Risultati della ricerca per: 2002

David Bowie -Best of Bowie(2002) [FULL ALBUM] (disc 1)



Vivere attimi

Vivere attimi

Le maree e il vento:
infiniti ritorni
ma sempre nuovo
è quel sottile senso
che tutto contiene
ogni attimo vissuto

Vivere attimi:
eterno presente
in quel modo
che avvicina e tiene
in sincronia ogni respiro

07.10.2002 Poetyca

Living moments

The tides and the wind:
then return
but always new
is that subtle sense
that contains all
every moment lived

Living moments:
eternal present
that way
and approaches that take
in sync every breath

07.10.2002 Poetyca



Non credere
il tempo perduto.
La clessidra
lascia scivolare
l e n t a m e n t e.
Quando li osservi
ti sfugge tutto.
Quando ti agiti
non afferri niente.
Il tuo vivere
s e r e n a m e n t e
forse solo attimi
ti regalano
il senso più vero
-quello che sei-
non corse sfrenate
al recupero.
Il vero tesoro
-la ricca fonte-
alle tue spalle non cercare
né davanti agli occhi
-solo in te-
questo il luogo
nel tuo essere.
Le tue emozioni
nell’infinito spazio
-ora resta-
-nell’eterno presente-
hai trovato la vita.

09.03.2002 Poetyca


Do not believe
lost time.
The hourglass
s l o w l y.
When I look
escapes you all.
When you shake
do not grab anything.
Your life
s e r e n e l y
perhaps only moments
you give
the truest sense
-What you-
did not run wild
The real treasure
The rich-source-
behind you do not try
or before the eyes
This is the place
in your being.
Your emotions
infinite space
-In the eternal present-
have found life.

09.03.2002 Poetyca

Tacite stelle – Silent stars

🌸Tacite stelle🌸

Tacite stelle
nel silenzio
di questa notte
Tra sospiri
e nuove speranze
afferro l’incanto
di un nuovo sogno

27.01.2019 Poetyca
🌸Silent stars

Silent stars
in the silence
of this night
Between sighs
and new hopes
I catch the charm
of a new dream

27.01.2019 Poetyca

Bruce Cockburn playlist

[youtube https://www.youtube.com/watch?v=4s2zN9j78LM&list=PLQXCjPp9upb_0J83QGoCj_6Y4dwXJnfiH]

Bruce Cockburn (Ottawa, 27 maggio 1945) è un cantautore canadese.

Il suo stile, con il personalissimo modo di suonare la chitarra, fonde generi come pop, folk, rock, reggae e jazz. Le liriche sono ispirate dalla sua visione umanistica e metafisica della vita vicina all’etica cristiana. 


Bruce Douglas Cockburn OC (/ˈkbərn/; born May 27, 1945)[1] is a Canadian guitarist and singer-songwriter whose career spans over 40 years. His song styles range from folk to jazz-influenced rock and his lyrics cover a broad range of topics that reveal a passion for human rights, politics and spirituality.

In 2014, he released his memoirs, Rumours of Glory: A Memoir.[2]  

Cockburn was born in 1945 in Ottawa, Ontario, Canada, and spent some of his early years on a farm outside Pembroke, Ontario. He has stated in interviews that his first guitar was one he found around 1959 in his grandmother’s attic, which he adorned with golden stars and used to play along to radio hits.[3] Cockburn attended Nepean High School, where his 1964 yearbook photo states his desire “to become a musician”.[4]He attended Berklee School of Music in Boston for three semesters in the mid-1960s. In 1966 he joined an Ottawa band called The Children, which lasted for about a year. In the spring of 1967 he joined the final lineup of The Esquires. He moved to Toronto that summer to form The Flying Circus with former Bobby Kris & The Imperials members Marty Fisher and Gordon MacBain and ex-Tripp member Neil Lillie. The group recorded some material in late 1967 (which remains unreleased) before changing its name to Olivus in the spring of 1968, by which time Lillie (who changed his name to Neil Merryweather) had been replaced by Dennis Pendrith from Livingstone’s Journey. Olivus opened for The Jimi Hendrix Experience and Cream in April 1968. That summer Cockburn broke up the band with the intention of going solo, but ended up in the band 3’s a Crowd with David Wiffen, Colleen Peterson, and Richard Patterson, who had been a co-member of The Children. Cockburn left 3’s a Crowd in the spring of 1969 to pursue a solo career.

Cockburn’s first solo appearance was at the Mariposa Folk Festival in 1967, and in 1969 he was a headliner. In 1970 he released his self-titled, solo album. Cockburn’s guitar work and songwriting won him an enthusiastic following. His early work featured rural and nautical imagery and Biblical metaphors. Raised as an agnostic, early in his career he became a Christian.[5] Many of his albums from the 1970s refer to Christianity, which in turn informs his concerns for human rights and environmentalism. His references to Christianity include the Grail imagery of 20th-century Christian poet Charles Williams and the ideas of theologian Harvey Cox.[6]

In 1970 Cockburn became partners with Bernie Finkelstein in the music publishing firm Golden Mountain Music.[7]

While Cockburn had been popular in Canada for years, he did not have a big impact in the United States until 1979, with the release of the album Dancing in the Dragon’s Jaws. “Wondering Where the Lions Are“, the first single from that album, reached No. 21 on the Billboard Hot 100 in the US in June 1980, and earned Cockburn an appearance on NBC‘s hit TV show Saturday Night Live.

Cockburn was married from 1969 to 1980 and has a daughter from that marriage.[citation needed] He wrote the song “Little Seahorse”, released on In the Falling Dark, in late 1975 about the time when his daughter wasin utero.[citation needed]

Through the 1980s Cockburn’s songwriting became increasingly urban, global and political as he became more involved with progressive causes. His political concerns were first hinted at on the albums: Humans,Inner City Front and The Trouble with Normal. They became more evident in 1984, with his second US radio hit, “If I Had a Rocket Launcher” (No. 88 in the US) from the Stealing Fire album. He had written the song a year earlier, after visiting Guatemalan refugee camps in Mexico that were attacked by Guatemalan military helicopters. His political activism continues to the present. Cockburn has travelled to countries such as Mozambique and Iraq, played benefit concerts, and written songs on a variety of subjects ranging from the International Monetary Fund to land mines. His internationalist bent is reflected in the many world musicinfluences in his music, including reggae and Latin music.

In 1991 Intrepid Records released Kick at the Darkness, a tribute album to Cockburn whose title comes from a phrase in his song “Lovers in a Dangerous Time“. It features the Barenaked Ladies‘ cover of that song, which became their first Top 40 hit and an element in their early success. This lyric was also referenced by U2 in their song “God Part II” from their album Rattle and Hum.

In the early 1990s, Cockburn teamed with T-Bone Burnett for two albums, Nothing but a Burning Light and Dart to the Heart. The latter included a song, “Closer to the Light”, inspired by the death of songwriter Mark Heard, a close friend of Cockburn and Burnett. Cockburn frequently refers to Heard as his favourite songwriter and he was one of many artists who paid tribute to Heard on an album and video titled Strong Hand of Love.

In 1998 Cockburn travelled with filmmaker Robert Lang to Mali, West Africa, where he jammed with Grammy Award-winning blues musician Ali Farka Toure and kora master Toumani Diabate. The month-long journey was documented in the film River of Sand, which won the Regard Canadien award for best documentary at the Vues d’Afrique Film Festival in Montreal. It was also invited for competition at the International Festival of Environmental Films in Paris.[8]

Some of Cockburn’s previously published material had been collected in several albums: Resume, Mummy Dust, and Waiting for a Miracle. His first greatest hits collection was Anything Anytime Anywhere: Singles 1979–2002, released in 2002.

In January 2003 Cockburn finished recording his 21st album, You’ve Never Seen Everything, which features contributions from Emmylou Harris, Jackson Browne, Sam Phillips, Sarah Harmer, Hugh Marsh, Jonell Mosser, Larry Taylor and Steven Hodges. (Taylor and Hodges, formerly of Canned Heat who performed at Monterey and Woodstock in the 1960s, may be known best for their work with Tom Waits).

Cockburn performed a set at the Live 8 concert in Barrie, Ontario, on July 2, 2005. Speechless, an instrumental compilation of new and previously released material, was released on October 24, 2005. His 22nd album, Life Short Call Now, was released on July 18, 2006.

Canadian senator and retired general Roméo Dallaire, who is active in humanitarian fundraising and promoting awareness, appeared on stage at the University of Victoria with Cockburn. The October 4, 2008, concert was held to aid the plight of child soldiers.[9]

In 2009 Cockburn travelled to Afghanistan to visit his brother, Capt. John Cockburn, and to play a concert for Canadian troops. He performed his 1984 song “If I Had a Rocket Launcher” and was temporarily awarded an actual rocket launcher by the military. Cockburn has stated that, while unsure of the original Invasion of Afghanistan, he supported Canada’s role there.[10]

Cockburn released his studio album Small Source of Comfort in 2011. “Lois on the Autobahn”, a cheerful and experiential instrumental recalling “Rouler sa bosse” from Salt, Sun and Time is a tribute to Cockburn’s mother, Lois, who succumbed to cancer in 2010.[citation needed]

Cockburn married his longtime girlfriend M.J. Hannett shortly after the birth of his second daughter, Iona (b. November 2011) in 2011.[11][12] As of 2014, the family lives in the San Francisco area, where Cockburn is writing his memoirs up to 2004.[13]

A documentary film, Bruce Cockburn Pacing the Cage,[14][15] was released in 2013 on television and a brief theatrical showing; directed by Joel Goldberg, gave a rare look into Cockburn’s music, life and politics



[youtube https://youtu.be/iHNwLH7Qemo]

Sade ([ʃɑːˈdeɪ] in inglese, /ʃaˈde/ sciadé in italiano) sono un gruppo jazz-pop britannico molto popolare, che prende il nome dalla propria leader Sade Adu. La loro musica fonde elementi di R&B, soul music, jazz e soft rock.

