, co-starring John Holmes. The film would later create a furor when it was revealed that Holmes had tested positive for HIV prior to appearing in it.
Staller married American sculptor Jeff Koons in 1991. Koons produced a series of sculptures and photographs of them having sex in many positions, settings and costumes, which were exhibited under the title "Made In Heaven." The marriage broke up in 1992, and their son Ludwig Maximillian was born shortly afterwards. Staller left the US with the child, and a lengthy custody battle ensued. Koons won custody in 1998 but Ludwig remains with Staller in Italy. In 2008, Staller filed suit against Koons for failing to pay child support.
Staller has appeared nude in the Playboy Magazine's editions in several countries. Her first Playboy appearance was in Argentina in March 1988. Other appearances for the magazine were in the U.S. (September 1990), Hungary (June 2005), Serbia (July 2005) and Mexico (September, 2005).
In 1994, she appeared in the film "Replikator", and in 1996, she had a role in the Brazilian telenovela "Xica da Silva." In 2008, she was a contestant on the Argentine version of "Strictly Come Dancing" named "Bailando por un Sueño". She withdrew after breaking a rib in rehearsals.
In 1979, Staller was presented as a candidate to the Italian Parliament from the "Lista del Sole", Italy's first Green party. In 1985, she switched to the Partito Radicale, campaigning against nuclear energy and NATO membership, for human rights, and "against world hunger".
She was elected to the Italian parliament in 1987, with approx. 20,000 votes. While in office, and before the outset of the Gulf War she offered to have sex with Saddam Hussein if he would release the foreign hostages. She was not reelected at the end of her term in 1991.
In 1991, Staller was among the founders of the political movement Partito dell'Amore (Love Party), spearheaded by her friend and fellow porn star Moana Pozzi. She has advocated absolute sexual freedom - "Love for All!" She also proposed a tax on automobiles to reduce the damages of smog and fund the defence of nature. She is a strict vegan and an animal rights activist.
In January 2002, she began exploring the possibility of campaigning in Hungary, her country of birth, to represent Budapest's industrial Kőbánya district in the Hungarian parliament. However, she failed to collect enough petition signatures for a non-partisan candidacy. In the same year, she ran in local elections in Monza, Italy, promising to convert a prominent building into a gambling casino, but she attracted few votes. In 2004, she announced plans to run for mayor of Milan with a similar promise.
She renewed her offer to have sex with Saddam Hussein in October 2002, when Iraq was resisting international pressure to allow inspections for weapons of mass destruction, and in April 2006 made the same offer to Osama bin Laden.
Staller has recorded several songs, mostly from live performances, with explicit lyrics being sung to a children's melody. Her most famous song is "Muscolo Rosso," a song entirely dedicated to il cazzo, which means "the dick" in Italian. Because of its extensive use of swear words, the sond could not be released it in Italy, but became a hit in other countries, especially in France, where the listeners did not grasp the meaning of the lyrics. The song gained considerable popularity in the internet era, when many Italian speakers were able to hear it for the first time.
Several unreleased songs were recorded during her RCA period and the Diva Futura agency period. some of these unreleased songs were subsequently used during her TV shows, live performances or as soundtracks in her porn movies.
- 1979 Ilona Staller (RCA PL 31442) published at least in Italy and Colombia (The Colombian record has titles in Spanish). Also music tape exists.
- I was made for dancing / Pane Marmellata e Me / Labbra / Benihana / Lascia l'ultimo ballo per me / Cavallina Cavallo (by Ennio Morricone) / It's all up to you / Professor of Percussions / Più su sempre più su
- 1987 Muscolo Rosso (BOY RECORDS) published in Spain only.
- Russians / Inno (Come un angelo) / Satisfaction / Telefono Rosso (Avec Toi) / Balck Sado / Goccioline (Bambole) / Perversion / Animal Rock / Nirvana / Muscolo Rosso / Muscolo Rosso (reprise)
- 1988 Sonhos Eróticos printed in Brazil only (ALL DISC 00.101.009, also music tape 00.107.009). Basically a reprint of the English long playing Erotic dreams plus the two Cicciolina songs "Muscolo Rosso" and "Avec toi". The other songs are performed by Erotic Dreams Band. Some Cicciolina's speeches are used in "La prima volta" song. Cover is dedicated to Cicciolina.
- Muscolo Rosso / Emmanuelle / Bilitis / Le Réve / La Prima Volta / I feel love / Je t'aime... moi non plus / Histoire d'O / Les Femmes / Black Emmanuelle / Love to love you bay / Avec Toi
- 1994 Sonhos Eróticos (Brazil only, All Disc RQ 032) Reprint of 1988 LP with a new layout of the cover, with background from brown to pink and violet.
