~Poetyca
David Bowie -Best of Bowie(2002) [FULL ALBUM] (disc 1)
~Poetyca
Risultati della ricerca per: 2002
David Bowie Greatest Hits | Best Songs Of David Bowie (Full Album 2015)
[youtube https://www.youtube.com/watch?v=SbyNyjSzxAg%5D]
David Bowie, [ˈboʊi]; pseud. di David Robert Jones (Londra, 8 gennaio 1947), è un cantautore, polistrumentista, attore e compositore britannico.
Attivo dalla metà degli anni sessanta, Bowie ha attraversato cinque decenni della musica rock, reinventando nel tempo il suo stile e la sua immagine e creando alter ego come Ziggy Stardust, Halloween Jack, Nathan Adler, e The Thin White Duke (noto in Italia come il “Duca Bianco”). Dal folk acustico all’elettronica, passando attraverso il glam rock, il soul e il krautrock, David Bowie ha lasciato tracce che hanno influenzato molti artisti.[1]
Come attore, dopo alcune piccole apparizioni ha avuto un ottimo successo nel 1976 come protagonista del film di fantascienza L’uomo che cadde sulla Terra di Nicolas Roeg. Tra le sue interpretazioni più note si ricordano Furyo (Merry Christmas Mr. Lawrence) di Nagisa Oshima del 1983, Absolute Beginners e Labyrinth del 1986 e Basquiat di Julian Schnabel del 1996 nel quale interpreta il ruolo di Andy Warhol.
David Bowie è sposato dal 1992 con la modella somala Iman Mohamed Abdulmajid ed ha due figli, Duncan Zowie Haywood (nato nel 1971 dal precedente matrimonio con Mary Angela Barnett) e Alexandria Zahra (nata nel 2000), oltre a Zulekha, nata dal precedente matrimonio di Iman. Nel 2008 è stato inserito al 23º posto nella lista dei 100 migliori cantanti secondo Rolling Stone[2], e tra le sue migliori “tracce vocali” ci sono Life on Mars?, Space Oddity, Starman ed Heroes[3]. Nel 2007 è secondo la rivista Forbes al quarto posto nell’elenco dei cantanti più ricchi del mondo[4].
Al ritmo di un disco all’anno, Bowie per parecchi anni nel bene e nel male non si è mai limitato a creare un “marchio Bowie” uguale a se stesso e rassicurante: dalle nostalgie beat con Pin Ups, agli incubi orwelliani di Diamond Dogs, al R&B bianco con Station to Station e Young Americans, all’electro pop intellettuale che, secondo molti critici, costituirà la fase più creativa della sua carriera fra il 1977 e il 1979, con la cosiddetta trilogia berlinese di Low, Heroes e Lodger, album in realtà (salvo il secondo) realizzati solo parzialmente a Berlino, ma comunque fortemente influenzati dalle contaminazioni tra rock ed elettronica di cui erano maestri i Kraftwerk e i Neu!, gruppi entrambi tedeschi.
Decisivo l’incontro con Brian Eno, altro reduce dal glam-rock dei primi settanta con i Roxy Music del dandy Bryan Ferry. Altrettanto decisivo un successo ormai consolidato che permette all’artista di sperimentare soluzioni nuove senza inseguire il riscontro commerciale. Nel frattempo il personaggio non è più l’androgino Ziggy Stardust ma un thin white duke (sottile duca bianco) dalle inquietanti suggestioni androgine sotto uno stile musicale esteriormente sempre più virile, colto, e raffinato.
https://it.wikipedia.org/wiki/David_Bowie
David Bowie (/ˈboʊ.i/;[1] born David Robert Jones, 8 January 1947) is an English singer, songwriter, multi-instrumentalist, record producer, arranger, and actor. He is also a painter and collector of fine art.[2] Bowie has been a major figure in the world of popular music for over four decades, and is renowned as an innovator, particularly for his work in the 1970s. He is known for his distinctive baritone voice as well as the intellectual depth and eclecticism of his work. Aside from his musical abilities, he is recognised for his androgynous beauty, which was an iconic element to his image, particularly in the 1970s and 1980s.[3][4]
Bowie first caught the eye and ear of the public in July 1969 when his song “Space Oddity” reached the top five of the UK Singles Chart. After a three-year period of experimentation he re-emerged in 1972 during the glam rock era with the flamboyant, androgynous alter ego Ziggy Stardust, spearheaded by the hit single “Starman” and the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Bowie’s impact at that time, as described by biographer David Buckley, “challenged the core belief of the rock music of its day” and “created perhaps the biggest cult in popular culture.”[5] The relatively short-lived Ziggy persona proved merely one facet of a career marked by continual reinvention, musical innovation and striking visual presentation.