L’album di debutto, Diamond Life, fu pubblicato nel 1984 e raggiunse la posizione n. 2 nella UK Albums Chart, con oltre 1,2 milioni di copie vendute nel solo Regno Unito. L’album si aggiudicò anche il BRIT Award per il miglior album britannico del 1985. L’album fu un successo internazionale, raggiungendo la prima posizione in diversi Paesi e la top ten negli Stati Uniti, dove vendette oltre 4 milioni di copie. A fine 1985 i Sade pubblicarono il loro secondo album, Promise, che arrivò al numero 1 sia nel Regno Unito che negli Stati Uniti.] L’album fu certificato nel Regno Unito con il doppio disco di platino dalla BPI e negli USA con il quadruplo disco di platino dalla RIAA. Nel 1986 la band vinse il Grammy Award al miglior artista esordiente.[4] Nel 2002 Sade ha vinto un Grammy con l’album Lovers Rock nella categoria “Best Pop Vocal Album; for solo artists, duos or groups” . Il sesto album registrato in studio, Soldier of Love, fu pubblicato l’8 febbraio 2010 a raggiunse il n. 4 in Inghilterra ed il n. 1 negli Stati Uniti Nel 2011 la band ha vinto il quarto Grammy Award per la “miglior performance R&B”

Secondo la RIAA Sade ha venduto 23,5 milioni di copie negli USA ed oltre 50 milioni di copie in tutto il mondo. L’emittente televisiva VH1 li ha messi al 50º posto nell’elenco dei cento migliori artisti di tutti i tempi


Sade (/ʃɑːˈd/ shah-day) are an English soul and R&B band formed in London in 1982. However, three of their members were originally from Kingston upon Hull in the East Riding of Yorkshire. Sade is the lead singer of the eponymous band. Their music also features elements of jazz and soft rock.

Sade’s debut album, Diamond Life, was released in 1984, reaching No. 2 in the UK Album Chart, selling over 1.2 million copies in the UK, and won the Brit Awardfor Best British Album in 1985.[1] The album was also a hit internationally, reaching No. 1 in several countries and the top ten in the US where it has sold in excess of 4 million copies. In late 1985, Sade released their second album, Promise, which peaked at No. 1 in both the UK and the US.[2][3] It was certified double platinumin the UK, and quadruple platinum in the US. In 1986 the band won a Grammy Award for Best New Artist.[4] Their 2000 album, Lovers Rock, won the Grammy Award for Best Pop Vocal Album. Sade’s sixth studio album, Soldier of Love, was released on 8 February 2010, and peaked at No. 4 in the UK, and No. 1 in the US. In 2011, the band won their fourth Grammy Award for Best R&B Performance by a Duo or Group with Vocals

Sade’s US certified sales so far stand at 23.5 million units according to Recording Industry Association of America (RIAA) and have sold more than 50 million units worldwide to date. The band were ranked at No. 50 on VH1’s list of the “100 greatest artists of all time.”





« Il pregare è nella religione ciò che il pensiero è nella filosofia. Il senso religioso prega come l’organo del pensiero pensa »

La preghiera è una delle pratiche comuni a tutte le religioni. Essa consiste nel rivolgersi alla dimensione del sacro con la parola o con il pensiero; gli scopi della preghiera possono essere molteplici: invocare, chiedere un aiuto, lodare, ringraziare, santificare, o esprimere devozione o abbandono. La preghiera è solitamente considerata come il momento in cui l’uomo ‘parla’ al sacro, mentre la fase inversa è la meditazione, durante la quale è il sacro che ‘parla’ all’uomo.
La preghiera può essere personale, oppure liturgica; solitamente questa seconda forma si ritrova come preghiera scritta (o comunque tramandata in qualche modo). Una delle forme di preghiera più diffuse è il canto devozionale.
Secondo la dottrina cattolica, quando l’uomo prega si eleva a Dio in modo cosciente. Il “tappeto di preghiera” è un piccolo tappeto che i musulmani usano per inginocchiarsi durante le preghiere giornaliere.

Forme di preghiera pubblica

Nell’ebraismo sono previsti per gli uomini tre preghiere nei giorni feriali, in ricordo dei sacrifici di animali e vegetali che venivano praticati nel Santuario: l’Arvith, Shachrith e Minchah. Le preghiere sono quattro il sabato e altri giorni particolari (5 volte per Yom Kippur). L’ordine delle preghiere si trova nel Siddur, il tradizionale libro delle preghiere ebraico. Sebbene la preghiera individuale sia valida, pregare con un minyan (numero minimo di dieci maschi adulti) è considerato ideale. Molte sinagoghe hanno un hazzan, cioè un cantore che guida la preghiera della comunità.
Nel Cristianesimo la forma classica e più antica di preghiera pubblica sono le ore canoniche, cioè momenti fissi durante la giornata in cui vengono recitati (o cantati) dei salmi più altre preghiere, dalla bibbia o composte dalle Chiese, oltre a inni e intercessioni. Di origine antichissima (la struttura è stata ereditata dalla preghiera ebraica sinagogale e del Tempio di Gerusalemme), le ore canoniche ebbero particolare rilievo nelle comunità monastiche come ufficio corale.
Nell’Islam la preghiera canonica è chiamata ṣalāt, prescritta 5 volte al giorno, in forma singola o collettiva, anche se sono previste e consigliate altre preghiere volontarie.

Forme di preghiera privata

Nelle devozioni private esistono vari tipi di preghiere, che hanno un unico fine: elevare l’anima a Dio. Elevare l’anima a Dio è infatti la definizione ufficiale della preghiera così come riportato dal Catechismo della Chiesa Cattolica.
In realtà, come dice la Bibbia (Sap 1,7 e At 17,28), noi già viviamo ed esistiamo dentro Dio; come pure affermano alcune tradizioni religiose antiche dei popoli asiatici e americani. Essendo però Dio di natura trascendente e spirituale, la sua presenza non appare sempre immediatamente percepibile ed evidente. Ecco perché è necessario elevare l’anima a Dio, cioè compiere un atto di volontà (la volontà è una delle tre potenze dell’anima insieme alla memoria e all’intelletto) che ci rende più attenti, più sensibili, più partecipi di questa presenza che è sempre e ovunque. I modi di muovere la volontà e dunque l’anima a questa consapevolezza e a questa comunione sono molti e diversi. La tradizione cattolica ne enumera svariate decine che sono state ispirate dai santi nel corso dei secoli passati e che hanno trovato una eco più o meno duratura e diffusa, in funzione della semplicità, della praticità e della bellezza delle stesse modalità di preghiera.
Tra le forme private di preghiera più diffuse dalla tradizione cristiana troviamo:
la preghiera biblica (che utilizza direttamente le parole della Sacra Scrittura oppure che parte dalla lettura della Bibbia per poi aprirsi al colloquio personale con Dio, come fa la lectio divina);
il colloquio personale con Dio (che l’uomo può vivere in qualunque tempo e luogo);
il Santo Rosario (una forma devozionale nata nel Medioevo e diffusa oggi in tutti i popoli cattolici);
il culto delle immagini (fondato sul fatto che l’immagine sacra subito richiama alla mente la persona divina rappresentata e diffuso, oltre che nelle chiese, specialmente nei luoghi dove le chiese e i luoghi di culto pubblico sono lontani); tale culto non è accettato dal Protestantesimo;
la via crucis (devozione nata nel Medioevo e diffusa nel XVII secolo da san Leonardo da Porto Maurizio);
la vigilanza (cioè l’atteggiamento interiore dell’uomo che vigila sui suoi pensieri, discernendo quelli buoni da quelli malvagi per coltivare quelli buoni e rinnegare, dissolvere, dimenticare quelli malvagi);
la ripetizione (cioè l’atto della volontà che dà inizio ad un ciclo ripetitivo di brevi invocazioni o preghiere ben conosciute, che l’uomo ripete dentro di sé fino a formare un tappeto morbido e robusto sul quale l’anima si stende e si rilassa per poi entrare nella contemplazione);
la contemplazione (è la forma di preghiera considerata più santa, in quanto comunione stessa con il Santo, essendo stata definita dall’uomo la santità come la natura stessa di Dio; la contemplazione è la presenza viva di Dio nell’uomo che ispira direttamente pensieri, parole, immagini, azioni, per cui nella contemplazione l’uomo vede ciò che Dio vede, sente ciò che Dio sente, fa ciò che Dio fa);
la meditazione (è il fluire o il sorgere di pensieri che vengono suggeriti, stimolati, ispirati dalle fonti più diverse: ricordi, incontri, discorsi, letture, fatti, immagini, simboli, etc. Essendo immenso il bacino di spunti per la meditazione, essa è probabilmente la forma di orazione più praticata di ogni tempo).


