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The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed
Până la Sara G. Forden
Did Patrizia Reggiani murder her ex-husband, Maurizio Gucci, in 1995 because his spending was wildly out of control? Did she do it because her glamorous ex was preparing to marry his mistress, Paola Franchi? Or is there a possibility she didn't do it at all?
In this gripping account of the ascent, eventual collapse, and resurrection of the Gucci dynasty, Sara Gay Forden takes us behind the scenes of the trial and exposes the passions, the power, and the vulnerabilities of the greatest fashion family of our times.
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The House of Gucci - Sara G. Forden
At 8:30 A.M. on Monday, March 27, 1995, Giuseppe Onorato was sweeping up the leaves that had blown into the entryway of the building where he worked. He had arrived at eight o'clock that morning, as he did every weekday, his first task being to swing open the two great wooden doors of the building at Via Palestro 20. The four-story Renaissance-style building housed apartments and offices and stood in one of the most elegant neighborhoods in Milan. Across the street, amid tall cedars and poplars, stretched the clipped lawns and winding paths of the Giardini Pubblici, an oasis of foliage and serenity in a smoggy, fast-paced city.
Over the weekend, a warm wind had blown through the city, clearing the ever-present cap of smog and blowing the last dried leaves from the trees. Onorato had found his entryway littered with leaves that morning and hurried to sweep them up before people started coming in and out of the building. His military training had instilled in him a strong sense of order and duty, although it hadn't broken his spirit. Fifty-one years old, he was always neatly dressed and impeccably groomed, his white mustache perfectly trimmed, his remaining hair clipped close. A Sicilian from the town of Casteldaccia, he had come north like so many others looking for work and a new life. Following his retirement from the army in 1980 after fourteen years as a noncommissioned officer, Onorato had decided to settle in Milan, where he worked for several years at various odd jobs. He took the doorman's post on Via Palestro in 1989, traveling back and forth on a small motor scooter from the apartment where he lived with his wife in the northwest section of the city. A gentle man with clear blue eyes and a sweet, shy smile, Onorato kept the entryway immaculate. The six highly polished, red granite steps that rose immediately inside the massive front doorway, the sparkling glass doors at the top of the steps, and the shiny stone floors of the foyer reflected his efforts. At the back of the foyer, Onorato had a small glassed-in cubicle made of wood with a table and chair, but he rarely sat there, preferring to keep busy with his chores. Onorato had never quite felt at ease in Milan, which had offered him work but little else. He was sensitive to the bias many northern Italians have against meridionali, or people from the south, and it took little more than a glance to make him bristle. He never talked back and he obeyed his superiors as he had learned to do in the army, but he refused to bow his head.
I am just as worthy as the next man, Onorato would think,
even if he is rich or from an important family.
Onorato glanced up as he swept and noticed a man across the street. Onorato had seen the man immediately that morning upon opening the two great doors. The man had been standing behind a small green car parked perpendicular to the street with its nose facing the Giardini Pubblici, away from Onorato's building. Usually cars lined the curbs of Via Palestro, one of the few streets in downtown Milan that still had free parking. The cars parked at an angle, facing the curb. It was early, and the car was still alone. The license plate caught Onorato's eye because it was hanging so low it almost touched the ground. Onorato wondered what business the man had at that hour. Clean shaven and well dressed, the man was wearing a light brown overcoat. He kept looking down the street toward Corso Venezia as though expecting someone. Absently stroking his own balding crown, Onorato noticed with some envy that the man had a full head of dark, wavy hair.
Ever since a bomb had gone off up the street in July of 1993, he had kept his eyes open. With a blast that shook the city, a car packed with dynamite had exploded, killing five people and destroying the Padiglione d'Arte Contemporanea, the modern art museum, which collapsed in a rubble of cement, steel girders, and dust. That same evening, another bomb had exploded in Rome, damaging San Giorgio Velabro, a church in the city's historic center. The bombs were later linked to an earlier explosion in Florence on Via dei Georgofili that also killed five people, wounded thirty, and destroyed dozens of pieces of artwork that were stored in the building above the explosion. The bombings were later traced to a Sicilian mafia boss, Salvatore
Toto Riina, who had been arrested earlier that year for the 1992 murder of Italy's top mafia prosecutor, Giovanni Falcone. Riina had ordered the bombings of some of Italy's most precious cultural monuments in retaliation for his arrest. He was later convicted for both the Falcone murder and the bombings and is currently serving two life sentences. The DIGOS, Italy's political police, which has a specific mandate to move against acts of terrorism, had interviewed all the portinai, or doormen, in the Via Palestro neighborhood. Onorato had told them he'd seen a suspicious-looking camper parked near one of the gates to the park that day. From then on, he made little notes on a pad he kept in his cubicle to record anything he saw that seemed unusual.
We are the eyes and ears of this neighborhood, Onorato explained to one of his army buddies who often stopped by for coffee.
We know who comes and goes and it's part of our job to observe.
Onorato turned and pulled the right-hand door toward him in order to sweep the last few leaves out from behind it. Stepping behind the door, leaving it half-closed, he heard quick footsteps on the stairs and a familiar voice call out to him:
Onorato turned to see Maurizio Gucci, who had offices upstairs on the first floor, sprinting up the entry stairs with his usual energy, his camel coat swinging.
Buongiorno, Dottore, Onorato replied with a smile, lifting a hand in greeting.
Onorato knew Maurizio Gucci was a member of the famous Gucci family of Florence that had founded the luxury goods firm of the same name. In Italy, the Gucci name had always been associated with elegance and style. Italians were proud of their creativity and artisan traditions and Gucci was one of those names, along with Ferragamo and Bulgari, that symbolized quality and craftsmanship. Italy had also produced some of the world's greatest designers, such as Giorgio Armani and Gianni Versace, but Gucci was a name that went back generations, before the designers had even been born. Maurizio Gucci had been the last of the Guccis to run the family firm before selling it two years earlier to his financial partners who that spring had begun to study a plan to take Gucci public. Maurizio, no longer involved in any aspect of his family business, had opened his own offices on Via Palestro in the spring of 1994.
Gucci lived just around the corner in a stately palazzo on Corso Venezia, and walked to work every morning, usually arriving between 8:00 and 8:30. On some days, he let himself in with his own key and was already upstairs even before Onorato swung open the heavy wooden doors.
Onorato often wondered wistfully what it would be like to be in Gucci's shoes. He was a rich, attractive young man with a beautiful girlfriend who was tall, thin, and blond. She had helped Gucci furnish his offices upstairs on the first floor, as the second floor is called in Europe, with exotic Chinese antiques, elegantly upholstered sofas and armchairs, richly colored draperies, and valuable paintings. She frequently came to meet Gucci for lunch, dressed in her Chanel suits, her mane of blond hair perfectly coifed. To Onorato, they seemed a perfect couple with a perfect life.
As Maurizio Gucci reached the top step and started to walk into the foyer, Onorato saw the dark-haired man step into the doorway. In a flash he realized that the man had been waiting for Gucci. He wondered why the man had stopped at the foot of the stairs, where the wide, brown-bristled doormat ended and the gray cloth runner started, held in place at the base of each step with brass step rails. Gucci hadn't noticed the man step in after him and the man did not call out his name.
As Onorato watched, the man opened his coat with one hand, and with the other pulled out a gun. He straightened his arm, raised it toward Maurizio Gucci's back, and started firing. Onorato, no more than a yard away, stood frozen, broom in hand. In shock, he felt powerless to stop the man.
Onorato heard three quick, muffled shots in fast succession.
Motionless, Onorato watched in horror. He saw the first bullet enter Gucci's camel topcoat at the right hip. The second shot hit him just under the left shoulder. Onorato noticed how Gucci's camel coat shivered as each bullet pierced the fabric.
It doesn't look that way when someone gets shot in the movies, he thought.
Gucci, stunned, turned with a puzzled expression on his face. He looked at the gunman, showing no sign of recognition, then looked past him directly at Onorato as though to ask,
What is happening? Why? Why is this happening to me?
A third bullet grazed his right arm.
As Gucci moaned and slumped to the floor, his attacker fired a final, fatal shot into his right temple. The gunman spun around to leave, only to stop short at the sight of Onorato staring at him in horror.
Onorato saw the man's dark eyebrows rise in surprise, as though he hadn't taken Onorato's presence into consideration.
The gunman's arm was still outstretched and now it pointed directly at him. Onorato looked at the gun, noticing it had a long silencer covering the barrel. He looked at the hand grasping the gun, at the long, well-groomed fingers, the fingernails that looked as though they had been freshly manicured.