In 1975, Bowie achieved his first major American crossover success with the number-one single “Fame” and the hit album Young Americans, which the singer characterised as “plastic soul”. The sound constituted a radical shift in style that initially alienated many of his UK devotees. He then confounded the expectations of both his record label and his American audiences by recording the minimalist album Low (1977)—the first of three collaborations with Brian Eno over the next two years. Low, “Heroes”, and Lodger, the so-called “Berlin Trilogy” albums, all reached the UK top five and received lasting critical praise. After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single “Ashes to Ashes”, its parent album Scary Monsters (and Super Creeps), and “Under Pressure”, a 1981 collaboration with Queen. He then reached a new commercial peak in 1983 with Let’s Dance, which yielded several hit singles. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including blue-eyed soul, industrial, adult contemporary, and jungle. He has not toured since the 2003–04 Reality Tour and has not performed live since 2006. Bowie’s latest studio album The Next Day was released in March 2013.
David Buckley says of Bowie: “His influence has been unique in popular culture—he has permeated and altered more lives than any comparable figure.”[5] In the BBC’s 2002 poll of the 100 Greatest Britons, Bowie was placed at number 29. Throughout his career, he has sold an estimated 140 million albums.[6] In the UK, he has been awarded nine Platinum album certifications, 11 Gold and eight Silver, and in the US, five Platinum and seven Gold certifications. In 2004, Rolling Stone ranked him 39th on their list of the “100 Greatest Artists of All Time”, and 23rd on their list of the best singers of all time.
Pearl Jam
I Pearl Jam sono un gruppo grunge/alternative rock statunitense, formatosi a Seattle nel 1990.
Sono stati tra i gruppi più famosi e di successo degli anni novanta: in carriera hanno venduto oltre 60 milioni di copie di cui 30 milioni soltanto negli Stati Uniti. Nonostante il loro stile differisca molto da gruppi quali i Nirvana e gli Alice in Chains, caratterizzati rispettivamente da profonde influenze punk e metal, hanno creato una di quelle che sono considerate le tre vie del grunge, insieme alle due precedenti, più affine al rock classico degli anni settanta.
Secondo la rivista Rolling Stone, il gruppo «spese la maggior parte degli anni novanta ad allontanare la propria fama» per via del loro atteggiamento anti-commerciale.
Tuttora in piena attività, il gruppo raccoglie consensi di critica e di pubblico, continuando a influenzare numerosi gruppi rock contemporanei.
https://it.wikipedia.org/wiki/Pearl_Jam
Pearl Jam is an American rock band, formed in Seattle, Washington, in 1990. Since its inception, the band’s line-up has comprised Eddie Vedder (lead vocals), Mike McCready (lead guitar), Stone Gossard (rhythm guitar) and Jeff Ament (bass). The band’s fifth member is drummer Matt Cameron (also of Soundgarden), who has been with the band since 1998. Boom Gaspar (piano) has also been a session/touring member with the band since 2002. Drummers Dave Krusen, Matt Chamberlain, Dave Abbruzzese and Jack Irons are former members of the band.
Formed after the demise of Gossard and Ament’s previous band, Mother Love Bone, Pearl Jam broke into the mainstream with its debut album, Ten, in 1991. One of the key bands in the grunge movement of the early 1990s, over the course of the band’s career, its members became noted for their refusal to adhere to traditional music industry practices, including refusing to make proper music videos or give interviews, and engaging in a much-publicized boycott of Ticketmaster. In 2006, Rolling Stone described the band as having “spent much of the past decade deliberately tearing apart
their own fame.”
To date, the band has sold nearly 32 million records in the U.S. and an estimated 60 million worldwide. Pearl Jam has outlasted and outsold many of its contemporaries from the alternative
rock breakthrough of the early 1990s, and is considered one of the most influential bands of that decade. Stephen Thomas Erlewine of AllMusic referred to Pearl Jam as “the most popular American
rock & roll band of the ’90s
Coraggio d’amare – Courage to love
Coraggio d’amare
La luna nel mare
il fuoco sulla spiaggia
tu amico che hai dentro
una domanda:
“ Dov’è il coraggio d’amare?”
Anche io ero bambina
e spesso al buio
piangevo
ma tra l’avvolgermi
in ferite
restando ferma
ad attendere amore
ho scelto d’amare.
Nel buio acceso
dalla fiamma
questa la mia risposta:
“Amare è perdonare
gettare pesi
per volare in alto”
L’Aquila
nata per il volo
apre le ali
quando lo fa
non si chiede
se ci vuole coraggio.
22.06.2002 Poetyca
Courage to love
The moon in the sea
the fire on the beach
friend that you have inside
a question:
“Where is the courage to love?”
Even I was a child
and often in the dark
I cried
but between the wrap
in wounds
remaining firm
to wait for love
I chose to love.
In the dark on
by flame
this is my answer:
“To love is to forgive
throw weights
to fly high “
The Eagle
born to fly
spreads its wings
when it does
do not ask
if it takes courage.
22.06.2002 Poetyca
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.
https://it.wikipedia.org/wiki/The_Smiths
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.