Jörg Zink, Come pregare, Claudiana, Torino 1988.
Giordano Berti, Preghiere di tutto il mondo, Vallardi, Milano 1999.
Gérald Messadié (a cura di), Il piccolo libro delle preghiere, Armenia, Milano 2003.
Catechismo della Chiesa Cattolica (di cui la Parte Quarta è interamente dedicata alla preghiera)


Prayer is a form of religious practice that seeks to activate a volitional rapport to God or spirit through deliberate practice. Prayer may be either individual or communal and take place in public or in private. It may involve the use of words or song. When language is used, prayer may take the form of a hymn, incantation, formal creed, or a spontaneous utterance in the praying person. There are different forms of prayer such as petitionary prayer, prayers of supplication, thanksgiving, and worship/praise. Prayer may be directed towards a deity, spirit, deceased person, or lofty idea, for the purpose of worshipping, requesting guidance, requesting assistance, confessing sins or to express one’s thoughts and emotions. Thus, people pray for many reasons such as personal benefit or for the sake of others.
Most major religions involve prayer in one way or another. Some ritualize the act of prayer, requiring a strict sequence of actions or placing a restriction on who is permitted to pray, while others teach that prayer may be practiced spontaneously by anyone at any time.
Scientific studies regarding the use of prayer have mostly concentrated on its effect on the healing of sick or injured people. The efficacy of petition in prayer for physical healing to a deity has been evaluated in numerous studies, with contradictory results There has been some criticism of the way the studies were conducted

Forms of prayer

Various spiritual traditions offer a wide variety of devotional acts. There are morning and evening prayers, graces said over meals, and reverent physical gestures. Some Christians bow their heads and fold their hands. Some Native Americans regard dancing as a form of prayer. Some Sufis whirl. Hindus chant mantras. Orthodox Jews sway their bodies back and forth[10] and Salah for Muslims (“kneel and prostrate as seen on the right”). Quakers keep silent. Some pray according to standardized rituals and liturgies, while others prefer extemporaneous prayers. Still others combine the two.
These methods show a variety of understandings to prayer, which are led by underlying beliefs.
These beliefs may be that
the finite can communicate with the infinite
the infinite is interested in communicating with the finite
prayer is intended to inculcate certain attitudes in the one who prays, rather than to influence the recipient
prayer is intended to train a person to focus on the recipient through philosophy and intellectual contemplation
prayer is intended to enable a person to gain a direct experience of the recipient
prayer is intended to affect the very fabric of reality as we perceive it
prayer is a catalyst for change in oneself and/or one’s circumstances, or likewise those of third party beneficiaries
the recipient desires and appreciates prayer
or any combination of these.[citation needed]
The act of prayer is attested in written sources as early as 5000 years ago. Some anthropologists, such as Sir Edward Burnett Tylor and Sir James George Frazer, believed that the earliest intelligent modern humans practiced something that we would recognize today as prayer.
Friedrich Heiler is often cited in Christian circles for his systematic Typology of Prayer which lists six types of prayer: primitive, ritual, Greek cultural, philosophical, mystical, and prophetic

The act of worship

Prayer has many different forms. Prayer may be done privately and individually, or it may be done corporately in the presence of fellow believers. Prayer can be incorporated into a daily “thought life”, in which one is in constant communication with a god. Some people pray throughout all that is happening during the day and seek guidance as the day progresses. This is actually regarded as a requirement in several Christian denominations,[15] although enforcement is not possible nor desirable. There can be many different answers to prayer, just as there are many ways to interpret an answer to a question, if there in fact comes an answer.[15] Some may experience audible, physical, or mental epiphanies. If indeed an answer comes, the time and place it comes is considered random. Some outward acts that sometimes accompany prayer are: anointing with oil;[16] ringing a bell;[17] burning incense or paper;[18] lighting a candle or candles;[19] facing a specific direction (i.e. towards Mecca[20] or the East); making the sign of the cross. One less noticeable act related to prayer is fasting.
A variety of body postures may be assumed, often with specific meaning (mainly respect or adoration) associated with them: standing; sitting; kneeling; prostrate on the floor; eyes opened; eyes closed; hands folded or clasped; hands upraised; holding hands with others; a laying on of hands and others. Prayers may be recited from memory, read from a book of prayers, or composed spontaneously as they are prayed. They may be said, chanted, or sung. They may be with musical accompaniment or not. There may be a time of outward silence while prayers are offered mentally. Often, there are prayers to fit specific occasions, such as the blessing of a meal, the birth or death of a loved one, other significant events in the life of a believer, or days of the year that have special religious significance. Details corresponding to specific traditions are outlined below.

Pre-Christian Europe

Etruscan, Greek, and Roman paganism
In the pre-Christian religions of Greeks and Romans (Ancient Greek religion, Roman religion), ceremonial prayer was highly formulaic and ritualized.[21][22] The Iguvine Tables contain a supplication that can be translated, “If anything was said improperly, if anything was done improperly, let it be as if it were done correctly.”
The formalism and formulaic nature of these prayers led them to be written down in language that may have only been partially understood by the writer, and our texts of these prayers may in fact be garbled. Prayers in Etruscan were used in the Roman world by augurs and other oracles long after Etruscan became a dead language. The Carmen Arvale and the Carmen Saliare are two specimens of partially preserved prayers that seem to have been unintelligible to their scribes, and whose language is full of archaisms and difficult passages.
Roman prayers and sacrifices were often envisioned as legal bargains between deity and worshipper. The Roman principle was expressed as do ut des: “I give, so that you may give.” Cato the Elder’s treatise on agriculture contains many examples of preserved traditional prayers; in one, a farmer addresses the unknown deity of a possibly sacred grove, and sacrifices a pig in order to placate the god or goddess of the place and beseech his or her permission to cut down some trees from the grove

Germanic paganism

An amount of accounts of prayers to the gods in Germanic paganism survived the process of Christianization, though only a single prayer has survived without the interjection of Christian references. This prayer is recorded in stanzas 2 and 3 of the poem Sigrdrífumál, compiled in the 13th century Poetic Edda from earlier traditional sources, where the valkyrie Sigrdrífa prays to the gods and the earth after being woken by the hero Sigurd.
A prayer to the bigger god Odin is mentioned in chapter 2 of the Völsunga saga where King Rerir prays for a child. His prayer is answered by Frigg, wife of Odin, who sends him an apple, which is dropped on his lap by Frigg’s servant in the form of a crow while Rerir is sitting on a mound. Rerir’s wife eats the apple and is then pregnant with the hero Völsung. In stanza 9 of the poem Oddrúnargrátr, a prayer is made to “kind wights, Frigg and Freyja, and many gods,” although since the poem is often considered one of the youngest poems in the Poetic Edda, the passage has been the matter of some debate.[26]
In chapter 21 of Jómsvíkinga saga, wishing to turn the tide of the Battle of Hjörungavágr, Haakon Sigurdsson eventually finds his prayers answered by the goddesses Þorgerðr Hölgabrúðr and Irpa (the first of the two described as Haakon’s patron goddess) who appear in the battle, kill many of the opposing fleet, and cause the remnants of their forces to flee. However, this depiction of a pagan prayer has been criticized as inaccurate due to the description of Haakon dropping to his knees.
The 11th century manuscript for the Anglo-Saxon charm Æcerbot presents what is thought to be an originally pagan prayer for the fertility of the speaker’s crops and land, though Christianization is apparent throughout the charm.[28] The 8th century Wessobrunn Prayer has been proposed as a Christianized pagan prayer and compared to the pagan Völuspá[29] and the Merseburg Incantations, the latter recorded in the 9th or 10th century but of much older traditional origins

Abrahamic religions

In the common Bible of the Abrahamic religions, various forms of prayer appear; the most common forms being petition, thanksgiving, and worship. The longest book in the Bible is the Book of Psalms, 150 religious songs which are often regarded as prayers. Other well-known Biblical prayers include the Song of Moses (Exodus 15:1-18), the Song of Hannah (1 Samuel 2:1-10), and the Magnificat (Luke 1:46-55). But perhaps the best-known prayer in the Christian Bible is the Lord’s Prayer (Matthew 6:9–13; Luke 11:2-4).
See also: Tanakh, New Testament, Prayer in the Hebrew Bible, and Prayer in the New Testament


Jews pray three times a day, with lengthier prayers on special days, such as the Shabbat and Jewish holidays. The siddur is the prayerbook used by Jews all over the world, containing a set order of daily prayers. Jewish prayer is usually described as having two aspects: kavanah (intention) and keva (the ritualistic, structured elements).
The most important Jewish prayers are the Shema Yisrael (“Hear O Israel”) and the Amidah (“the standing prayer”).
Communal prayer is preferred over solitary prayer, and a quorum of 10 adult males (a minyan) is considered by Orthodox Judaism a prerequisite for several communal prayers.