For an instant that seemed an eternity, Onorato looked into the gunman's eyes. Then he heard his own voice.
Noooo, he cried, shrinking back, raising his left hand as though to say,
I have nothing to do with this!
The gunman fired two more shots directly at Onorato, then turned and ran out the door. Onorato heard a tinkling sound and realized it came from the falling bullet casings dancing on the granite floor.
Incredible! he found himself thinking,
I don't feel any pain! I didn't know that it doesn't hurt when you get shot. He wondered if Gucci had felt any pain.
So this is it, he mused.
Now I am going to die. What a shame to die like this. This is not fair, he thought.
Then Onorato realized he was still standing up. He looked down at his left arm, which was hanging strangely. Blood dripped from his sleeve. Slowly, he lowered himself to sit on the first of the granite steps.
At least I didn't fall, he thought, preparing mentally to die. He thought of his wife, of his days in the army, of the view of the sea and the mountains from Casteldaccia. Then he realized he was only wounded; he had been shot twice in the arm, he was not going to die. A wave of happiness washed over him. He turned to see the lifeless body of Maurizio Gucci lying at the top of the stairs in a spreading pool of blood. Gucci was stretched out as he had fallen, lying on his right side, his head resting on his right arm. Onorato tried to scream for help, but when he opened his mouth, he couldn't hear the sound of his own voice.
A few minutes later, the wailing of an approaching siren grew louder and louder, then shut off abruptly as a police car braked to a screeching halt in front of Via Palestro 20. Four uniformed carabinieri jumped out, weapons drawn.
It was a man with a gun, moaned Onorato weakly from his seat on the first step as the men rushed toward him.
Bright red blood spatters formed Jackson Pollock–like patterns on the doors and the white walls on either side of the entryway where Maurizio lay. A scattering of shell casings had fallen on the floor. The proprietor of a kiosk across the street in the Giardini Publicci had heard Onorato cry out, and quickly called the carabinieri.
"That is Dottor Gucci,
said Onorato to the officers, using his right arm to gesture up the steps to Maurizio's motionless body while his left arm hung limply. Is he dead?"
One of the carabinieri knelt by Maurizio's body and pressed his fingers to Maurizio's neck, nodding when he found no pulse. Maurizio's lawyer, Fabio Franchini, who had arrived a few minutes earlier for an appointment, huddled disconsolately on the cold floor next to Maurizio's body—and stayed there for the next four hours while law enforcement officials and paramedics worked around him. As ambulances and more police cars arrived, a small crowd of curious onlookers formed in front of the building. The paramedics attended quickly to Onorato, whisking him away in one of the ambulances just before the homicide squad of the carabinieri arrived on the scene. Corporal Giancarlo Togliatti, a tall, lanky blond officer with twelve years experience in the homicide division, began to examine Maurizio's body. In the past few years, Togliatti's main job had been investigating murders among warring clans of Albanian immigrants who had moved into Milan. This was his first case among the city's elite—it wasn't every day that a leading businessman was gunned down in cold blood in the center of town.
Who is the victim? asked Togliatti as he bent down.
That's Maurizio Gucci, one of his colleagues told him.
Togliatti looked up, smiling quizzically.
Right, and I'm Valentino, he said sardonically, naming the perpetually suntanned, dark-haired Rome fashion designer. He had always associated the Gucci name with the Florentine leather goods house—what was a Gucci doing with an office in Milan?
For me, he was a corpse, just like any other, Togliatti later said.
Togliatti gently pulled a cluster of blood-spattered newspaper clippings out of Maurizio's limp hand and removed his watch, a Tiffany, still ticking. As he carefully went through Maurizio's pockets, Milan prosecutor Carlo Nocerino arrived. The scene was near pandemonium; cameramen and journalists jostled paramedics and law enforcement officials from both the carabinieri and polizia. Italy has three law enforcement corps—the carabinieri, the polizia, and the guardia di finanzia, or fiscal police. Concerned that key evidence might be destroyed in the uproar, Nocerino asked which corps had gotten there first. One of the basic unwritten rules among Italy's law enforcement agencies is that the first to arrive at the scene of the crime handles the case. Upon learning that the carabinieri had arrived first, Nocerino quickly dispatched the polizia, and ordered the great doors to the foyer closed and the sidewalk around the front doors cordoned off to keep the growing crowd at bay. Then Nocerino walked up the steps to where Togliatti was examining the body of Maurizio Gucci.
Nocerino and the investigators thought the shot to Maurizio's temple made the murder look like a mafia-style execution. The skin and hair around the wound had been burned, indicating close-range firing.
This is the work of a professional killer, said Nocerino, studying the wound and then the floor where the investigating team had outlined six shell casings with chalk circles.
"It is the classic colpo di grazia," agreed Togliatti's colleague, Captain Antonello Bucciol. Yet they were perplexed. Too many bullets had been fired and two eyewitnesses, Onorato and a young woman who had nearly collided with the killer as he ran out the door, had been left alive—hardly the work of a professional bent on administering a traditional coup de grâce.
It took Togliatti the next hour and a half to examine Maurizio, but it would take him the next three years to learn every detail of Maurizio's life.
Maurizio Gucci was essentially unknown to us, Togliatti said later.
We were going to have to take his life in our hands and open it like a book.
TO UNDERSTAND MAURIZIO GUCCI and the family he came from, it's necessary to understand the Tuscan character. Different from the affable Emilians, the austere Lombardians, and the chaotic Romans, Tuscans tend to be individualistic and haughty. They feel they represent the wellspring of culture and art in Italy, and they are especially proud of their role in originating the modern Italian language, thanks in large part to Dante Alighieri. Some call them the
French of Italy—arrogant, self-sufficient, and closed to outsiders. Italian novelist Curzio Malaparte wrote about them in Maledetti Toscani, or Damned Tuscans.
In the Inferno, Dante describes Filippo Argenti as "il fiorentino spirito bizzarro." The bizarre Florentine or Tuscan spirit can also be cutting and sarcastic, ready with the quick comment or joke, as seen in Roberto Benigni, the Oscar-winning director and lead actor of Life Is Beautiful.
When a writer from Town & Country asked Roberto Gucci, Maurizio's cousin, in 1977 if Gucci could have come from another part of Italy, Roberto looked at him in amazement.
You might as well ask me if Chianti could come from Lombardy, he roared.
It wouldn't be Chianti any more than Gucci would be Gucci, he bellowed, flinging his arms wide.
How could we not be Florentine if we are what we are?
The rich history of the centuries-old Florentine merchant class pulsed in the Gucci veins. In 1293, the Ordinances of Justice defined Florence as an independent republic. Until the Medicis took power, the city was governed by arti, twenty-one merchant and artisan guilds. The names of these guilds remain today as street names: Via Calzaiuoli (shoemakers), Via Cartolai (stationers), Via Tessitori (weavers), Via Tintori (dyers), and many more. Gregorio Dati, a Renaissance silk merchant, once wrote:
A Florentine who is not a merchant, who has not traveled through the world, seeing the foreign nations and peoples and then returned to Florence with some wealth, enjoys no esteem whatsoever.
To the Florentine merchant, wealth was honorable and carried with it certain obligations, such as financing public buildings, living in a grand palazzo with gorgeous gardens, and sponsoring painters, sculptors, poets, and musicians. This love of beauty and pride in creating beauty has never died despite war, plague, floods, and politics. From Giotto and Michelangelo to the craftsmen in their workshops today, the fruits and flowers of the arts, propagated by merchants, have flourished there.
Nine out of ten Florentines are merchants, and the tenth is a priest, joked Maurizio's uncle, Aldo Gucci.
Gucci is as Florentine as Johnnie Walker is Scotch, and there's not much that anybody can teach a Florentine about merchandising or craftsmanship, he continued.
We Guccis have been merchants since around 1410. When you say Guccis, you are not thinking of Macy's.
They were simple people with an incredible humanity, a former employee once said of the Guccis,
but they all had that terrible Tuscan character.
Maurizio's own story starts with his grandfather, Guccio Gucci, whose parents struggled with their failing straw hat–making business in Florence at the end of the nineteenth century. Guccio fled his home and his father's bankruptcy by signing on a freighter and working his way to England. There he found a job at London's famous Savoy Hotel.* He must have gaped in amazement at the guests' jewels and fine silks, and at the piles of luggage they brought with them. Trunks, suitcases, hatboxes, and more, all made of leather and embossed with crests and flourishing initials, overtook the lobby of the hotel, a mecca of high society in Victorian England. The guests were rich and famous or wanted to rub shoulders with those who were. Lillie Langtry, the mistress of the Prince of Wales, kept a suite for fifty pounds a year where she entertained her guests. The great actor Sir Henry Irving often came to dine in the restaurant, while Sarah Bernhardt claimed that the Savoy had become a
second home to her.