- 2000 Ilona Staller (CD, in United Kingdom only, Sequel Records/Caste Music NEMCD398); reprint on CD of the 1979 LP, plus the two extended tracks of the red vinyl mix.
- 1976 "Voulez vous coucher avec moi?" (Italy only, with neither serial number nor cover; on the vinyl it is written "Nuovo Playore 1° Radio Rete 4 D.R." only); from the same-named radio programme on Radio Luna station by Riccardo Schicchi where the nickname Cicciolina was born.
- 1979 "I was made for dancing" / "Più su sempre su su" (Italy only, RCA PB 6323)
- 1979 "Cavallina Cavallo" / "Più su sempre più su" (Japan only, RCA SS 3205)
- 1980 "Buone Vacanze" / "Ti amo uomo" (Italy only, RCA BB 6449)
- 1981 "Ska Skatenati" / "Disco Smack" (Italy only, LUPUS LUN 4917)
- 1987 "Muscolo Rosso" / "Avec Toi" (SFC 17117-7) symbolo the Italian Radical Party on the cover. The record was published in France and limitedly in other European countries.
- 1987 "Muscolo Rosso" / "Russians" (Spain only, BOY-028-PRO) promo for journalist; no cover.
12" mix and picture disks
- 1979 "I was made for dancing" (extended version) / "Save the last dance for me" (English original version of "Lascia l'ultimo ballo per me") (Italy only, RCA PD 6327, red vinyl mix without cover, promo for Djs).
- 1987 "Muscolo Rosso" / "Russians" (Spain only, BOY-028) versions are not extended, the same as 7".
- 1989 "San Francisco Dance" / "Living in my Paradise" / "My Sexy Shop" (Acv 5472) Picture disk; limited edition; published in Europe, together with her colleague Moana Pozzi's release.
- 1979 Dedicato al Mar Egeo, LP soundtrack by Ennio Morricone published in Japan only; though she does not sing, she is portrayed naked on the inlay and back-cover. She recorded two songs from that album ("Cavallina a cavallo" and "Mar Egeo") later in the year. The LP exists in 2 versions, one with Japanese titles, the other with Italian titles. Also CD version exists.
- 1979 Aquarium sounds, LP of an Italian TV programme; she sings on the "Elena Tip" track.
Pop culture influence
- 1990 The British pop band Pop Will Eat Itself released a single titled "Touched by the Hand of Cicciolina"; she is portrayed on the cover and appears in the promotional video. Some copies contain petition forms demanding that Cicciolina be allowed to present the 1990 FIFA World Cup to the winning team.
- 1990 The song "Cicciolina", from the Chilean rock band Los Peores de Chile was a hit single in that country.
- 1991 The song "Cicciolina" appears on the album Machines of Loving Grace by the Industrial group of the same name
- 1993 The lyrics on the Love 15 LP, by U.S. band Majesty Crush, focus on her celebrity and sexual legend.
- Two Australian restaurants share the same name, one in St Kilda, Victoria, founded in 1993. A sister restaurant called 'Ilona Staller' is to open in 2010. The other is in Newtown, New South Wales (not connected) and displays a wall sculpture believed to be a nipple.
- ^ Leonard, Tom (2008-03-27). "Porn star La Cicciolina sues ex-husband Jeff Koons for child support". The Daily Telegraph (London). http://www.telegraph.co.uk/news/uknews/1583034/Porn-star-La-Cicciolina-sues-ex-husband-Jeff-Koons-for-child-support.html. Retrieved 2010-05-05.
- ^ a b c d e "Cicciolina's Sexual Politics". International Museum of Women. http://www.imow.org/wpp/stories/viewStory?storyId=1205.
- ^ "Promising to Be Demure, Italian Porn Star Weds". LA Times. 02 Jun 1991. http://articles.latimes.com/1991-06-02/news/mn-469_1.
- ^ a b c d e Ex-porn star La Cicciolina and the divorce from hell (Belfast Telegraph)
- ^ Staller, Ilona (1987). Confessioni Erotiche di Cicciolina. Olympia Press Milano.
- ^ Hogea, Oana (26 Jul 2007). "Biography". In/Out Star. http://www.inoutstar.com/news/Ilona-Staller-aka-Cicciolina-1266.html.
- ^ Holden, Stephen (January 12, 2001). "WADD: The Life and Times of John C. Holmes". NY Times. http://movies.nytimes.com/movie/review?_r=1&res=940CE0DF1F3AF931A25752C0A9679C8B63.