Rationalist approach to prayer

In this view, ultimate goal of prayer is to help train a person to focus on divinity through philosophy and intellectual contemplation. This approach was taken by Maimonides and the other medieval rationalists. One example of this approach to prayer is noted by Rabbi Steven Weil, who was appointed the Orthodox Union’s Executive-Vice President in 2009. He notes that the word “prayer” is a derivative of the Latin “precari”, which means “to beg”. The Hebrew equivalent “tefilah”, however, along with its root “pelel” or its reflexive “l’hitpallel”, means the act of self-analysis or self-evaluation. This approach is sometimes described as the person praying having a dialogue or conversation with God.

Educational approach to prayer

In this view, prayer is not a conversation. Rather, it is meant to inculcate certain attitudes in the one who prays, but not to influence. This has been the approach of Rabbenu Bachya, Yehuda Halevy, Joseph Albo, Samson Raphael Hirsch, and Joseph Dov Soloveitchik. This view is expressed by Rabbi Nosson Scherman in the overview to the Artscroll Siddur (p. XIII); note that Scherman goes on to also affirm the Kabbalistic view (see below).

Kabbalistic approach to prayer

Kabbalah (Jewish mysticism) uses a series of kavanot, directions of intent, to specify the path the prayer ascends in the dialog with God, to increase its chances of being answered favorably. Kabbalists ascribe a higher meaning to the purpose of prayer, which is no less than affecting the very fabric of reality itself, restructuring and repairing the universe in a real fashion. In this view, every word of every prayer, and indeed, even every letter of every word, has a precise meaning and a precise effect. Prayers thus literally affect the mystical forces of the universe, and repair the fabric of creation.
Among Jews, this approach has been taken by the Chassidei Ashkenaz (German pietists of the Middle-Ages), the Arizal’s Kabbalist tradition, Ramchal, most of Hassidism, the Vilna Gaon, and Jacob Emden.


Main articles: Prayer in Christianity and Christian worship

Christian prayers are quite varied. They can be completely spontaneous, or read entirely from a text, like the Anglican Book of Common Prayer. Probably the most common and universal prayer among Christians is the Lord’s Prayer, which according to the gospel accounts is how Jesus taught his disciples to pray. Some Protestant denominations choose not to recite the Lord’s Prayer or other rote prayers.
Christians generally pray to God or to the Father. Some Christians (e.g., Catholics, Orthodox) will also ask the righteous in heaven and “in Christ,” such as Virgin Mary or other saints to intercede by praying on their behalf (intercession of saints). Formulaic closures include “through our Lord Jesus Christ, Your Son, who lives and reigns with You, in the unity of the Holy Spirit, God, through all the ages of ages,” and “in the name of the Father, and the Son, and the Holy Spirit.”
It is customary among Protestants to end prayers with “In Jesus’ name, Amen” or “In the name of Christ, Amen”[34] However, the most commonly used closure in Christianity is simply “Amen” (from a Hebrew adverb used as a statement of affirmation or agreement, usually translated as so be it).
There is also the form of prayer called hesychast which is a repetitious type of prayer for the purpose of meditation. In the Western or Latin Rite of Catholic Church, probably the most common is the Rosary; In the Eastern Church (the Eastern rites of the Catholic Church and Orthodox Church), the Jesus Prayer.
Roman Catholic tradition includes specific prayers and devotions as acts of reparation which do not involve a petition for a living or deceased beneficiary, but aim to repair the sins of others, e.g. for the repair of the sin of blasphemy performed by others


In Pentecostal congregations, prayer is often done by speaking in a foreign tongue, a practice now known as glossolalia.[36] Practitioners of Pentecostal glossolalia may claim that the languages they speak in prayer are real foreign languages, and that the ability to speak those languages spontaneously is a gift of the Holy Spirit;[37][38] however, many people outside the movement have offered alternative views. George Barton Cutten suggested that glossolalia was a sign of mental illness.[39] Felicitas Goodman suggested that tongue speakers were under a form of hypnosis.[40] Others suggest that it is a learned behaviour. Some of these views have allegedly been refuted

Christian Science

Christian Science teaches that prayer is a spiritualization of thought or an understanding of God and of the nature of the underlying spiritual creation. Adherents believe that this can result in healing, by bringing spiritual reality (the “Kingdom of Heaven” in Biblical terms) into clearer focus in the human scene. The world as it appears to the senses is regarded as a distorted version of the world of spiritual ideas. Prayer can heal the distortion. Christian Scientists believe that prayer does not change the spiritual creation but gives a clearer view of it, and the result appears in the human scene as healing: the human picture adjusts to coincide more nearly with the divine reality. Christian Scientists do not practice intercessory prayer as it is commonly understood, and they generally avoid combining prayer with medical treatment in the belief that the two practices tend to work against each other. (However, the choice of healing method is regarded as a matter for the individual, and the Christian Science Church exerts no pressure on members to avoid medical treatment if they wish to avail of it as an alternative to Christian Science healing.) Prayer works through love: the recognition of God’s creation as spiritual, intact, and inherently lovable

Prevalence of prayer for health

Some modalities of alternative medicine employ prayer. A survey released in May 2004 by the National Center for Complementary and Alternative Medicine, part of the National Institutes of Health in the United States, found that in 2002, 43% of Americans pray for their own health, 24% pray for others’ health, and 10% participate in a prayer group for their own healt


Muslims pray a ritualistic prayer called salah or salat in Arabic, facing the Kaaba in Mecca, five times a day. The command to pray is in the Quran in several chapters. The prophet Muhammed showed each Muslim the true method of offering prayers thus the same method is observed till date. There is the “call for prayer” (adhan or azaan), where the muezzin calls for all the followers to stand together for the prayer. The prayer consists of standing, by mentioning -àllàh o -àqbàr (God is great) followed by recitation of the first chapter of the Quran. After the person bends and praises god, then prostrates and again praises god. The prayer ends with the following words “peace and blessings be upon you”. During the prayer a Muslim cannot talk or do anything else besides praying. Once the prayer is complete one can offer voluntary prayers or supplicate -àllàh for his needs. There are also many standard duas or supplications, also in Arabic, to be recited at various times, e.g. for one’s parents, after salah, before eating. Muslims may also say dua in their own words and languages for any issue they wish to communicate with God in the hope that God will answer their prayers.[20] Certain Shia fiqhs pray 3 times a day.


Main article: Prayer in the Bahá’í Faith
Bahá’u’lláh, the Báb, and `Abdu’l-Bahá have revealed many prayers for general use, and some for specific occasions, including for unity, detachment, spiritual upliftment, and healing among others. Bahá’ís are also required to recite each day one of three obligatory prayers revealed by Bahá’u’lláh. The believers have been enjoined to face in the direction of the Qiblih when reciting their Obligatory Prayer. The longest obligatory prayer may be recited at any time during the day; another, of medium length, is recited once in the morning, once at midday, and once in the evening; and the shortest can be recited anytime between noon and sunset. Bahá’ís also read from and meditate on the scriptures every morning and evening.

Eastern religions

In contrast with Western religion, Eastern religion for the most part discards worship and places devotional emphasis on the practice of meditation alongside scriptural study. Consequently, prayer is seen as a form of meditation or an adjunct practice to meditation


n certain Buddhist sects, prayer accompanies meditation. Buddhism for the most part sees prayer as a secondary, supportive practice to meditation and scriptural study. Gautama Buddha claimed that human beings possess the capacity and potential to be liberated, or enlightened, through contemplation, leading to insight. Prayer is seen mainly as a powerful psycho-physical practice that can enhance meditation.[48]
In the earliest Buddhist tradition, the Theravada, and in the later Mahayana tradition of Zen (or Chán), prayer plays only an ancillary role. It is largely a ritual expression of wishes for success in the practice and in helping all beings.[49][50][51][52]
The skillful means (Sanskrit: upaya) of the transfer of merit (Sanskrit: parinamana) is an evocation and prayer. Moreover, indeterminate buddhas are available for intercession as they reside in awoken-fields (Sanskrit: buddha-kshetra).
The nirmanakaya of a awoken-field is what is generally known and understood as mandala. The opening and closing of the ring (Sanskrit: mandala) is an active prayer. An active prayer is a mindful activity, an activity in which mindfulness is not just cultivated but is.[53] A common prayer is “May the merit of my practice, adorn Buddhas’ Pure Lands, requite the fourfold kindness from above, and relieve the suffering of the three life-journeys below. Universally wishing sentient beings, Friends, foes, and karmic creditors, all to activate the bodhi mind, and all to be reborn in the Pure Land of Ultimate Bliss.” (願以此功德 莊嚴佛淨土 上報四重恩 下濟三途苦 普願諸眾生 冤親諸債主 悉發菩提心 同生極樂國)[54]
The Generation Stage (Sanskrit: utpatti-krama) of Vajrayana involves prayer elements.[55]
The Tibetan Buddhism tradition emphasizes an instructive and devotional relationship to a guru; this may involve devotional practices known as guru yoga which are congruent with prayer. It also appears that Tibetan Buddhism posits the existence of various deities, but the peak view of the tradition is that the deities or yidam are no more existent or real than the continuity (Sanskrit: santana; refer mindstream) of the practitioner, environment and activity. But how practitioners engage yidam or tutelary deities will depend upon the level or more appropriately yana at which they are practicing. At one level, one may pray to a deity for protection or assistance, taking a more subordinate role. At another level, one may invoke the deity, on a more equal footing. And at a higher level one may deliberately cultivate the idea that one has become the deity, whilst remaining aware that its ultimate nature is shunyata. The views of the more esoteric yana are impenetrable for those without direct experience and empowerment.
Pure Land Buddhism emphasizes the recitation by devotees of prayer-like mantras, a practice often called Nembutsu.[56]:190 On one level it is said that reciting these mantras can ensure rebirth into a sambhogakaya land (Sanskrit: buddha-kshetra) after bodily dissolution, a sheer ball spontaneously co-emergent to a buddha’s enlightened intention. According to Shinran, the founder of the Pure Land Buddhism tradition that is most prevalent in the US[56]:193[57] “for the long haul nothing is as efficacious as the Nembutsu.”[56]:197[58] On another, the practice is a form of meditation aimed at achieving realization.[citation needed]
But beyond all these practices the Buddha emphasized the primacy of individual practice and experience. He said that supplication to gods or deities was not necessary. Nevertheless, today many lay people in East Asian countries pray to the Buddha in ways that resemble Western prayer—asking for intervention and offering devotion.