Guccio's wages were low and the work hard, but he learned fast and the experience would have a profound effect on his life. It didn't take him long to figure out that the people who came to the hotel brought with them possessions that showed their affluence and taste. The key to it all, he realized, lay in the piles of luggage that the bellboys spirited up and down the long carpeted hallways and in and out of the elevators, then called
ascending rooms. The leather was something familiar; he knew it from the workshops of his Florentine youth. After he left the Savoy, according to his sons, Guccio found a job with Wagons Lits, the European sleeping car company, and toured Europe by train, serving and observing the wealthy travelers and their entourages of servants and luggage before returning to Florence four years later with his savings.
Back at home, Guccio fell in love with Aida Calvelli, a dressmaker and daughter of a neighboring tailor. It didn't appear to bother him that she already had a four-year-old son, Ugo, from a love affair with a man who had come down with terminal tuberculosis and was thus unable to marry her. On October 20, 1902, slightly more than a year after Guccio came back to Italy, he married Aida and adopted Ugo as his own. He was twenty-one; she was twenty-four. She was already pregnant with their first daughter, Grimalda, who was born three months later. Aida eventually gave Guccio four more children, of whom one, Enzo, died in childhood. The others were also boys: Aldo in 1905, Vasco in 1907, and Rodolfo in 1912.
Guccio's first job back in Florence was probably in an antiques shop, according to his son Rodolfo. Then Guccio moved to a leather firm, where he learned the basics of the trade before being promoted to manager. When World War I broke out, he was thirty-three years old with a large family: nevertheless, he was called up as a transport driver. When the war ended, Guccio, now working for Franzi, a leather crafts company in Florence, learned how to select raw hides, and studied curing and tanning as well as the art of working with different hides and grades of leather. He quickly became manager of the firm's branch in Rome, to which he went alone. Aida, at home with the children, refused to leave Florence. Guccio came home every weekend and longed to open his own business in Florence catering to customers who understood finely made leather goods. One Sunday in 1921, during a stroll around Florence with Aida, he noticed a small shop for rent on a narrow side street, Via della Vigna Nuova, running between the elegant Via Tornabuoni and Piazza Goldoni on the banks of the river Arno. He and Aida started discussing the possibility of taking over the space. With Guccio's savings, and, according to one account, a loan from an acquaintance, they founded the first Gucci company, Valigeria Guccio Gucci, which later became Azienda Individuale Guccio Gucci, a sole proprietorship, in 1921. Close to Florence's most elegant street, Via Tornabuoni, the neighborhood was strategic for the kind of clientele Guccio hoped to attract. Between the fifteenth and seventeenth centuries, some of the city's richest noble families—Strozzi, Antinori, Sassetti, Bartolini Salimbeni, Cattani, and Spini Feroni—had built fine palazzi along the Via Tornabuoni, where, starting in the 1800s, fancy restaurants and shops began opening up on the ground floors of their houses. The Caffè Giacosa, still there today, had been serving homemade pastries and drinks to its fashionable clientele since it opened at number 83r in 1815. Suppliers to Italy's royal family, Giacosa first created the Negroni cocktail, named after a patron, Conte Negroni. The Ristorante Doney, founded in 1827 across from where Gucci would later open, catered to Florence's aristocratic families and hosted the ladies' counterpart to the all-male Florence Jockey Club. Next door, a florist shop, Mercatelli, served Florence's aristocratic families. Other establishments still operating today include Rubelli, selling fine Venetian fabrics, the Profumeria Inglese, and Procacci, known for its mouthwatering truffle sandwiches. Wealthy European travelers stayed at the Albergo Londres et Suisse, which in turn wasn't far from the American travel agency Thomas Cook & Sons, located at the corner of Via Del Parione.
At first, Guccio bought high-quality leather products from Tuscan manufacturers as well as from Germany and England to sell to the tourists who flocked to Florence then, as they do today. Guccio selected sturdy, well-made bags and luggage at reasonable prices. If he didn't find things he liked, he commissioned special pieces. He aspired to elegance himself and was always impeccably dressed in fine shirts and crisply pressed suits.
He was a man of great taste, which we all inherited, recalled his son Aldo.
His imprint was on every item he sold.
Guccio opened a small workshop behind the store where he could make his own leather goods to supplement the imported products and also started an active repair business that quickly became profitable. He hired local craftsmen and built up a reputation for offering service in addition to reliable goods. Several years later, Guccio acquired a larger workshop across Michelangelo's Santa Trinità Bridge on the opposite bank of the Arno along the avenue Lungarno Guicciardini. Guccio ordered his sixty craftsmen to work late into the night if necessary to fill the rising number of orders.
The Oltrarno area south of the Arno had become home to many small workshops, which harnessed the river's water to power machinery that treated and wove wool, silks, and brocades. The wide avenues bordering the river and the smaller streets leading south in this working-class neighborhood rang with sounds of hammering and sawing wood, washing and beating wool, and cutting, stitching, and polishing leather. Antiques dealers, framers, and other craftsmen also settled here. Just across the river, the area around Piazza della Repubblica had become the commercial and financial heart of Florence, dating back to the Middle Ages when it was the headquarters of the powerful trade guilds that regulated the city's thriving craftsmanship.
As Guccio's children grew, they began to work in the family business with the exception of Ugo, who showed little interest. Aldo had the keenest sense of trade, while Vasco, nicknamed Il Succube,
The Underdog, took on responsibility for production, although he actually preferred hunting in the Tuscan countryside whenever he could. Grimalda, nicknamed La Pettegola,
The Gossip, worked behind the counter in the shop alongside a young sales assistant Guccio had hired. Rodolfo was still too young to work in the shop; when he became older, he turned his nose up at the idea and followed his dream of working in films.
Guccio ruled his children strictly and insisted they address him with the formal Lei, rather than the intimate tu. He demanded good behavior at mealtimes and used his napkin as a whip, flicking it at those who were out of line. When the family spent weekends at their country home outside Florence near San Casciano, on Sundays Guccio hitched up the horse to their wooden two-wheeled cart, loaded in Aida and all the children, and trotted them all off across the fields to morning mass.
He had a very strong personality and commanded respect and distance, said Roberto Gucci, one of his grandsons. Thrifty, he ordered the side of prosciutto sliced as thinly as possible in order to make it last. He impressed these values on his children; it became family legend that Aldo would top off the bottles of mineral water from the tap. Guccio had his pleasures, too, and one of them was the hearty Tuscan food that Aida served up at the large family table. Perhaps because of the poverty he knew in his youth, Guccio let himself enjoy his later years and both he and Aida grew stout on her savory home cooking.
I will always remember him with his Havana cigar and the seemingly endless gold watch chain that girded his waist, said Roberto.
Guccio tried not to distinguish between Ugo and his natural children, but the boy didn't seem to want to fall into the pattern set by his father and brothers and sister. His large size and tough manner earned him the nickname Il Prepotente,
The Bully, from his brothers. When Ugo didn't show any interest in helping out in the family shop, Guccio found him a job with one of his wealthy customers, Baron Levi, a successful landowner. Baron Levi employed Ugo as assistant manager of one of his farms on the outskirts of Florence. The situation seemed ideal for the brawny young man. Soon Ugo, who was already married, began boasting about how well he was doing. Guccio, still eager to pay off his early debt, asked Ugo for a loan. Ugo, in financial difficulty himself due to an extravagant girlfriend he was secretly courting, was too embarrassed to confess that he didn't have the money and instead promised his father he would give him a loan. In the meantime, Guccio arranged a bank advance with which he paid off his loan. After paying back the bank, he agreed to repay Ugo over time, with interest. What he didn't know was that Ugo, ashamed to admit to his father he wasn't as successful as he claimed, had stolen 70,000 lire (the equivalent of about $3.50, a significant amount of money at the time) from Baron Levi's cash box. He gave his father the 30,000 lire (about $1.50) he had asked for and ran off with the rest for three weeks with his girlfriend, a dancer who performed in the chorus of a small local theater.
Baron Levi reported to Guccio his strong suspicion that Ugo had stolen from him, crushing Guccio's joy at having paid off his partner at long last. He could hardly believe his son would resort to stealing, but a review of the facts left no doubt in his mind. He agreed to repay the baron at the rate of 10,000 lire (about 50 cents) a month.
