Le Père Noël et la petite fille, incl.Leggenda di Natale; La canzone di Marinella; Bocca di Rosa
Krzysiek 17/2/2016 - 21:53
La frase di Oscar Wilde è diversa e tradotta in italiano fa:
Un buon consiglio diamolo sempre a qualcun altro. È l'unica cosa da farne giacché non è di nessuna utilità per noi stessi.
Wikiquote
Un buon consiglio diamolo sempre a qualcun altro. È l'unica cosa da farne giacché non è di nessuna utilità per noi stessi.
Wikiquote
Krzysiek 18/2/2016 - 10:28
’Â çímma
Dennis Criteser [2014]
In "A çimma," a cook explains how a classic Geno(v)ese dish is made. A piece of meat usually taken from the stomach or breast of the young calf is folded and sewn on three sides to make a pocket that is then filled with many ingredients: innards, peas, eggs, cheese, spices, etc. The final side is sewn shut and the meat is boiled carefully in a broth for several hours, punctured with a needle from time to time to prevent the rupturing of the pocket as the ingredients expand. Traditionally, one must take care to prevent trouble from witches and devils who might be attracted by the intoxicating smells. And once done, the tradition is for the servants to remove the glorious cima, leaving the cook out of the picture with only the steam from the now empty pot. Also traditionally, a bachelor makes the first cut. The cook, with a touch of bitterness, tells everyone to eat because you never know who will be out to eat you. - Dennis Criteser
BOILED STUFFED VEAL
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envoyé par Riccardo Venturi 19/2/2016 - 08:32
La ballata dell'eroe
Dal blog Fabrizio De André in English
"La ballata dell'eroe" was the B-side of the 45 released by Karim in 1961 that De Andrè considers his first published work (the A-side was "La ballata del Michè"). With the Cold War raging between the US and the USSR, and in the context of the unfolding Berlin Crisis, this song was a simple yet powerful anti-war ballad. The song was re-recorded by Luigi Tenco in 1962 and appeared in the movie "La Cuccagna." The song was republished in 1964 as the B-side to "La guerra di Piero" and also reinterpreted and included on Volume III. Though not officially credited, according to the sheet music of the song the music was written by Elvio Monti, who worked for Karim as arranger and orchestra conductor and who collaborated on many of De Andrè's songs released by that label. - Dennis Criteser
BALLAD OF THE HERO
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envoyé par Riccardo Venturi 19/2/2016 - 06:44
Canzoniere del Lazio: Bevi, bevi compagno (Se nasce l'anarchia)
BOIS BOIS CAMARADE (L'ANARCHIE NAÎT)
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envoyé par Keskonsmär Parici 18/2/2016 - 22:07
The Ghost Of Tom Joad
Il dialogo tra Tom e la madre citato nel finale della canzone:
Ma said, “How’m I gonna know ’bout you? They might kill ya an’ I wouldn’ know. They might hurt ya. How’m I gonna know?”
Tom laughed uneasily, “Well, maybe like Casy says, a fella ain’t got a soul of his own, but on’y a piece of a big one — an’ then —”
“Then what, Tom?”
“Then it don’ matter. Then I’ll be all aroun’ in the dark. I’ll be ever’where — wherever you look. Wherever they’s a fight so hungry people can eat, I’ll be there. Wherever they’s a cop beatin’ up a guy, I’ll be there. If Casy knowed, why, I’ll be in the way guys yell when they’re mad an’ — I’ll be in the way kids laugh when they’re hungry an’ they know supper’s ready. An’ when our folks eat the stuff they raise an’ live in the houses they build — why, I’ll be there. See? God, I’m talkin’ like Casy. Comes of thinkin’ about him so much. Seems like I can see... (continuer)
Ma said, “How’m I gonna know ’bout you? They might kill ya an’ I wouldn’ know. They might hurt ya. How’m I gonna know?”
Tom laughed uneasily, “Well, maybe like Casy says, a fella ain’t got a soul of his own, but on’y a piece of a big one — an’ then —”
“Then what, Tom?”