Hinduism has incorporated many kinds of prayer (Sanskrit: prārthanā), from fire-based rituals to philosophical musings. While chanting involves ‘by dictum’ recitation of timeless verses or verses with timings and notations, dhyanam involves deep meditation (however short or long) on the preferred deity/God. Again the object to which prayers are offered could be a persons referred as devtas, trinity or incarnation of either devtas or trinity or simply plain formless meditation as practiced by the ancient sages. All of these are directed to fulfilling personal needs or deep spiritual enlightenment. Ritual invocation was part and parcel of the Vedic religion and as such permeated their sacred texts. Indeed, the highest sacred texts of the Hindus, the Vedas, are a large collection of mantras and prayer rituals. Classical Hinduism came to focus on extolling a single supreme force, Brahman, that is made manifest in several lower forms as the familiar gods of the Hindu pantheon[dubious – discuss]. Hindus in India have numerous devotional movements. Hindus may pray to the highest absolute God Brahman, or more commonly to Its three manifestations namely creator god called Brahma, preserver god called Vishnu and destroyer god (so that the creation cycle can start afresh) Shiva, and at the next level to Vishnu’s avatars (earthly appearances) Rama and Krishna or to many other male or female deities. Typically, Hindus pray with their hands (the palms) joined together in pranam. The hand gesture is similar to the popular Indian greeting namaste.


Although Jains believe that no spirit or divine being can assist them on their path, they do hold some influence, and on special occasions, Jains will pray for right knowledge to the twenty-four Tirthankaras (saintly teachers) or sometimes to Hindu deities such as Ganesha.


The practices involved in Shinto prayer are heavily influenced by Buddhism; Japanese Buddhism has also been strongly influenced by Shinto in turn. The most common and basic form of devotion involves throwing a coin, or several, into a collection box, ringing a bell, clapping one’s hands, and contemplating one’s wish or prayer silently. The bell and hand clapping are meant to wake up or attract the attention of the kami of the shrine, so that one’s prayer may be heard.
Shinto prayers quite frequently consist of wishes or favors asked of the kami, rather than lengthy praises or devotions. Unlike in certain other faiths, it is not considered irregular or inappropriate to ask favors of the kami in this way, and indeed many shrines are associated with particular favors, such as success on exams.
In addition, one may write one’s wish on a small wooden tablet, called an ema, and leave it hanging at the shrine, where the kami can read it. If the wish is granted, one may return to the shrine to leave another ema as an act of thanksgiving.


The Ardās (Punjabi: ਅਰਦਾਸ) is a Sikh prayer that is done before performing or after undertaking any significant task; after reciting the daily Banis (prayers); or completion of a service like the Paath (scripture reading/recitation), kirtan (hymn-singing) program or any other religious program. In Sikhism, these prayers are also said before and after eating. The prayer is a plea to God to support and help the devotee with whatever he or she is about to undertake or has done.
The Ardas is usually always done standing up with folded hands. The beginning of the Ardas is strictly set by the tenth Sikh Guru, Guru Gobind Singh. When it comes to conclusion of this prayer, the devotee uses word like “Waheguru please bless me in the task that I am about to undertake” when starting a new task or “Akal Purakh, having completed the hymn-singing, we ask for your continued blessings so that we can continue with your memory and remember you at all times”, etc. The word “Ardās” is derived from Persian word ‘Arazdashat’, meaning a request, supplication, prayer, petition or an address to a superior authority.
Ardās is a unique prayer based on the fact that it is one of the few well-known prayers in the Sikh religion that was not written in its entirety by the Gurus. The Ardās cannot be found within the pages of the Guru Granth Sahib because it is a continually changing devotional text that has evolved over time in order for it to encompass the feats, accomplishments, and feelings of all generations of Sikhs within its lines. Taking the various derivation of the word Ardās into account, the basic purpose of this prayer is an appeal to Waheguru for his protection and care, as well as being a plea for the welfare and prosperity of all mankind, and a means for the Sikhs to thank Waheguru for all that he has done


Prayer in Taoism is less common than Fulu, which is the drawing and writing of supernatural talismans


Although prayer in its literal sense is not used in animism, communication with the spirit world is vital to the animist way of life. This is usually accomplished through a shaman who, through a trance, gains access to the spirit world and then shows the spirits’ thoughts to the people. Other ways to receive messages from the spirits include using astrology or contemplating fortune tellers and healers. The native religions in some parts of North, East and South Asia, America, Africa, and Oceania are often animistic.


The Aztec religion was not strictly animist. It had an ever increasing pantheon of deities, and the shamans performed ritual prayer to these deities in their respective temples. These shamans made petitions to the proper deities in exchange for a sacrifice offering: food, flowers, effigies, and animals, usually quail. But the larger the thing required from the God the larger the sacrifice had to be, and for the most important rites one would offer one’s own blood; by cutting his ears, arms, tongue, thighs, chest or genitals, and often a human life; either warrior, slave, or even self-sacrifice.[63]
The Pueblo Indians are known to have used prayer sticks, that is, sticks with feathers attached as supplicatory offerings. The Hopi Indians used prayer sticks as well, but they attached to it a small bag of sacred meat


In Australia, prayers to the “Great Wit” are performed by the “clever wapmen” and “clever women”, or kadji. These Aboriginal shamans use maban or mabain, the material that is believed to give them their purported magical powers


Adherents to forms of modern Neopaganism pray to various gods. The most commonly worshiped and prayed to gods are those of Pre-Christian Europe, such as Celtic, Norse, or Graeco-Roman gods. Prayer can vary from sect to sect, and with some (such as Wicca) prayer may also be associated with ritual magick.

Theurgy and Western Esotericism

Practitioners of theurgy and western esotericism may practice a form of ritual which utilizes both pre-sanctioned prayers and names of God, and prayers “from the heart” that, when combined, allows the participant to ascend spiritually, and in some instances, induce a trance in which God or other spiritual beings may be realized. Very similar to hermetic qabala, and orthodox qabala, it is believed that prayer can influence both the physical and non-physical worlds. The use of ritualistic signs and names are believed to be archetypes in which the subconscious may take form as the Inner God, or another spiritual being, and the “prayer from the heart” to be that spiritual force speaking through the participant.

Meher Baba

The Indian spiritual teacher Meher Baba emphasized both the beauty of prayer as praise and the power of prayer as petition:
“The ideal prayer to the Lord is nothing more than spontaneous praise of His being. You praise Him, not in the spirit of bargain but in the spirit of self-forgetful appreciation of what He really is. You praise Him because He is praiseworthy. Your praise is a spontaneous appreciative response to his true being, as infinite light, infinite power and infinite bliss.”[66]
“Through repeated sincere prayers it is possible to effect an exit from the otherwise inexorable working out of the law of karma. The forgiveness asked from God evokes from Him His inscrutable grace, which alone can give new direction to the inexorable karmic determination



The Smiths- Hatful Of Hollow (1984)

[youtube https://youtu.be/ymwJBgcYrIM]

Gli Smiths sono stati un gruppo alternative rock inglese, formatosi a Manchester nel 1982.

Raggiunta la popolarità nel corso degli anni ottanta, hanno avuto grande influenza nello sviluppo della musica rock degli anni successivi ed un notevole seguito di pubblico. Il gruppo si è sciolto nel 1987.

I componenti erano Morrissey alla voce, Johnny Marr alla chitarra, Andy Rourke al basso, e Mike Joyce alla batteria.


The Smiths were an English rock band formed in Manchester in 1982. The band consisted of vocalist Morrissey, guitarist Johnny Marr, bassist Andy Rourke and drummer Mike Joyce. Critics have called them the most important alternative rock band to emerge from the British independent music scene of the 1980s.[1] Qmagazine’s Simon Goddard argued in 2007 that The Smiths were “the one truly vital voice of the ’80s”, “the most influential British guitar group of the decade” and the “first indie outsiders to achieve mainstream success on their own terms”.[2] The NME named the Smiths the “most influential artist ever” in a 2002 poll, even topping the Beatles.[3]

Based on the songwriting partnership of Morrissey and Marr, the group signed to the independent record label Rough Trade Records, on which they released four studio albums, The Smiths (1984), Meat Is Murder (1985), The Queen Is Dead (1986) and Strangeways, Here We Come (1987). Four of their albums (including three studio albums) appeared on Rolling Stone’s list of the 500 Greatest Albums of All Time. They have also released several compilations, and numerous non-LP singles.