Ugo distressed his parents in other ways as well. In 1919, a young Benito Mussolini had founded the Fasci di Combattimento, the precursor to his Fascist Party, and by 1922, after Mussolini had already been elected to Parliament, the Partito Nazionale Fascista had attracted 320,000 members across Italy, including bureaucrats, industrialists, and journalists. Ugo joined up—perhaps in rebellion against Guccio—and became a local official. He then used his power to terrorize the baron and others in the neighborhood where he had once worked, arriving at all hours with groups of drunken friends, demanding food and drink.
Meanwhile, Guccio struggled to make his business successful. In 1924, after two years of business, some suppliers who had let Guccio have goods on credit to launch his business were demanding payment. In turn, some of his own clients had not paid what they owed. The young merchant did not have enough cash to pay his bills. One night, in a closed-door meeting with his family and closest staff, a tearful Guccio told the small assembly he was going to be forced to close his shop.
Unless a miracle happens, I can't stay open another day, Guccio said.
The strong, robust Guccio
looked like a man facing a death sentence, recalled Giovanni Vitali, Grimalda's fiancé. A local surveyor, he knew the family well, having gone to school with Ugo and later Aldo at the Roman Catholic College of Castelletti.
Vitali, who worked in his father's construction business, had put aside some savings for his future with Grimalda. He offered to help Guccio out. Guccio humbly accepted the loan, gratefully thanking his son-in-law-to-be for saving the small enterprise. During the following months, he paid Giovanni back in full. As business improved, Guccio expanded the workshop and encouraged his craftsmen to produce original articles for the shop. He identified skilled artisans and built a qualified team of leatherworkers who were more artists than laborers. They produced fine bags of delicate kidskin and genuine chamois, telescope purses with gussets on the sides, and suitcases inspired by the Gladstone bags Guccio had seen in his Savoy days. Other products included car robe carriers, shoe boxes, and linen carriers—in those days upper-class tourists traveled with their own bed linens.
The business did so well that in 1923 Guccio opened another shop on Via del Parione and during the next few years expanded the shop on Via della Vigna Nuova. The shop changed its location several times in the history of the company, with the last at numbers 47–49, currently occupied by the Valentino and Armani boutiques.
Aldo started working in the family business in 1925, at the age of twenty, delivering packages with horse and cart to customers staying at the local hotels. He also did simple shop tasks, such as sweeping and tidying, eventually helping with sales and rearranging the merchandise displays.
Aldo's knack for mixing work and pleasure was evident from the beginning. In addition to developing salesmanship skills, Aldo adeptly turned his contacts with pretty young female customers into exciting flirtations. An attractive young man with a lean figure, bright blue eyes, chiseled features, and a wide, warm smile, he quickly charmed the young women who stopped in the shop. Guccio appreciated the effect Aldo's captivating manners had on the business and he closed his eyes to his son's amorous escapades until one of his most prestigious clients, the exiled Princess Irene of Greece, came to the shop one day and asked to speak with him privately. Guccio ushered her into his office.
Your son has been seeing my servant, she reproached him.
This must stop or I shall be forced to send her home. I am responsible for her.
Guccio was reluctant to tell Aldo which young women he could or couldn't escort, but he did not want to offend such an important client. He called his son into the office for an explanation.
Aldo had first met Olwen Price, a bright-eyed, red-haired girl from the English countryside at a reception at the British consulate in Florence. Olwen had also visited the shop during her rounds for her mistress. Daughter of a carpenter and trained as a dressmaker, she had been eager for the chance to go into service overseas as a ladies' maid. She had entranced Aldo with her shy, modest manner, her musical English accent, and simple ways. He persuaded her to meet him privately and quickly discovered that her quiet demeanor hid an adventurous spirit; they soon became lovers, disappearing into the Tuscan countryside for their amorous retreats. Aldo quickly realized that the relationship with Olwen was more than a passing flirtation. When Guccio and the princess confronted him, Aldo surprised them both, announcing that he and Olwen intended to marry.
From now on, Olwen is no longer your concern, Aldo declared gallantly to the princess.
She is mine and I will take care of her. He didn't tell them that Olwen was already pregnant.
Aldo brought Olwen home, placing her in the care of his older sister, Grimalda, while continuing to meet her for furtive excursions into the countryside. Aldo then followed her home to England to meet her family. They were married on August 22, 1927, in a little church in the English village of Oswestry, near Olwen's hometown of West Felton, near Shrewsbury. He was twenty-two years old; she, nineteen. Their oldest son, Giorgio, whom Aldo always called il figlio del amore, his love child, was born in 1928. Two other boys followed: Paolo in 1931 and Roberto in 1932. The marriage wasn't destined to be happy, however. Aldo's and Olwen's sweetheart escapades had thrilled them both, but settling down to family life in Florence was different. First, the couple had to live with Guccio and Aida, forcing Olwen to fit into Italian family life and submit to Guccio's strict, commanding style. They all crammed into the elder Guccis' apartment on Piazza Verzaia, near the old stone San Frediano entrance to the once-walled city. After they moved into their own home on Via Giovanni Prati on the outskirts of Florence, tensions eased for a while. Olwen dedicated herself entirely to the three boys, while Aldo became more and more involved in the family business. She never learned Italian well, was painfully shy, and had a hard time making friends. As he began to expand his horizons through the business, she grew fiercely possessive and resentful.
Aldo loved life, but she put a damper on anything he wanted to do, recalled his older sister, Grimalda.
She never let him take her out anywhere, always making the excuse of having to look after the children. It wasn't what he married her for at all.
Rodolfo, the youngest son of Guccio and Aida, showed no interest in working in the family business, even after his brothers and sisters were already helping behind the counter at their father's shop on Via della Vigna Nuova. Rodolfo had other dreams. He wanted to act in films.
I wasn't born to be a shopkeeper, the young Rodolfo, whom his family called
Foffo, protested to his father as the elder Gucci shook his head.
I want to work in the movies.
Guccio couldn't understand where his youngest son had gotten such ideas and he tried to discourage him. One day in 1929, when Rodolfo was seventeen, his father sent him to Rome to deliver a package to an important client. The Italian director Mario Camerini spotted him in the lobby of Rome's Hotel Plaza and invited the handsome young man to do a screen test. Shortly after, a telegram confirming the appointment arrived at the Gucci home in Florence. When Guccio read it, he blew up.
You are out of your mind! he thundered at his son.
The film world is full of nutty people. You might get lucky and have your five minutes of fame but what happens when you are suddenly forgotten and never work again?
Guccio realized that Rodolfo was determined and allowed him to go to Rome to shoot the screen test, which was successful. At the time, the young Rodolfo still wore short pants, as was customary for boys in those days; he had to borrow a pair of long pants from his older brother Aldo for the occasion. Camerini liked Rodolfo and gave him a role in Rotaie, one of the masterpieces of early Italian cinema, a dramatic story about two young lovers who decide to commit suicide in a cheap hotel along the railroad tracks. Rodolfo had a sensitive and expressive face, perfect for the stylized cinema of the time. After Rotaie, he became best known for his comical roles, in which his contorted expressions and laughable antics reminded viewers of Charlie Chaplin. He used Maurizio D'Ancora as his screen name. None of Rodolfo's later films had quite the same success, although he did have a part in Finalmente Soli alongside the young Italian actress Anna Magnani, with whom he is said to have had a love affair.
During the shooting of one of his early films, Rodolfo noticed a bubbly blond actress on the set who played a minor part. Vivacious and unconventionally free-spirited for her time, she was Alessandra Winklehaussen, known professionally as Sandra Ravel. Alessandra's German father was a chemical-plant worker; her mother was from the Ratti family near Lugano on the northern bank of Lake Lugano in the Italian-speaking region of Switzerland. Shortly after she had caught Rodolfo's eye, Alessandra played opposite him in Together in the Dark, an early talkie about an adventurous young starlet who enters the wrong hotel room by mistake and slips into bed next to Rodolfo—who in life, as in the movie, had fallen head over heels in love with her. Their filmed encounter between the sheets led to off-screen love. Alessandra and Rodolfo married in 1944 in a romantic ceremony in Venice. Rodolfo had the wedding filmed, complete with footage of the young couple skimming the waters of the lagoon in a gondola and toasting happily at the reception dinner. When their son was born on September 26, 1948, they named him Maurizio in honor of Rodolfo's nom de cinema.