- ^ Jones, Jonathan (30 June 2009). "Not just the king of kitsch". http://u.tv/News/Not-just-the-king-of-kitsch/57aca175-4791-43dc-a925-104cdd01fd7b.
- ^ Tod Hunter (2008-03-27). "Cicciolina Sues Ex-Husband Koons for Child Support". xbiz.com. http://xbiz.com/news/91852. Retrieved 2008-03-27.
- ^ Ilona Staller biography at the Internet Movie Database
- ^ "Cicciolina of porn and political fame fractures rib but dances on". Earth Times. 22 Apr 2008. http://www.earthtimes.org/articles/show/200646,cicciolina-of-porn-and-political-fame-fractures-rib-but-dances.html.
- ^ Sydney Morning Herald, Australia
- Official website (Adult content)Retrieved from "http://en.wikipedia.org/wiki/Ilona_Staller
August 24, 2011
August 23, 2011
August 22, 2011
Social Design Strategy
May 3, 2011
Great products and services depend on their users having great experiences. But it’s not about what users do or how they do it, but rather why. Why they do what they do, why they keep coming back and why they tell their friends. Social Design explains the why behind these great experiences.
I’ll tell you a quick story. Strand Book Store in NYC is apparently very famous, but I had never heard of it (and I’m from the New York area, too) until earlier this year when I was walking around with a friend and she pointed it out to me. She apparently goes all the time and told me I’d like it. And I did. I even bought a new book from an author I like.
With technology today, we can get answers to anything factual right away. I could have looked up on my phone for bookstores in New York just as I could have looked up how to get to the store and if they carry books by this author. But the value of social is when I don’t even know I’m looking for anything at all.
In these cases and when we are faced with more subjective questions such as, “Where’s a good Italian restaurant?” or “What movie should I see?” or “Where’s a great museum nearby?” we turn to a community of people to help us out. These decisions are emotional, and who better to understand than other people?
Communities can be very useful, almost like a buffer between us and the world. In the wild, they’re an evolutionary defense mechanism against danger: a larger group is more powerful than an individual and the individual can look to the group for social cues on what to do. For us as people, having a community is more of an emotional attachment: we define it by the close people we surround ourselves with—our friends and family. We know them, we like them, they know us and they like us. We share thoughts, feelings, experiences and we turn to them for love and support throughout our lives because we trust them.
And though we have all kinds of relationships in our lives—with coworkers, neighbors or brands, long-lasting or short-lived, formal or intimate—it’s with our strongest ties that our trust lies. And this is the foundation of why Social Design works—because of this trust.
So when my close friend in New York tells me about a place I should visit, I trust her opinion and that she knows me well. And when our experience matches recommendations we get—that is, when we actually enjoy ourselves and learn something new—we not only feel special and thankful for the experience, but we also feel prompted to talk about it and tell our friends about it as well. We do this because we’re expressing ourselves by sharing the things we like and we want our communities to hear.
Trust is built through these conversations and everyday, hundreds of millions of people are having these interactions on Facebook and other social platforms, sharing thoughts, feelings, places they’ve visited, articles they’ve read, movies they’ve watched, and on and on. Social Design aims to harness this conversation, enhance it and build more of these serendipitous and valuable social experiences for everyone.
The Three Elements of Social Design
If we break Social Design down into tactical core elements, we see clearly how it’s comprised of three very distinct components: identity, conversation and community. Put another way: ourselves, other people and the conversations we have with them.
I like to diagram this using concentric circles, with identity in the center, conversation in the middle and community on the outside. The reason for this is because conversation really serves as the glue between identity and community. Conversation is how we express our identities to a community and how we receive feedback from it.
If we were to design a social product with this in mind, one idea might be to start from the center and work our way out. That is, allow people to create an identity, let them talk about it and build a community over time. This isn’t a bad idea at all – in fact, it’s how Facebook and a number of other social networks began.
When Facebook emerged in 2004, it was a simple site allowing college students to create and edit profiles of themselves. The editing was addictive; people kept logging in to see what had changed in friends’ profiles and to change things themselves. And, over time, this became a conversation—a timeline of life—and people built a strong identity and community of friends and family from it.
But now that this is in place – and used heavily by hundreds of millions of people everyday – it makes much more strategic (even practical) sense for social design to take the reverse approach and work from the outside in. That is, to utilize the existing community, define new kinds of conversation and let people continue to build their identities further.
Facebook profiles have become people’s identities. They’ve spent countless hours curating them – adding friends, posting pictures, commenting on friends’ updates. This is their de facto representation of themselves, and they don’t want to recreate it from scratch every time they start a new product or service.