“Then it don’ matter. Then I’ll be all aroun’ in the dark. I’ll be ever’where — wherever you look. Wherever they’s a fight so hungry people can eat, I’ll be there. Wherever they’s a cop beatin’ up a guy, I’ll be there. If Casy knowed, why, I’ll be in the way guys yell when they’re mad an’ — I’ll be in the way kids laugh when they’re hungry an’ they know supper’s ready. An’ when our folks eat the stuff they raise an’ live in the houses they build — why, I’ll be there. See? God, I’m talkin’ like Casy. Comes of thinkin’ about him so much. Seems like I can see... (continuer)
18/2/2016 - 19:57
Linea gotica
In Ferretti il filo conduttore non è mai stata l'ideologia politica, bensì la religiosità, il misticismo. Di volta in volta Ferretti ha ammantato questo aspetto con dottrine politiche diverse, come un quadro a cui, ogni tanto, viene cambiata la cornice, ma il dipinto resta sempre quello. E quindi noi abbiamo il Ferretti fino ai 20 anni, montanaro, cattolico e tradizionalista, il Ferretti anni 70/80, punk,squatter, proletario, cattolico e comunista e il Ferretti attuale, "tornato a casa" , nuovamente montanaro, cattolico e tradizionalista. Che poi questo l'abbia portato a cambiare idea su alcuni aspetti( da pro-Palestina a pro-Israele, da antiimperialista a sostenitore della guerra al terrorismo,da favorevole a aborto e divorzio a contrario ecc.) è si vero. Ma il filo conduttore, la religiosità, c'è sempre stato. Come ha detto giustamente Giorgio Canali "io queste cose le so da sempre, siete voi che vi fate distrarre dal buco nero dei suoi occhi".
Rothan 18/2/2016 - 13:42
Nowhere To Run To
Mi sa che, d’ora in avanti, piuttosto che cercare nuove canzoni, mi dedicherò di più a consolare canzoni “abbandonate” come questa – molto bella – di Roy Harper.
Per me le canzoni sono creature viventi partorite da esseri umani, a volte, spesso, anche con estrema fatica e sofferenza, perché sono intrise dei loro sentimenti, perché in una manciata di secondi sono condensate intere porzioni di vite, storie, mondi che diversamente non conosceremmo.
Per questo mi dispiace molto quando incontro pagine come questa, in cui il contributore – in questo caso Renato Stecca, per giunta un collaboratore storico – non ha avuto voglia di trattare questa canzone come avrebbe meritato, come merita ogni canzone, limitandosi a copiare ed incollare il testo da qualche Metrolyrics o similia (e includendovi pure annotazioni estranee) e senza spenderci una parola, senza un minimo di apparato iconografico, senza... (continuer)
Per me le canzoni sono creature viventi partorite da esseri umani, a volte, spesso, anche con estrema fatica e sofferenza, perché sono intrise dei loro sentimenti, perché in una manciata di secondi sono condensate intere porzioni di vite, storie, mondi che diversamente non conosceremmo.
Per questo mi dispiace molto quando incontro pagine come questa, in cui il contributore – in questo caso Renato Stecca, per giunta un collaboratore storico – non ha avuto voglia di trattare questa canzone come avrebbe meritato, come merita ogni canzone, limitandosi a copiare ed incollare il testo da qualche Metrolyrics o similia (e includendovi pure annotazioni estranee) e senza spenderci una parola, senza un minimo di apparato iconografico, senza... (continuer)
Bernart Bartleby 18/2/2016 - 11:03
Khorakhané (A forza di essere vento)
Dal blog Fabrizio De André in English
"Khorakhanè" is a song about the Romani people, who originated from India in the 14th century. Khorakhanè means lover of the Koran, and the Romanis of this song are a Serbian/Montenegran Islamic tribe. Due to the nomadic ways of Romani tribes, they are sometimes called "people of the wind." The first verse is the image of the conflict that Romanis feel about settling down to a perhaps easier life versus their impulse to keep moving. The second verse refers to several Romani practices: giving their children the names of people currently in power so as to win them over and gain the ability of passage across borders; hiding their jewels in loaves of bread to avoid having them discovered and taken; and marrying within the tribe to maintain social purity. The third verse presents an image of Romanis who have settled down (as is the case for the great majority... (continuer)
"Khorakhanè" is a song about the Romani people, who originated from India in the 14th century. Khorakhanè means lover of the Koran, and the Romanis of this song are a Serbian/Montenegran Islamic tribe. Due to the nomadic ways of Romani tribes, they are sometimes called "people of the wind." The first verse is the image of the conflict that Romanis feel about settling down to a perhaps easier life versus their impulse to keep moving. The second verse refers to several Romani practices: giving their children the names of people currently in power so as to win them over and gain the ability of passage across borders; hiding their jewels in loaves of bread to avoid having them discovered and taken; and marrying within the tribe to maintain social purity. The third verse presents an image of Romanis who have settled down (as is the case for the great majority... (continuer)
KHORAKHANÉ (BY WAY OF BEING WIND)
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envoyé par Riccardo Venturi 18/2/2016 - 08:48
Le roi a fait battre tambour, ou La marquise empoisonnée
anonyme
Il re fa rullare i tamburi - La versione inglese di Dennis Criteser
Dal blog Fabrizio De André in English
Dal blog Fabrizio De André in English
THE KING MAKES THE DRUMS ROLL
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envoyé par Riccardo Venturi 18/2/2016 - 08:41
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Certo, sentirla cantata da tutti quei hippies di Schola Cantorum fa un po' impressione :)
Salve