In 1935, when Rodolfo was still developing his film career with no thought of ever joining the family business, Mussolini invaded Ethiopia. While far from Italian shores, this event nonetheless greatly affected the Gucci business. The League of Nations imposed an international trade embargo on Italy. As fifty-two countries refused to sell their products to the nation, Guccio could no longer import the fine leathers and other materials he needed to make his exclusive bags and luggage. Terrified that his small venture would collapse as had his father's straw hat business years earlier, according to some accounts, Guccio geared up the factory to make shoes for the Italian army in order to keep operating.
Guccio also came up with alternatives, as did other Italian entrepreneurs, such as his neighbor, Salvatore Ferragamo, who created some of his most remarkable shoes during the darkest years of the embargo. Ferragamo didn't overlook any possibility, cunningly using cork, raffia, even cellophane from candy wrappers to make shoes. The Guccis sourced as much leather as they could from within Italy and began using cuoio grasso from a local tannery in Santa Croce. Veal calves specially reared in the lush Val di Chiana were fed in their stalls to avoid abrasions on their hides. Their skins were then cured on the outside and treated with fishbone grease. The treatment made the skins soft, smooth, and supple; scratches miraculously disappeared with the swipe of a finger. Cuoio grasso soon became a Gucci trademark. Guccio also introduced other materials, such as raffia, wicker, and wood, into the products in order to reduce the leather content to a minimum. He made bags out of fabric with leather trim. He ordered a specially woven canapa, or hemp, from Naples. Using this fabric, the Guccis developed a line of sturdy, lightweight, and recognizable luggage that quickly became one of their most successful products. Guccio developed the firm's first signature print—a precursor to the famous double-G print—with a series of small connecting diamonds printed in dark brown across the natural tan background. The print looked the same any way one turned the fabric. Guccio had also begun to make other items besides the bags and luggage that were the core of his business. He discovered that smaller leather accessories such as belts and wallets generated a nice income by bringing into his shop people who weren't looking for large items.
In the same period, Aldo traveled around Italy and parts of Europe to test interest in the business. The positive response he met first in Rome, then in France, Switzerland, and England, convinced him that having a shop only in Florence limited Gucci potential. If so many customers were coming to Gucci, why not take Gucci to them? He tried to persuade his father to open shops in other cities.
Guccio would have none of it.
What about the risk? Think of the enormous investment. Where are we going to get the money? Go to the bank and ask them if they will finance you!
During their family battles Guccio shot down Aldo's every idea, but behind his back he went to their bankers and told them that he backed Aldo's plan.
Aldo finally got his way. On September 1, 1938, just twelve months before the outbreak of World War II, Gucci opened its doors in Rome on the elegant Via Condotti at number 21, in a historical building called Palazzo Negri. At that time, the only other names on Via Condotti were the exclusive jeweler Bulgari, and a maker of fine shirts, Enrico Cucci, whose clients included Winston Churchill, Charles de Gaulle, and the Italian royal family, the House of Savoy.
Long before the days of la dolce vita, Aldo had identified Italy's capital city as one of the most popular playgrounds of the world's elite. While his father shook his head over the bills, Aldo insisted that no expense could be spared to make the Gucci shop a magnet for wealthy and cultivated tourists. The store occupied two floors and had double glass doors and ivory handles carved in the shape of olives stacked one on top of the other.
The handles were copied from the doors of the shop in Via della Vigna Nuova, and were one of the first symbols of Gucci, recalled Aldo's third son, Roberto.
Massive glass-covered mahogany cases displayed the Gucci products; handbags and accessories downstairs, gift items and luggage upstairs. Rich-looking wine-colored linoleum covered the ground floor, while carpeting of the same color ran up the stairs and along a corridor leading to the first-floor sales area. Aldo moved to Rome with Olwen and the children, renting an apartment on the second and third floors above the shop. Having initially taken the boys to her home in England, Olwen decided to bring them back to Italy when the war broke out. The Allies treated Rome as an open city and didn't bomb it at first. While Aldo managed to keep the shop open and profitable, the boys went to a school run by Irish nuns and Olwen worked with a group of Irish priests, helping Allied prisoners escape. In the final weeks, however, Allied planes began bombing railway yards on the outskirts of the city. Aldo moved Olwen and the boys out into the country, but was forced to return to Rome when city administrators ordered shopkeepers to keep their doors open for business.
During the war, the Gucci family scattered. Ugo, who had participated in the Fascists' march on Rome in 1922, became a Fascist administrator in Tuscany. Rodolfo signed up with the armed forces entertainment unit and moved with the troops, playing the comedy roles of his early silent films and talkies, while Vasco, after a short period of military service, had been allowed to return to the factory in Florence, where he oversaw shoe production for the war effort.
At the end of the war, Olwen was given a special citation for her work. Loyal to her Italian family as well, when she learned that Ugo had been captured and was being held prisoner in Terni by the British army, she used her connections first to plead for better treatment for her brother-in-law, and later for his release. She also went to Venice with Aldo to rescue Rodolfo, who had been stranded with the troops after Italy's capitulation.
It took time for the country to rebuild. The factory along Lungarno Guicciardini had been cut off as departing Germans blew up the Florentine bridges, including Michelangelo's Santa Trinitá. The family began to look for a new site to resume its production of leather goods. In the meantime, Guccio, terrified


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New civil engineer : introducing undergraduate civil engineers to construction technology
Murray, Michael and Tennant, Stuart (2014) New civil engineer : introducing undergraduate civil engineers to construction technology. Engineering Education, 9 (1). pp. 33-47.
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Undergraduate (UG) civil engineering students should graduate from university with knowledge that links their computational competence in structural engineering and mechanics to construction technology principles, processes and practice. However, there appears to be a paucity of evidence to suggest that UG civil engineering students receive sufficient instruction in construction technology throughout their degree studies. This paper presents evidence from a study employing the weekly New Civil Engineer (NCE) publication as a vehicle for introducing construction technology to first year students. The results reveal that students found this publication interesting and inspirational. Whilst this innovative approach to teaching construction technology would be best 'blended' throughout the UG course, its introduction, application and success arguably requires a multi-disciplinary and carefully 'engineered' approach. Given the diversity of academic staff, individual motivation and the professional demands of a contemporary mass higher education system, the prospective benefits from 'blended' learning in UG construction technology studies will in all probability remain unfulfilled.
|Murray, Michael ORCID: https://orcid.org/0000-0002-7465-4870 and Tennant, Stuart;
|Item type:
|ID code:
|This is the pre-peer reviewed version of the following article: Mike Murray and Stuart Tennant: (2014) New Civil Engineer: Introducing Undergraduate Civil Engineers to Construction Technology. Engineering Education 9(1), 33-47. DOI: 10.11120/ened.2014.00024
|training, education , trade magazines, foundations, Engineering (General). Civil engineering (General), Education, Civil and Structural Engineering, Education
|Technology > Engineering (General). Civil engineering (General)
|Faculty of Engineering > Civil and Environmental Engineering
|Depositing user:
|Pure Administrator
|Date deposited:
|09 Sep 2014 14:06
|Last modified:
|02 Apr 2020 01:25
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subset: commoncrawl


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No immediate updates. We are planning many updates to the signup forms later this year but at the current time, we have no specific details or dates we can share. This is definitely one of the items on the features list, but since we are still in our planning stage for this it's too early to say when we can get this in.
I noticed in an earlier post that Formstack integration was recommended as a solution to redirecting. I went this route primarily because the hosting platform I'm working with (Business Catalyst) doesn't support server-side code for a custom form. Used Formstack to build a form and tested it. Unortunately, the "free" integration account level forces a redirect to an even worse confirmation page that is branded Formstack and asks "Do you want to create your own form?" with a bunch of bullets on why use Formstack. This is an even more confusing user experience than Constant Contact without a redirect which is still pretty bad from a user perspective. There is no way to disable it and the only way to set up a redirect is to upgrade to a paid account of $14/mo. I'm feeling duped by Constant Contact's push to use a third party solution that ends with a terrible user experience or costs money. At a minimum, the free integration should include this "premium" feature.
Has this been dealt with yet? My client wants to redirect to a page with a free download for people who sign up - everyone else in the universe can do this... is it still not possible with CC?
We have passed this feedback on to our Contact Management team, who does all of the updates to Contact products such as the signup forms. They are aware of this feature request but have not been able to get to it as we are working on other contact management features.
We are currently in the process of migrating all of our customers to a new and upgraded Contact Management System. Many people have made mention in these forums and we've been very vocal about this recently. This project has taken up a top priority for the Contact Management team and has limited what they can get out in terms of additional features and updates (such as this feature added to the signup form pages).