The Smiths had several singles reach the UK top twenty and all four of their studio albums reached the UK top five, including one which topped the charts. They won a significant following and remain cult favourites, although they had limited commercial success outside the UK while they were still together. The band broke up in 1987 and have turned down several offers to reunite.

The band’s focus on a guitar, bass, and drum sound, and their fusion of 1960s rock and post-punk, were a repudiation of synthesizer-based contemporary dance-pop – the style popular in the early 1980s. Marr’s guitar-playing on his Rickenbacker often had a jangly sound reminiscent of Roger McGuinn of the Byrds.[4] Marr’s guitar-playing influenced later Manchester bands, including The Stone Roses and Oasis. Morrissey and Marr’s songs combined themes about ordinary people with complex, literate lyrics delivered by Morrissey with a mordant sense of humour.


Anima morbida


Anima morbida

        Dispiego le vele
in un oceano di emozioni
   tra onde in palpito
       cerco la rotta

   Nel blu mi perdo
      e la salsedine
     dona sapore
    al  fremito lieve

 Una nuvola
 mi conduce al sogno:
Quella che ora conosco
 è una anima morbida

 26.10.2002 Poetyca

Soft core

I unfold the sails
in an ocean of emotions
between waves beat
I look for the route

I lose myself in the blue
and salt
gives taste
to the slight shudder

A cloud
leads me to the dream:
What we now know
is a soft core

26.10.2002 Poetyca




                       Randagia la vita correva
                          dal vento sospinta                                    
                          -su ali di farfalla-
                          Uno scrigno aveva
                        racchiuso per sempre
                        -prezioso diamante-
                      D’immenso il percorso
                              su fili di seta
                          -cattura bagliore-

  18.02.2002   Poetyca


Wandering life ran
– on butterfly wings–
A casket had
enclosed forever
-precious diamond-
OF immense path
on silk threads
-catching glow-

18.02.2002 Poetyca

Prima che si chiuda il cerchio

Prima che si chiuda il cerchio

Non è finita ancora
tutta la mia forza
e devo avvolgerti
prima che tu dorma
come calda coperta
rimboccherò i tuoi pensieri

Come limone
devo spremere
l’ultima mia goccia

Solo allora potrò
di quel sonno
che non farà
mai più aprire gli occhi

Ma avrò aperto
un cuore nuovo
prima che
si chiuda il cerchio

02.11.2002 Poetyca

Before it closes the circle

Not finished yet
all my strength
and I have to wrap
before you sleep
as a warm blanket
rimboccherò your thoughts

How to lemon
I squeeze
my last drop

Only then will I
of that sleep
will not
never open your eyes

But I will open
a new heart
closes the circle

02.11.2002 Poetyca



Nel nome tuo
– attimo fuggente –
il destino che volle
fuggente il sogno
e nei perduti occhi
d’oriente il taglio
si celava tormento

Nel nome che
ora rivesti
a memoria sua
la ricerca di attimi
che siano profumi
e colori capaci
di raccogliere
il ricordo e valore

04.01.2002 Poetyca


In your name
– Fleeting moment –
the fate that took
fleeting dream
and lost eyes
Eastern cut
lurked torment

In the name
hours coatings
in his memory
the search for moments
that perfumes
and color that can
remember and value

04.01.2002 Poetyca



Hai la realtà che volevi:
l’amore e il sereno correre sui prati.
ti guardi intorno e qualcosa manca…

Il tuo desiderio era respiro e gioia,
emozione viva e non te lo vedi accanto
lo vorresti ancora sfiorare.

Non vivere nel rimpianto,
apprezza quel che hai.

Tu uomo indeciso
che l’intero mondo
vorresti avere,
non è detto
che al tuo desiderio
debba rinunciare.
Se lo desideri che male c’è
ad afferrare le stelle ?
Se stavi bene con quel sogno
stretto al cuore,
prendilo per mano.
Non è svanito,
era sempre lì:
Tu per un attimo
hai chiuso gli occhi
o guardavi lontano,
il tuo non era
un immagine notturna
che smette al mattino
ma è desiderio da realizzare.
Ora sorridi e ferma il tempo.

14.02.2002 Poetyca


You have the reality you wanted:
love and peaceful run in the grass.
you look around and something is missing…

Your wish was breath and joy,
feeling alive and you see it next
would you want to even touch.

Do not live in regret,
appreciate what you have.

You indecisive man
that the whole world
would like to have,
not necessarily
that your desire
should give up.
If you like what’s wrong
to catch the stars?
If you were fine with that dream
close to the heart,
take it by hand.
Has not vanished,
was always there:
You for a moment
you closed your eyes
or look away,
was not your
a nighttime picture
it stops in the morning
but it is the desire to achieve.
Now smile and stops time.

14.02.2002 Poetyca



Raccontami dei tuoi giorni
e dei tuoi pensieri
di quelle paure sognate
e delle speranze certe

Raccontami di te
nei ricami del tempo
e nel brivido sommesso
quando non udivi il dolore sordo

Raccontami memorie
sfiorate ancora
con le lacrime secche
per non pensare

Di tutti i gemiti inerti
perché sei uomo
ma ancora adesso
vorresti sfiorare il cielo

26.09.2002 Poetyca

Tell me

Tell me about your day
and your thoughts
those fears dream
and hopes some

Tell me about yourself
embroidery time
subdued and the chill
when they heard the dull pain

Tell memories
yet touched
with tears dried
not to think

Of all the moans inert
Why are you man
but even now
want touch the sky

26.09.2002 Poetyca



Nel profondo

il moto di onde

che lievi vibrano

e increspano

la superficie

dei sogni.

Nel viver lieto

nulla tace

e se cadi ti rialzi

riprendendo giochi interrotti.

Nella superficie del nulla

restano i sorrisi

a placar tempeste:


31.05.2002 Poetyca


DiapasonIn the deep

the motion of waves

that slight quiver

and ripple

the surface


In the joyous life

nothing is silent

and if you fall you get up again

resuming interrupted games.

In the area of nothingness

are the smiles

to calm the storms:


31.05.2002 Poetyca

Tim Buckley Anthology

[youtube https://www.youtube.com/watch?v=D9xFTX011O8]

Timothy Charles Buckley III nacque a Washington, figlio di Elaine, un’italoamericana, e di Tim Charles Buckley Jr., un pluridecorato della seconda guerra mondiale con origini irlandesi. Trascorse l’infanzia ad Amsterdam, cittadina industriale dello Stato di New York, dove ebbe i primi contatti con la musica: la madre era una fan di Miles Davis e il padre della musica country. Nel 1956 la famiglia si trasferì a Bell Gardens in California.[6]

A tredici anni imparò a suonare il banjo e con il compagno di scuola Dan Gordon formò un gruppo ispirato al The Kingston Trio. Entrò nella squadra di football americanodella scuola, dove coprì il ruolo di quarterback. Durante uno scontro di gioco si ruppe le prime due dita della mano sinistra. Non riottenne mai l’uso completo delle dita, tanto che non poté più suonare il barré e ciò lo costrinse a usare accordi estesi. Durante il periodo delle scuole superiori conobbe Larry Beckett, autore della maggior parte dei testi dei suoi primi brani, e Jim Fiedler. Il 25 ottobre del 1965, a diciannove anni, sposò la compagna di scuola Mary Guibert, dalla quale, un anno più tardi, ebbe un figlio, Jeff Buckley, nato il 17 novembre 1966. Anche egli, negli anni novanta, sarebbe divenuto un musicista.

Finita la scuola iniziò a esibirsi in diversi club di Los Angeles. In uno di questi spettacoli venne notato da Jac Holzman, proprietario della Elektra Records, che lo mise sotto contratto, permettendogli di pubblicare nel dicembre del 1966 il suo primo LP, l’omonimo Tim Buckley. In supporto al disco cominciò un lungo tour negli Stati Uniti, durante il quale partecipò anche allo show televisivo di Johnny Carson.[7]

Nel 1967, ancora per l’Elektra, pubblicò Goodbye and Hello, disco fortemente influenzato dal folk rock di Bob Dylan e dal rock psichedelico in auge in quegli anni. L’album è considerato dalla critica il primo dei suoi capolavori.[8] I brani I Never Asked to Be Your Mountain e Once I Was verranno reinterpretati dal figlio Jeff durante il concerto in memoria del padre, tenutosi a New York il 26 aprile del 1991. Un altro brano, Morning Glory, verrà reinterpretato dalla band britannica This Mortal Coil nell’album del 1986 Filigree & Shadow. Anche a questo disco fece seguito un lungo tour, che giunse anche in Europa, dove si esibì per lo show radiofonico di John Peel.

