Parco Lambro, Milan, 29/05/1975 – 26/06/1976. The dates are the beginning and the end of two epochal events merged into a single frame, a photographic continuum by the reporter Dino Fracchia. Continuous days is a period of freed time, days of proletarian youth in Parco Lambro in Milan, the Festival di Re Nudo. Dino Fracchia had attended without a camera the previous editions of 1971, 1972 and 1974, returned to photograph the landscape, alive with a gathering of 100,000 young people. The exhibition includes 12 topical and extraordinary shots of the author, accompanied by a catalog that paginates in loop all the frames of 13 unpublished rolls tripped in the flow of the party. The choice of ordinarily narrating the slowly untying of the days and the events leads both to a repetitive boredom and a explosion of impressive facts. This report documents that tramp social community, living in the streets with a natural revolutionary significance, a mythical relationship with certain areas of the city such as the Parco Lambro, Brera in Milan or Campo de’ Fiori in Rome, places of fabulous musters, alternative camps, liberated areas of collectivization of the existence. It was through the circuit of the “Nude King” underground magazine expanding beyond the sheet, young people who were politically claiming the right to come together to party, started real reappropriation of the social nature against the metropolis; parties not only for palm off catechism political speeches, but a way to accumulate strength, to take possession of time. But during this meeting of 1976, the last of the series, the revolt broke out and you can see through the post-industrial horizon. Exemplary are the photographs about the expropriated chickens and the expulsion of the songwriters who symbolically close the now denued era of culture beat-hippie and they open another, the irreverent punk scene.The photographs of Dino Fracchia glimpse on the horizon the utopia of a parallel society of the freed time with its symbols, entertainment and liberties; his shoots return “in circles” the situation and the camp before the acuity, the acceleration of the revolt or the banshee dance.