We are still trying to get out some high value updates outside of this migration to our customers. However, this specific feature has not made it up to the top of the list yet. I will continue to hand over feedback as it comes in and, as always, thank you for your candor in giving it. If I get any more information to pass on, such as a timeline to deliver this, I will make sure to add it to this thread.
yeah, I dont understand this, all other email marketing companies have a way of doing this, for instance, just last night I configured a sign up form in Campaigner and it gives you the option to enter the text you want people to read after successfully signing up then a redirect back to your site. I am stunned how awkwark CC is. I was just on chat with them and they want to blame the plugin I am using, even though I explained I am just inserting their generated code into my site. So for now, my users see this when they sign up: {"success" :true}
how retarded is that?
at least it's a positive JSON response... rather than {success: isAHollowGoal}
If you wish the use the form without the Javascript, then you will need to customize the form by adding an additional field to redirect to a success page. This can be done by adding a hidden field called "url" that contains a link to your desired success page. It is very important to note that this option to redirect only works if you are not using the Javascript that is included.
If you have any questions for me about the Javascript success message or the redirect option, please let me know!
Hello Elijah_G,
I am getting that javascript {'Success':'True'} how do I get it to redirect?
If you are seeing that message, it is because the Javascript code included with our embeddable form is missing or not functioning properly on your website. By default our embeddable form is designed to show a success message when it is submitted rather than redirecting. What you are seeing happens when something is interfering with the code that is used to display that success message.
If you just want a redirect instead of a success message, you will need to add an additional hidden from field that is formatted as follows:
<input data-id="url:input" type="hidden" name="url" value="http://LINK.TO.REDIRECT/">
If you would prefer to show the success message, the first step is to try getting a fresh copy of the embed code from Constant Contact. If that does not work, I would suggest working with the team that helps you manage/maintain your website, as they should be able to identify why things are not being loaded properly.
If you have any questions, please feel free to ask!
Hi Elijah,
I'm also interested in a redirect rather than the success message. So, thanks for that link. However, I tried it, both putting it straight into the embeded code and also getting rid of the line with the Success message. Neither of those methods work. Is there something I am missing?
View API documentation, code samples, get your API key.


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The Past 37 Years: A Reflection
February 1st, 2019 marked the first day of my 37th year at COMPASS! As I wrote this post, I quickly realized it would be impossible to express the impact COMPASS has had on my life in 500 words or less. So instead I chose five words that encompass the many highs and lows that I, along with my co-workers and students, have experienced over this time.


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It's been a huge honour to edit The Herald
Dear Reader
Yesterday our company, Arena Holdings, announced various changes to its management teams...
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James Lyons-Weiler has published an analysis claiming that Paul Thomas' "Vaccine-Friendly Plan" is safer than the current CDC-recommended vaccine schedule because contains less aluminum. Unsurprisingly, The modeling behind the analysis is risibly incompetent. Same as it ever was.
Category: Biology
The Lung Institute and the stem cell hard sell
The Lung Institute is more evidence that all for-profit stem cell clinics are predatory clinics selling snake oil. EVERY. SINGLE. ONE. OF. THEM. If there's an exception, I haven't found it yet.
Tetyana Obukhanych swings at the measles immune amnesia studies—and whiffs!
Tetyana Obukhanych has a PhD in immunology but has somehow become antivaccine. This week, she tried to refute two recent studies on immune amnesia induced by measles virus infection. Let's just say that it did not go well.
Immune amnesia: Another reason why measles is a serious illness
Two new studies, this time finding immune amnesia due to measles, show why measles is serious and you should vaccinate your children. That's right, contrary to antivax claims, "natural infection" with measles doesn't "boost the immune system." Quite the contrary!
Brain inflammation, autism, and antivaxers
Another study appears to link chronic inflammation of the brain to autism. Antivaxers, as always, conclude that vaccines done it. This is a continuation of yesterday's discussion.
Fabrizio Benedetti asks: "Does placebo research boost pseudoscience?"
Professor Fabrizio Benedetti is the most famous and almost certainly also the most influential researcher investigating the physiology of placebo effects. In a recent commentary, he asks whether placebo research is fueling quackery, as quacks co-opt its results. The answer to that question is certainly yes. A better question is: How do supporters of science counter the placebo narrative promoted by quacks, in which placebos represent the "power of the mind to heal the body"?
Conspiratorial fear mongering about cell phones and cancer, courtesy of The Nation
The overwhelming scientific consensus is that it is incredibly unlikely that cell phone radiation causes cancer or other health problems. That doesn't stop The Nation from constructing a conspiracy theory inn which cell phone companies are likened to tobacco companies in their campaign of denial designed to hide evidence of harm while disingenuously claiming to be neutral regarding the science and saying that scientists should determine whether radiation from cell phones is hazardous.
The "interstitium": Interesting science versus PR spin and pseudoscience
Last week, the media were awash with reports of the "interstitium," which was dramatically described as a hitherto undiscovered "organ," a narrative that was definitely a triumph of PR over science that went beyond what even the investigators claimed in their paper. Worse, the investigators themselves even speculated that their discovery could "explain" acupuncture and other kinds of alternative medicine, thus providing an opening for quacks to run wild with their discovery, something I expect to see very soon.
Torturing more mice in the name of antivaccine pseudoscience: PubPeer versus antivaxers
Last week, I wrote about a truly execrable bit of science by Christopher Shaw and Lucija Tomljenovic purporting to show that aluminum adjuvants cause brain inflammation, which causes autism. Since then, I've learned that, not only is it bad science, but that there are red flags about several of the figures to raise the specter of fraud. This might not be just bad science. It might be fraudulent science. The only way to resolve this would be for the authors to release the original full resolution images of their blots.
Torturing more mice in the name of antivaccine pseudoscience, 2017 aluminum edition
Over the last couple of days I noted a disturbance in the antivaccine force, another study claimed to be slam dunk evidence that aluminum adjuvants in vaccines cause autism. It's not. Also, a word to antivaxers challenging Orac to look at this study: Be very careful what you wish for...


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Hospitality Plumbing Services is a small but mighty operation. We marry the approach-ability and humbleness of a small operation with top-quality craftsmanship, professionalism and an industry-best standard of customer service. Servicing Brisbane and surrounds, our team have the skills and the tools to handle everything from the drip-drip-drip of a leaky tap to overhauling your entire home's plumbing works.
Our plethora of satisfied return-customers are evidence of our skill, high-quality workmanship and customer-centric mode of operating. We find purpose in delivering a service we are proud of, to clients that will be lifelong. Our good reputation has been born out of our following commitments:
Our team of qualified tradespeople are committed to respecting your space and ensuring your comfort-ability at all times. We know how to clean up after ourselves, we take pride in our presentation and maintain a professional attitude at all times.
Our customers are our number one priority. The team at Hospitality Plumbing Services don't believe in charging exuberant prices for our projects. After all, our business doesn't survive without our customers! We don't charge for our no-obligation quotes and we will never sock you with an expensive call-out fee. We aim to keep all our plumbing services in Brisbane as affordable as possible for our valued clients.
Each of our individual team members is fully qualified, has a wealth of experience in the field and beyond all, is passionate about what they do. We know there's nothing more frustrating than having something repaired, only to have it fall apart soon after. We don't believe in quick-fix solutions, we believe in good old-fashioned quality of work.
Our team is on call during the day and night to handle your enquiry. We aim to deliver a quick turn-around from the moment you book our services. Unlike other operations in our field, we won't keep you waiting all day with massive service windows. We understand that no one wants to spend the day waiting on a tradesperson, so we move quickly and stick to our timelines.
Our team are available 24/7 to carry out all of our plumbing services. Whether your Brisbane home has just had a pipe burst at 2am, or the only time you have spare to book in your hot water system installation is Friday night – we'll be there. Our team of Brisbane plumbers are more than happy to fit in with times that work for you.


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Sugar Damage
The effects of sugar – what you need to know
Sugar Damage from a high carbohydrate diet has very little focus on the healthy fats, proteins, and vegetables our bodies need to thrive and survive on.
It's important to remember not all sugar is created equal. Find more information here.
Sugar Damage – the Simple Math
On average Americans consume 115 pounds of sugar each year unbeknownst to us. The Standard American Diet (SAD) promotes a high carbohydrate diet with very little focus on the healthy fats, proteins, and vegetables our bodies need to thrive and survive on.
Simple math shows us:
1 teaspoon sugar = 15 calories
3,500 calories = 1 pound
3,500/15 = 233 calories
233/115 (lb) = 2
If a continued diet of high sugar consumption continues, you can expect to gain two pounds each year for the rest of your life.