Nel 1969 uscì il terzo album, Happy Sad, influenzato questa volta più dal jazz, in particolare da Miles Davis, con brani più dilatati rispetto al disco precedente. Anche questo lavoro è ben valutato dalla critica, nonostante lo scarso successo di vendite.[9]

Nello stesso anno rescisse il contratto con l’Elektra, passando alla Straight Records di Frank Zappa e del produttore Herb Cohen. Per questa etichetta pubblicò Blue Afternoon (1969). Nel 1970 uscì per l’Elektra l’album Lorca, che venne registrato contemporaneamente a Blue Afternoon.[10] Proprio Lorca è generalmente considerato dalla critica come l’album di passaggio fra il “periodo folk” di Goodbye and Hello e Happy Sad a quello “psichedelico” del successivo Starsailor.[11]

Nel 1970 realizzò e diede alle stampe Starsailor, disco più vicino alla sperimentazione, considerato da molti critici il suo massimo capolavoro e indubbiamente uno dei più ardui esperimenti sul canto mai realizzati.[12]In questo album è presente il brano Song to the Siren, probabilmente il più famoso di Buckley, la cui reinterpretazione della band inglese This Mortal Coil sull’album It’ll End in Tears del 1984 riscuoterà notevole successo. Il brano verrà inoltre reinterpretato nel 2002 da Robert Plant sul suo album Dreamland, nel 2009 da John Frusciante su The Empyrean e nel 2010 da Sinéad O’Connor.

In seguito allo scarso successo commerciale dei suoi dischi, dopo la pubblicazione di Starsailor Buckley sospese temporaneamente l’attività musicale, cadendo preda della depressione e sviluppando una dipendenza per l’alcool e le droghe. Inoltre, si dedica ad altre attività, come il cinema, scrivendo sceneggiature e recitando nel film mai uscito Why?, di Victor Stoloff.[13]

Nel 1972 vi fu il ritorno sulle scene con l’album Greetings from L.A., che virò il suono verso il funk,[14] a cui fecero seguito nel 1973 Sefronia e nel 1974 Look at the Fool, due album considerati dalla critica come il punto più basso della sua produzione.[15][16]

Tim Buckley morì la sera del 29 giugno 1975 a Santa Monica, in California, per overdose di eroina e alcool.[17]



Tim Buckley was born in Washington, D.C. on St. Valentine’s Day, to Elaine (née Scalia), an Italian American, and Timothy Charles Buckley Jr., a highly decoratedWorld War II veteran who was the son of Irish immigrants from Cork. He spent his early childhood in Amsterdam, New York, an industrial city approximately 40 miles northwest of Albany; at five years old he began listening to his mother’s progressive jazz recordings, particularly Miles Davis.

Buckley’s musical life began in earnest after his family moved to Bell Gardens in southern California in 1956. His grandmother introduced him to the work of Bessie Smith and Billie Holiday, his mother to Frank Sinatra and Judy Garland and his father to the country music of Hank Williams and Johnny Cash.[1] When the folk music revolution came around in the early 1960s, Buckley taught himself the banjo at age 13, and with several friends formed a folk group inspired by the Kingston Trio that played local high school events.[2]

During his initial high school years, Buckley was a popular and engaged student; he was elected to numerous offices, played on the baseball team and quarterbacked the football team.[3] During a football game he broke the first two fingers on his left hand, permanently damaging them. He later said that the injury prevented him from playing barre chords. This disability may have led to his use of extended chords, many of which don’t require barres.[4]

Buckley attended Loara High School in Anaheim, California,[5] which left him disillusioned. He quit football and cut classes regularly, focusing most of his attention on music instead. He befriended Larry Beckett, his future lyricist, and Jim Fielder, a bass player with whom he formed two separate musical groups, The Bohemians, who initially played popular music,[6] and The Harlequin 3, a folk group which regularly incorporatedspoken word and beat poetry into their gigs.[1]

In 1965, during French class, Buckley met Mary Guibert, one grade his junior. Their relationship inspired some of Buckley’s music, and provided him time away from his turbulent home life. His father had become unstable, angry and occasionally violent in his later years. He had suffered a serious head injury during the war; that, along with a severe work-related injury, was said to have affected his mental balance.[7]

Buckley and Guibert married on October 25, 1965, as Guibert believed she was pregnant.[3] The marriage angered Mary’s father and he did not attend the wedding; Buckley’s father attended, but joked to the priest, “I give it six months”. Shortly after the wedding Mary realized that she was not pregnant after all.

The marriage was tumultuous, and Buckley quickly moved out, but Mary soon became pregnant. After several months, Buckley found himself neither willing nor able to cope with marriage and impending fatherhood. From then on he and Mary only saw each other sporadically. They divorced in October 1966, about a month before their son Jeffrey Scott was born.[8]

By then, he and lyricist/friend Beckett had written dozens of songs; several were to appear on Tim’s debut album, Tim Buckley. “Buzzin’ Fly”, was also written during this period, and was featured on Happy Sad, his 1969 LP.[8]

Buckley’s ill-conceived college career at Fullerton College lasted only two weeks in 1965;[2][3] Buckley dropped out and dedicated himself fully to his music and to playing L.A. folk clubs. During the summer of 1965 he played regularly at a club co-founded by Dan Gordon. Later in the year he played various Orange County coffeehouses, such as the White Room in Buena Park, and the Monday night hootenannies at the famed Los Angeles Troubadour.[9] That year Cheetah Magazine deemed Buckley an up-and-comer, one of “The Orange County Three”, along with Steve Noonan and Jackson Browne.[1]

In February 1966, following a gig at L.A.’s It’s Boss, The Mothers of Invention‘s drummer Jimmy Carl Black recommended Buckley to Mothers manager, Herb Cohen. Cohen saw potential in Tim[2] and landed him an extended gig at the Nite Owl Cafe in Greenwich Village. Buckley’s new girlfriend, Jainie Goldstein, drove him cross-country to New York in her VW bug.[7] While living in the Bowery with Jainie, Buckley ran into Lee Underwood, and asked him to play guitar for him. From there, they became lifelong friends and collaborators.

Under Cohen’s management, Buckley recorded a six song demo acetate disc, which he sent to Elektra records owner Jac Holzman,[1][6] who offered him a recording contract.


Quel che sono

Quel che sono

rubare le parole
al cielo
che non mi ha mai

iniziare con forza
il mio volo
che non mi ha mai

cercare passi
del mio cammino
che non mi ha mai

abbandonare le paure
che non ho mai

guardare negli occhi
di chi cerca amore
e non l’ha mai

essere vento
che soffia ed accarezza
con immutato moto
chi non ha mai

essere quel che sono
per donare oggi ogni palpito
che non ho mai

12.09.2002 Poetyca

What I’m

I wanted
steal words
the sky
that I have never

I wanted
start strongly
My Flight
that I have never

I wanted
search steps
my journey
that I have never

I wanted
abandon fears
I never

I wanted
look into the eyes
looking for love
and has never

I wanted
be wind
blowing and stroking
motion with unchanged
those who have never

I wanted
what I am
today to give every heartbeat
I never

12.09.2002 Poetyca



Valgo meno di nulla
non lo ricordate
ma siamo tutti
partiti da zero
è stanco
questo mio corpo
di trascinare
la mente che urla

siamo tutti numeri
ed illusi di valere
io vi guardo
e mi chiedo sempre
che faccio
in questo viaggio
s b a g l i a t o
per cercare di capire
tutti i percorsi
dove possano condurre

Passano ore
con questa mente
che opprime
sono solo io
la persona che sbaglia tutto
e voi capaci
nei vostri sorrisi
di fingere gioia
-non vedete l’illusione-

Lo urla la mente
e non smette
e non dormo
e non respiro
non vivo
e non voglio
più respirare
troppa l’angoscia
di questo vivere-prigione

Lo cerco il senso
che continuo
a non trovare
basta solo un passo
avere il coraggio
di un tuffo
e me ne potrò andare
e finalmente
le urla feroci

Nessuno comprende
nessuno mi crede
siamo tutti numeri
nati da zero
numero vuoto
ed ora è lì
che voglio tornare
perché il mio posto
non è questo
e lo zero
è il tutto
e dei vostri numeri
io ero quello
nato per sbaglio
e senza valore

22.08.2002 Poetyca


I am worth less than nothing
do not remember
but we are all
started from scratch
is tired
my body
to drag
mind that screams

we are all numbers
and deluded claims
I look at you
and I always wonder
I do
on this trip
to try to understand
all paths
where they can conduct

They spend hours
with this mind
just me
the person who got it all wrong
and you able
in your smile
to feign joy
-you do not see the illusion-

The mind screams
and never stops
and I do not sleep
and not breathing
I do not live
I do not want
too much anxiety
this live-prison

The search for the meaning
I keep
not finding
you just a step
have the courage
a dip
I can walk and I
and finally
the fierce cries

No one understands
nobody believes me
we are all numbers
born to zero
number empty
and now there is
I want to go back
because my place
this is not
and zero
is the whole
and your numbers
I was the one
born by mistake
and worthless

22.08.2002 Poetyca

Mille parole

Mille parole


Parole: respirano


Ho tagliato i lacci
che soffocavano il cuore

…si librano ora
in alto
senza più paure.

Nuvole ridono
e accolgono
mille sfumature.

Nessuna notte è cupa
con le Stelle- parole
a segnare il cammino

…verso il cielo
è l’infinito valore.

Sorride la notte
ed attende
che anche tu decida
di scegliere nuove rotte.

Accentate e fiere
sfidano tempeste
e fioriscono
come mille Primavere.