So rather than create an experience that starts with building a new identity, we should utilize what we can from what’s already on Facebook and build on top of it. Connect users to their friends when they sign up to a new service. Social apps aren’t social without other people and bringing a user’s friends automatically brings the established trust in a community. Use profile information to recommend content – people already know what they like and that’s why it’s on their profiles.
Get the baseline in place so all that needs attention is the conversation – what they talk about and how they do so.
Conversation builds trust. In fact, any real-time interactions associated with emotion build these strong bonds. It could be anything from sitting together and talking to dancing, protesting, jumping out of a plane, etc. Conversation is simply a generic term I’m using to describe the interactions between the self and the community and the stronger the associated emotion, the stronger the bond.
This is inherently a back-and-forth and therefore is comprised of two different experiences that play off each other. Generically, we can describe these as listening and speaking.
A listening experience is hypothetically if you were go to a restaurant you’ve never been to before and choose what to eat based on the recommendation of others. You’re essentially listening to the community’s thoughts and previous actions and using these to inform your decisions.
We already see this in many places online. People on Yelp, for example, can make comments on restaurants such as, “Try the hot chocolate.” And on YouTube, you can see ratings for each video that help you determine which ones to watch, since you probably don’t want to watch the bad ones. They say, “Watch this one; others liked it.” On many e-commerce sites such as Amazon, we see the same thing: reviews from people to help our decision-making.
But there’s a big problem here: we don’t always know these people. And they don’t know us. So how do they know what we like? How can we trust them to give a good rating? We can’t. There’s no established trust.
So what Facebook has done is remodel this same paradigm but scope it around your friends. Social plugins, for example, let people “like” things all over the Internet and then surface this activity to their friends. And because you see what your friends and trusted circle like, you’re more likely to care.
Again, because the value of “social” is when we don’t know what we want and we’re not really looking, showing activity spread throughout the experience constantly inundates us with potential conversation points and things of interest. We learn by watching others. It’s social encouragement and a form of mimicry if anything: if we see someone else we trust doing something, we’re likely to do the same.
The other half of the conversation—and perhaps the most important part—is the speaking and the sharing. People have to engage in the first place, and will do so when they have the right motivation. The good news is that if people are sharing with people they trust, they are more likely to share more often and be open and honest.
Facebook has a number of ways for users to engage, including a number of options in the publisher (status, links, photos, etc.) and multiple ways to provide input and feedback (likes, comments, answers to questions, wall posts, etc.). And all of this activity is surfaced to users’ friends constantly through various distribution channels. We can’t help but listen.
The more contributions that are made to the system, the more activity exists to listen to and engage with. And likewise, the more activity there is to engage with, the more contributions can be made to the system. And this creates a positive feedback loop—a “virtuous cycle of sharing” as we call it—that grows exponentially. This is really the sweet spot: conversation fueling more conversation.
To summarize, a great social experience depends on conversation between the community and the self. And this is based tactically in three main elements:
1. Utilizing personal information and connections to build a personalized experience
2. Showing conversations, social context and activity everywhere
3. Making it really easy to talk, share, give feedback and engage
The beauty of Social Design is that it plays to the most powerful form of motivation: the self, the identity. We share and interact with others because we want to, because we learn more about ourselves and because we feel better when we feel heard.
Social Design is actually central to Maslow’s Hierarchy of Needs, I believe. After our physiological needs of food and water, and after our basic safety needs, we have a very interesting duality between needing love and belonging and our own sense of self-esteem. It stands to reason, given the diagram, that we base much of our own self-esteem in how the community sees us and how accepted we are. In other words, the community helps drive our identity. And it’s when we have that feeling of belonging and love that we can build our self-esteem and reach our full potential.
The experiences I mention already exist in the real world today; we’re not really trying to invent anything “new” here. But the Internet is becoming part of the real world and a reflection of it, a means by which we can communicate with one another more efficiently. With people at the center of the Web, more and more experiences that naturally happen in the real world are starting to happen online. With this in mind, as we design, we should take into account existing social truths, thinking carefully about the identities and respective communities we affect and building the best conversation tools for them.
Ultimately the value of social is bigger than anything material. It’s a way for us to close the gap between the self and the community, just as we’ve closed the gap between our other needs. We don’t have have to worry about food nor spend our lives hunting like other animals. Our ability to trust each other and work together as a species has built a safer environment in which to live. But individually, we do still worry about our futures, finding love, feeling heard, and knowing ourselves. Social Design starts us along this path.