Scary?It is.
Start your sugar-free journey now by enrolling in a sugar shakedown course. Click here to get started.
Sugar Damage – My Story
I know first hand the struggle of consuming too much sugar and the effect it has on our bodies (both mentally and physically), especially around the holidays.
I am anti-sugar all year, then sometime around the start of the holiday season all the talk of sugar is terrible goes right out the window. (I'm probably on Santas naughty list right now as we speak).
It dawned on me that I am not the only one who struggles with excessive sugar consumption around the holidays.
Do you ever find yourself reaching for just one cookie, brownie, or your favorite sugar-filled treat, only to go back for seconds, maybe even thirds?
*raises hand*
The damaging effects sugar has on your body
A constant high sugar diet produces a state of oxidation and inflammation that over time sets the tone for heart disease, type 2 diabetes, weight gain, accelerated aging, and in some cases cancer. See below for more information or start your sugar detox here: 7-Day Sugar Shakedown Challenge
Sugar causes glucose levels to spike and plummet.
Unstable blood sugar can leave you experiencing mood swings, fatigue, and headaches. It also contributes to cravings, which begins the cycle of false hunger.
Sugar increases the risk of obesity, diabetes, and heart disease.
While we all like to indulge once in a while, foods that quickly affect blood sugar contribute to a higher risk of obesity, heart disease, and diabetes.
Sugar affects your immune system.
As if being sick wasn't bad enough, studies have shown that sugar can interfere with the way your body fights disease.
Sugar accelerates aging.
While you probably know that sugars can affect your body composition, they can also mess with your skin by contributing to wrinkles and sagging.
Sugar causes tooth decay.
With all the other life-threatening effects of sugar, we sometimes forget the essential cosmetic damage it does. When it sits on your teeth, sugar causes decay more efficiently than any other food.
Sugar takes the place of essential nutrients.
According to USDA data, people who consume the most sugar have the lowest intakes of essential nutrients––especially vitamins A, C, B-12, and calcium.
Sugar is linked to acne.
Sugary foods quickly spike blood sugar and insulin levels, causing increased androgen secretion, oil production, and inflammation, all of which play a role in acne development.
Sugar increases your risk for diabetes.
Obesity, which is often caused by consuming too much sugar, is considered the most influential risk factor for diabetes.
Sugar increases your risk of depression
While a healthy diet can help improve your mood, a diet high in added sugar and processed foods may increase your chances of developing depression.
Sugar drains your energy
Products that are loaded with sugar but lacking in protein, fiber or fat lead to a brief energy boost that's quickly followed by a sharp drop in blood sugar, often referred to as a crash
Click here for Sugar-Free Recipes
Simple ways to cut back on sugar consumption
- drink more water
- use a natural sweetener (pure maple syrup or raw honey)
- eat enough at mealtime
- eat more healthy fats (coconut oil, lard, avocado)
- always read labels
- make your own meals
What are some ways you can cut back on sugar consumption?
Be sweet and register for your 7-Day Sugar Shakedown and start a sweeter sugar-free lifestyle today! Enroll here.
Sucrose is often called table sugar. Made up from glucose and fructose, it is extracted from sugar cane or sugar beet and also naturally present in most fruits and vegetables
Glucose and fructose are found in fruits, vegetables, and honey
Lactose is commonly called milk sugar because it is found in milk and dairy products
Added sugars are those used in manufacturing or added by the consumer. Naturally occurring sugars are those found naturally in a product e.g. fruit or vegetables
No kind of sugar is better or worse for you whether it's naturally present in a food (e.g. a piece of fruit) or used during the manufacturing process. The body breaks down each sugar in exactly the same way. The key is consuming and maintaining a healthy Paleo diet.
Subscribe below for more information and sugar-free recipes sent right to your inbox!
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Egypt's Orascom Telecom Media and Technology Holding – OTMT announces today board's approval to sell non-core assets in OT Ventures.
OTMT stated today that the board of its fully owned subsidiary Orascom Telecom Ventures (OT Ventures) approved the sale of certain of its assets and their subsidiaries for a total enterprise value of EGP 140 million to an Accelero Capital group company (Accelero Capital).
These assets, operating in Mobile Value Added Services, Online Advertising, Development and Content Management, include:
Link for Programming Development S.A.E., Connect Ads for Advertising and Programming S.A.E., Link on line S.A.E., Arab finance for Brokerage S.A.E., Link Register S.A.E., Arpu For Telecommunication Services S.A.E., Egypt Call S.A.E, Otlob.com for Restaurant Reservation Services S.A.E., LINK dot NET Al Arabia El Saudia – Ltd, LINK dot NET – Qatar – Ltd, and LINK dot NET –FZ LLC – Ltd (UAE).
OT Ventures' board members have retained an independent financial advisor ("IFA") to value the targeted assets. By comparing the outcome of the IFA's valuation report against Accelero Capital offer, the board members confirmed that the transaction is at arm's length and consistent with the assets' fair market value.
The parties are currently in the process of finalizing detailed transaction documents under exclusivity arrangement. This transaction is expected to close during the first quarter of 2015.


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Mud! don't we all love it? it gives my skin a soft feeling. Mistress says some people pay to have mud wraps but I am so lucky I get them for free! I mean who in their right mind walks ROUND puddles they are there for a purpose…to enjoy! Mud! it is great I love it, but I do not enjoy the rubbing down and being made to sit on a towel while I dry off!
Posted in Nixie


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Emily Lopez
"Working abroad gave my the confidence to work in any environment and reassured me of my ability to persevere through difficult circumstances. My experience in applying for a working permit in the country, registering with the Irish immigration and tax department, and finding housing abroad gave me the confidence and courage I need for seeking employment with global companies."
I was interested in interning abroad in Ireland since it provided an opportunity for me to experience a new culture and environment while learning how to work in a company on a global scale. Before applying to the program, I knew that I wanted to intern in Ireland since it was always a dream destination for me! I have been fascinated by the country's culture, people, and environment since I first learned about European countries in elementary school. Its history, which can be seen through their awestrucking castles and its talented representatives in all realms of art and science, captured my admiration.
Ireland's working culture was amazing! I had been accustomed to a work-centered mentality, where I'd work long hours and take minimal breaks; however, when working abroad, tea breaks were scattered throughout the day and working through lunch was scarcely seen. I learned to value a mentality of "working to live" as opposed to "living to work."
Prior to going to Ireland, I'd never travelled to Europe or alone, which made me nervous about my ability to make friends. Once I arrived, however, I learned that most of the students in my program had the same fear. We were all eager to gather after work and class explore the city together. I still meet with my friends from the program at Berkeley and keep in touch with the friends I've made abroad!
I'd wake up bright and early to make breakfast and catch the bus into town for work-- nearly everyone relies on public transportation for their commute in Dublin. I'd work with the staff on administrative duties and help the students with their personal and professional questions until the breaks and lunchtime. Once work ended at 5pm, I'd go back home to prepare my dinner and work on the online class assignment. Afterwards, my roommates and I would regularly watch movies in our common room or head back into town to explore Dublin's live music and food!
My program consisted of an online course which focused on how to be a global citizen and a weekly lecture on Irish literature and history. The professor for the Irish literature and history course also prepared mandatory field trips after our classes, which strengthened the lessons we learned in class.The material and professor were as inspiring as Berkeley classes and the workload was both manageable and enjoyable.
I was driven to continue working in Ireland for the following 4 months after the Berkeley program ended due to the inspiring people I met. My friends were enthusiastic to help me learn about Irish culture and traditions and the country's rich history through personal stories. They helped make my transition less stressful and frightening.The students and my coworkers were always eager to learn about my culture and to share their own, in the process, opening my eyes to the beauty behind globalization and the value in personal interactions with international citizens.
Working abroad gave my the confidence to work in any environment and reassured me of my ability to persevere through difficult circumstances. My experience in applying for a working permit in the country, registering with the Irish immigration and tax department, and finding housing abroad gave me the confidence and courage I need for seeking employment with global companies.
I urge all students to study abroad since it helps create a holistic and unique education. In particular, learning to work with global partners is valauble since advancements in each field of study affect communities worldwide. Ireland was a great introduction to working abroad since the Irish were incredibly welcoming and open-- they love to lend a helping hand and never fail to ask "What's the story" (What's new in your life)! However, I'm aware of the financial implications that arise with studying abroad, so I highly recommend utilizing the resources available to you at the Study Abroad Office-- they helped me tremendously!