20.06.2002 Poetyca

Thousand words


Words: breathing


I cut the strings
that stifled the heart

… soar hours
without any fear.

Clouds laugh
and welcome
thousand shades.

No night is dark
-words with the Stars
to mark the path

… To the sky
is the infinite value.

She smiles at night
and waits
that you decide
to choose new routes.

Accented and fairs
defy storms
and bloom
Springs as a thousand.

20.06.2002 Poetyca

Vecchio bambino

Vecchio bambino

Vecchio bambino
resti in cuore
con nostalgie di ricordi
-ricordi cari-
passato che non svanisce
ma dentro resta
con lampi improvvisi
– lacrime-
non afferrano
più nulla

Guerre e palpiti
tra cortili e gesta
che prendevi dai libri

Sbiadite pagine
che non capirebbe
che non sognerebbe
chi il futuro afferra

31.07.2002 Poetyca


Old child

Old child
remains in heart
with nostalgic memories
-fond memories-
past that never fades
but remains within
with sudden bursts
– tears-
not grasp

Wars and heartbeats
between courts and deeds
that you took from the books

Faded pages
who would not understand
who does not dream
who grasps the future

31.07.2002 Poetyca

Volo lieve

Volo lieve

Svaniscono paure
i tuoi passi
nell’oblio del tempo

cosa cercavi
negli sguardi
di donna
in quei rossori
-catene di sogni-
quante storie
ferite ieri

Cosa stringi
in tasca
tra mute parole
nei marciapiedi
color noia
che vorresti
sbriciolare via

Quanti i pensieri
urlati nel vento
che non avevano
m e m o r i a

ma era ieri
e non sarà
d o m a n i

…volano via le foglie
e s’accartoccia il tempo
un nuovo sorriso
sfiora le labbra
e nascono colori

29.07.2002 Poetyca

Flight mild

Disappear fear
your steps
oblivion of time

What you tried
in looks
in those blushes
how many stories
wounds yesterday

What tighten
in pocket
mute between words
color boredom
would like
crumbling away

How many thoughts
shouted in the wind
who had not

but it was yesterday
and will not be

The leaves fly away …
and crumples the time
a new smile
touches the lips
born and colors

29.07.2002 Poetyca



Stretti in un pugno
palloncini colorati
a sfumare la vita

Sottile rete
che prende oggi
le paure del cuore

Su nuvole- case
luoghi sicuri
dove ti possa portare

Siamo noi
che costruiamo
oggi i sogni di ieri

10.08.2002 Poetyca



In a tight fist
colorful balloons
to blur the life

Thin network
taking today
fears of the heart

On cloud-case
safe places
where you can bring

Are we
we build
Today the dreams of yesterday

10.08.2002 Poetyca

Vento o brezza

Vento o brezza

Comunica quel che il cuore cela
una carezza o un pensiero
nell’impeto di ricerca
ovunque la natura
nutre quel che in noi respira.
Che batte e anela.

02.08.2002 Poetyca

Wind or breeze

Notify me of what the heart conceals
a caress or a thought
the impetus for research
wherever the nature
feeds into what we breathe.
Beating and longs.

02.08.2002 Poetyca



Senti con me…
il respiro del vento,
l’energia di un lampo,
il calore del sole.

Sfiora con me…
il sussurro del mare,
le armonie celesti,
il vibrante amore.

Stringi con me…
infinite certezze,
sospiri di cielo,
appaganti altezze.

Guarda con me…
quello che resta
e cosa ti porterà
l o n t a n o .

Lo sfiorare di sogni
e la realtà che viviamo.

Dammi la mano
e…sollevati in volo.

02.06.2002 Poetyca


Listen to me …
the breath of wind,
the energy of a lightning
the sun’s heat.

Swipe with me …
the whisper of the sea,
heavenly harmonies,
the vibrant love.

Tighten with me …
infinite certainty,
I long for heaven,
satisfying heights.

Look with me …
what remains
and what you will

The touch of dreams
and the reality that we live.

Give me your hand
… and raised in the air.

02.06.2002 Poetyca

Ancora Natale

Ancora Natale

Chimere costruite
a forma di stelle
pronte ad addobbare
ancora una volta
l’albero di Natale

Luci lampeggianti
a richiamare ad arte
sulla scia di parole
precostruite immagini
che spargono inganno

Vita comoda
con calore dipinto
su volti di cera
nell’illusa fabbrica
di ogni illusione

Gioielli sfavillano
ferendo ancora
gli occhi di chi
dorme in un cartone:
è ancora Natale 

21.12.2002 Poetyca

Again Christmas

Chimeras constructed
in the shape of stars
ready to decorate
once again
Christmas tree

flashing lights
to call for art
in the wake of words
pre-built images
scattering deception

comfortable life
painted with heat
on faces of wax
nell’illusa factory
all illusion

Jewels sparkle
wounding yet
the eyes of the
sleeping in a cardboard:
is still Christmas

21.12.2002 Poetyca

Negli occhi

Negli occhi

E’ negli occhi la pace
il dono che ti sfiora
…ecco che ora
scende dritto al cuore

E’ negli occhi il colore
del nulla o dell’infinito
-cerco per te-
e con il calore di una sera
e del rosso tramonto
ti porto ormai dentro
-non ho dubbi-
nessuna incertezza mi sfiora
nessuna paura mi ferma
è nei tuoi occhi
lo specchio che mi riflette.

12.07.2002 Poetyca

In the eyes

E ‘in the eyes peace
the gift that touches you
… Here now
goes straight to the heart

E ‘in the eye color
of zero or infinity
and the warmth of an evening
and the red sunset
I’ll take you inside now
-I have no doubt-
no uncertainty comes to mind
no fear stops me
is in your eyes
the mirror that reflects me.

12.07.2002 Poetyca

Negli occhi


Negli occhi

E’ negli occhi la pace
il dono che ti sfiora
…ecco che ora
scende dritto al cuore

E’ negli occhi il colore
del nulla o dell’infinito
-cerco per te-
e con il calore di una sera
e del rosso tramonto
ti porto ormai dentro
-non ho dubbi-
nessuna incertezza mi sfiora
nessuna paura mi ferma
è nei tuoi occhi
lo specchio che mi riflette.

12.07.2002 Poetyca

In the eyes

It is in the eyes peace
the gift that touches you
… Here now
goes straight to the heart

It is in the eye color
of zero or infinity
and the warmth of an evening
and the red sunset
I’ll take you inside now
-I have no doubt-
no uncertainty comes to mind
no fear stops me
is in your eyes
the mirror that reflects me.

12.07.2002 Poetyca

Cos’è l’amore

Cos’è l’amore

Amore su ali d’argento
leggero come piuma
come soffio che accarezza il cuore
sogno che abbraccia leggero
sfiora gli occhi
respiro e non possesso
ali aperte per volare
l’ hai vissuto
hai più vita dentro
di chi prova amore
ma non è come viene concepito
non è ristretto
quante forme d’amore conosci?

Tenero cuore di bambino
che cerca la gioia perduta
sei tu in attesa di parole
di sorrisi e raggi di sole.
Dalla parete sgretolata di un muro
dal grigiore degli anni
cerchi balconi fioriti
e colori che rallegrino il cuore
tesoro e luce negli occhi
palpiti d’amore
vita che si rinnova
e capacità di volare.

Ecco cos’è l’amore

23.02.2002 Poetyca

What is love

Love on silver wings
light as a feather
as the wind that caresses the heart
dream that embraces light
upon the eyes
breath and do not possess
wings to fly
‘s have you lived
you have more life in
of those who love test
but it is conceived as
is not restricted
know how many forms of love?

Tender heart for children
who seeks the lost joy
are you waiting for words
smiles and sunshine.
From the wall of a crumbling wall
the greyness of the year
circles flowered balconies
and colors that rejoice the heart
Treasury and light in your eyes
beats of love
life changing
and ability to fly.

That’s what love is

23.02.2002 Poetyca

Luce – Light

🌸 Luce🌸

La luce
le pieghe
del cuore
le tue braccia
ed accogli
la bellezza

04.12.2018 Poetyca

The light
passes through
The folds
of the heart
He opens
your arms
and welcome

04.12.2018 Poetyca

Ad occhi chiusi

Ad occhi chiusi
(pensando a te)

Ad occhi chiusi
sfioro il ricordo:
corse e risate,
un tempo lontano
per sempre svanito
dietro tristi amarezze.

Ad occhi chiusi
stringo i pugni
cercando di fermare
tutto quello che è stato.

Ad occhi chiusi
scivolano lacrime
mai asciugate
che nel mio cuore
hanno scavato un solco.

Ad occhi chiusi
ricordo l’amico
che mi sedeva accanto.
E’ rimasto,
per sempre muto.

Ad occhi chiusi
è partito
e non asciugherà
mai più
il mio pianto.

28.02.2002 Poetyca

Eyes closed
(Thinking of you)

Eyes closed
overflow the memory:
races and laughter,
a distant
forever gone
sad bitterness behind.

Eyes closed
clench your fists
trying to stop
all that was.

Eyes closed
Tears slide
never dried
that in my heart
They dug a furrow.

Eyes closed
I remember my friend
I sat beside him.
E ‘remained
forever silent.

Eyes closed
and dry
never again
my tears.

28.02.2002 Poetyca