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Il Clan
Stai Lontana Da Me

In 1961, the electrifying performer of "Your kiss is like a rock", is disputed by all the record companies, but Celentano was born "rebel". His goal is not money, but the game, always. Including in the concept of game the success. And so he founded the Clan Celentano, still independent label, symbol and "factory" of a special artistic production, not only musical, the only of its kind in the Italian scene. The beginning of the third millennium opens, in fact, a great activity on several fronts. Clan (Claudia Mori is CEO since 1990), in more than 50 years of business, has sold more than 100 million copies of records.

The rescue of the independents boasts illustrious names particularly overseas. In America, in the '50s, after the antitrust processes which reduced the superpower of the mega Hollywood studios, crumbling their activities (production, distribution and exercise can not be more head to the same company) many filmmakers, especially the more creative and innovative, will bring in their own, enthusiastic experiments of "new cinema" that bloom all over the world starting from France. Frank Capra, George Stevens, John Huston set the example and call the best talent around them survived the standardization of the majors and the "witch hunt" due to anti-communist hysteria; one of their disciples, Robert Aldrich, will buy even the studies, to film the interior of his offbeat films, and later Clint Eastwood and others of the new Hollywood (Coppola, Lucas, Spielberg) who want to work without outside interference will constitute autonomous and independent companies.

In the 60s the technological innovations and lowering production costs resulting allowed, not only in cinema and not only in the United States, the emergence of cooperative societies and alternatives to the big monopoly of production and distribution.
Even in Italy similar phenomena occur. However, especially during the years of student revolt and workers, most of these self-help groups will get in "offside" to argue against the commodification of art and poetry managed by the culture industry, while confirming the will, aristocratic, to keep out of the vital communication with the general public.

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