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- "You can't be too careful these days. There's a lot of strange people in this world."
- ―Herman Munster
|"Munster Masquerade"
Season 1, Episode 1
|September 24th, 1964
| Joe Connelly
Bob Mosher
|Lawrence Dobkin
| Joe Connelly
Bob Mosher
Irving Paley
| Fred Gwynne
Yvonne De Carlo
Al Lewis
Beverley Owen
Butch Patrick
|My Fair Munster
"Munster Masquerade" is the first episode of season one of The Munsters and was directed by Lawrence Dobkin. It first aired on CBS on September 24th, 1964. In the episode, the parents of Marilyn's new boyfriend invite her family to a masquerade party. Not understanding that they don't really need to wear costumes, the Munsters labor to find the perfect outfit for the festivities.
Synopsis Edit
Act 1 Edit
Marilyn and her boyfriend Tom Daly are standing outside her home at 1313 Mockingbird Lane. She wants Tom to come inside to meet her aunt and uncle, but Tom would rather spend more quality time with Marilyn. Tom invites Marilyn and her family to attend a masquerade party that his family is throwing. Marilyn accepts, but warns Tom that her aunt and uncle are very old fashioned. From inside the house, Herman Munster watches the two of them through a window. He pulls away from the curtain and tells his wife, Lily, about Marilyn and her new boyfriend.
Marilyn goes inside and invites her parents to Tom's party. The Munsters are a little uncomfortable with the notion, but agree to go. Marilyn kisses them good night and begins walking up the stairs for bed. She stops to remind them that this is going to be a masquerade party. Herman and Lily look at each other bemused.
Act 2 Edit
At the Daly household, Tom's mother Agnes Daly is unsure whether it is such a good idea to invite Marilyn's aunt and uncle. Having never met them before, she is unsure of what to expect. Tom assures her that everything is going to be fine. He talks with his father, Albert Daly, and thanks him for inviting the Munsters. He thinks that this will be a great opportunity for him to prove himself to Marilyn's family.
Back at 1313 Mockingbird Lane, Herman and Lily Munster are still unsure about the entire affair. Grandpa Munster is extremely upset that he wasn't invited and is determined to go regardless, even if he has to use his powers to transform into chopped liver and appear on a plate of hors d'oeuvres. In an effort to appease her father, Lily telephones Mrs. Daly and asks if her grandfather can attend as well.
Herman emerges dressed in his masquerade costume. He is wearing a suit of armor and is meant to be King Arthur. Lily appears from around the corner dressed as Little Bo Peep. Herman is startled to see his wife dressed in such a terrifying costume.
Tom Daly arrives in the house dressed as the pilgrim John Alden. Marilyn greets him dressed as Alden's wife, Priscilla. She introduces Tom to her aunt and uncle, but as they are in costume, he does not yet realize how strange they really are. While Lily addresses Tom near the front door, Herman stomps on the floor to alert Grandpa. Grandpa is downstairs in his laboratory preparing his costume. He puts together a formula intended to reflect the image of Doctor Jekyll and Mister Hyde, but the formula fails.
Meanwhile, Mister and Mrs. Daly prepare for the party. Agnes warns her husband from the other room that he should avoid doing anything that might offend Marilyn's aunt and uncle. Albert steps out wearing his costume – the Frankenstein Monster. He promises that everything will be perfect.
Act 3 Edit
Mrs. Morton comes over to babysit Herman and Lily's young son, Eddie. While there, she meets Grandpa Munster, who comes up out of the basement dressed like Napoleon Bonaparte. Herman and Lily bid Mrs. Morton good night and leave for the party.
The Munsters arrive at the Daly residence and are greeted by Agnes Daly. Grandpa goes to kiss her hand, but Herman claps across the shoulder when he realizes that he is preparing to bite her.
At the Munster house, Mrs. Morton stumbles across a black cat who growls at her. The cat's growl is similar to the roar of a lion. She then hears a strange buzzing coming from the foyer. She finds an intercom system and Eddie's voice comes over the static. He requests permission to skip his bath because they are all out of scalding hot water. Morton allows it and tells Eddie to get ready for bed.
At the party, everybody is dancing and having a good time. Grandpa tries to help Herman sip a drink through the clumsy armor, but he gets distracted and accidentally spills it down the armor. Marilyn approaches him and asks Grandpa to dance with Mrs. Daly. He doesn't want to, but ultimately agrees.
Herman meanwhile, introduces himself to Albert Daly, but doesn't yet realize that Albert is wearing a Frankenstein costume. He tells him that it's a shame that he couldn't get a costume for his own masquerade party. Not realizing that Herman meant nothing by it, Albert grows greatly offended by the comment.
Back at the Munster house, Mrs. Morton dozes off, but abrubtly awakens when she hears a wolf howling. She calls out to Eddie who confesses that it was he who was making the howling noises. Morton turns about and sees the giant shadow of Eddie's pet, Spot, ascending the staircase.
At the party, Grandpa does his best to get in good with Mrs. Daly. They stop near one of the food tables and Agnes offers him something to eat. Grandpa dips a spoon into a lit sterno and begins eating. Not wishing to appear rude, he takes a spoonful of the burning substance and puts it onto Agnes' plate.
Afterward, Mrs. Daly holds a contest in which she offers a giant bottle of wine for whomever is voted to have the best costume of the evening. The guests all vote in unison for Herman's King Arthur costume and ask him to remove the helmet so that they can see what he looks like. Herman is grateful to win the contest and removes his helmet. The other guests, unaware of his natural appearance, mistakenly believe that he is wearing a second mask beneath the helmet. They all begin to applaud and Herman smiles. He does not seem to understand their comments. Lily understands however and is greatly offended. She grabs Herman and Grandpa and tells them that they are leaving. She explains to Herman that they were insulting him. Herman looks into a mirror, but still doesn't get the insult. The mirror cracks when he stares into it.
Act 4 Edit
The Munsters return home. They greet Mrs. Morton who tells them that Eddie was perfectly behaved. "In fact", she states, "If it weren't for his howling, I wouldn't even have known he was in the house". Lily doesn't quite understand why Morton should find such behavior peculiar, but lets it alone.
Tom brings Marilyn home. Marilyn is still deeply upset, but won't tell Tom what it was that has made her so angry. He follows her inside the house and Marilyn tells him that she is going to put on some coffee. After she walks off, Tom meets Herman and Lily and sees them out of costume for the first time. The shock of seeing them is so great that it makes his hair stand on it. Tom flees from the house in terror. Marilyn laments the fact that she has once again scared off another boyfriend.
Cast Edit
Principal Cast Edit
|Fred Gwynne
|Herman Munster
|Yvonne De Carlo
|Lily Munster
|Al Lewis
|Grandpa Munster
|Beverley Owen
|Marilyn Munster
|Butch Patrick
|Eddie Munster
Guest Stars Edit
|Linden Chiles
|Tom Daly
|Mabel Albertson
|Agnes Daly
|Frank Wilcox
|Albert Daly
|Lurene Tuttle
|Mrs. Morton
|Walter Woolf King
|George Washington
Notes & Trivia Edit
- This episode has been made available on The Munsters - The Complete First Season DVD as well as The Munsters: The Complete Series DVD collection.
- Premiere episode; first appearance of all characters.
- Mel Blanc, best known for providing the voice for the Loony Toons character Bugs Bunny, also provides the voice for the raven, Nevermore.
Quotes Edit
- Lily Munster: It's amazing how some boys will overlook a girl's appearance.
- Herman Munster: You can't be too careful these days. There's a lot of strange people in this world.
- Herman Munster: If there's anything that disturbs me, Lily, it's the idea of grown people like us dressing up in costume and looking ridiculous.
- Herman Munster: It's not as if someone just dug us up yesterday.
- Grandpa Munster: If I don't get to go, I'll sit here and hold my breath 'till the color comes back in my cheeks!
- Eddie Munster: Ooh, look at the neat lightning. I sure hope it hits our house!
- Herman Munster: I'm every inch a gentleman... in fact, several gentlemen.
- Grandpa Munster: You remind me of one of my wives. I had a hundred and sixty-seven of them. Of course, they're all dead now.
- Lily Munster: What did she mean by "Eddie's peculiar habit"? Don't all children howl when the moon comes up?
See also Edit
External Links Edit
- "Munster Masquerade" at IMDB
- "Munster Masquerade" at the TV IV
- "Munster Masquerade" at TV.com guide
- "Munster Masquerade" at TV Rage.com
|The Munsters. This template will categorize articles that include it into the Munsters episodes category.


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