Ritmo – Rhythm
Ritmo
Ritmo serrato
toglie il fiato
ritmo suadente
delicato
ritmo impercettibile
o v a tt a t o.
Pulsante armonia
volo planato :
Arpeggio
solfeggio
ticchettio
balbettio sommesso.
Musica,
m u s i c a
Mente – Cuore.
Distacco
ora posso volare.
18.04.2002 Poetyca
Rhythm
Paced
breathtaking
persuasive rhythm
delicate
imperceptible pace
m u f f le d
Button harmony
unpowered:
Play the harp
solmizate
ticking
babble softly.
Music,
m us i c
Mind – Heart.
Detachment
now I can fly.
18.04.2002 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.
http://it.wikipedia.org/wiki/Bruce_Cockburn
Bruce Douglas Cockburn OC (/ˈkoʊbərn/; 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
Deep Purple-Made In Japan (1972)
I Deep Purple sono un gruppo musicale hard rock inglese, formatosi a Hertford nel 1968. Insieme a gruppi come Led Zeppelin e Black Sabbath, sono considerati fra i principali pionieri del genere heavy metal.
Vengono considerati una delle band più influenti del panorama musicale degli anni settanta, con un substrato musicale molto vario, che spazia dal blues al rock and roll, dal funky al jazz e al folk, dalla musica orientale alla musica classica, fino all’R&B, a cui unirono un certo virtuosismo tecnico. Il suono della band comprende anche elementi di rock progressivo, genere in auge nel periodo.
Hanno venduto più di 100 milioni di copie nel mondo senza contare le enormi vendite di bootleg, ovvero il traffico di dischi illegali spesso registrati durante le esibizioni dal vivo del gruppo.
Il gruppo venne inserito nel Guinness dei primati come band più rumorosa del mondo a seguito di un concerto al Rainbow Theater di Londra durante il quale tre spettatori persero conoscenza a causa dei 117 dB raggiunti.
https://it.wikipedia.org/wiki/Deep_Purple
Deep Purple are an English rock band formed in Hertford in 1968. They are considered to be among the pioneers of heavy metal and modern hard rock, although their musical approach changed over the years. Originally formed as a progressive rock band, the band shifted to a heavier sound in 1970. Deep Purple, together with Led Zeppelin and Black Sabbath, have been referred to as the “unholy trinity of British hard rock and heavy metal in the early to mid-Seventies”. They were listed in the 1975 Guinness Book of World Records as “the globe’s loudest band” for a 1972 concert at London’s Rainbow Theatre, and have sold over 100 million albums worldwide.
Deep Purple have had several line-up changes and an eight-year hiatus (1976–1984). The 1968–1976 line-ups are commonly labelled Mark I, II, III and IV Their second and most commercially successful line-up featured Ian Gillan (vocals), Jon Lord (organ), Roger Glover (bass), Ian Paice (drums), and Ritchie Blackmore (guitar). This line-up was active from 1969 to 1973, and was revived from 1984 to 1989, and again from 1992 to 1993. The band achieved more modest success in the intervening periods between 1968 and 1969 with the line-up including Rod Evans (vocals) and Nick Simper (bass, backing vocals), between 1974 and 1976 (Tommy Bolin replacing Blackmore in 1975) with the line-up including David Coverdale (vocals) and Glenn Hughes (bass, vocals), and between 1989 and 1992 with the line-up including Joe Lynn Turner (vocals). The band’s line-up (currently featuring Ian Gillan, and guitarist Steve Morse from 1994) has been much more stable in recent years, although organist Jon Lord’s retirement from the band in 2002 (being succeeded by Don Airey) left Ian Paice as the only original Deep Purple member still in the band.
Deep Purple were ranked number 22 on VH1’s Greatest Artists of Hard Rock programme and a poll on British radio station Planet Rock ranked them 5th among the “most influential bands ever”. At the 2011 Classic Rock Awards in London, they received the Innovator Award.[16] In October 2012, Deep Purple were nominated for the first time for the Rock and Roll Hall of Fame, but were not voted in the following March. In October 2013, the band was announced as a Hall of Fame nominee for a second time, but again was not voted in.
Onde – Waves
Onde
Schiumose immagini
ingannano il sentire
-sogni s’infrangono
contro barriere-
non era vero
-solo maree-
Vivono illusioni
soffocando respiri
-un ingannevole pensare-
ora che si era ritirato
– il mare-
torna a lambire
le nostre emozioni
Ritorniamo
a far vivere
l’abbandonato
percorso
…e la spiaggia
accoglie le onde
17.08.2002 Poetyca
Waves
Foamy images
deceive the feel
Dreams shatter-
barriers against-
was not true
Tides-only-
Living illusions
choking breaths
A false-think-
now that he had retired
– The sea-
back to lap
our emotions
Return
to bring to life
the abandoned
path
… And the beach
welcomes the waves
17.08.2002 Poetyca
Dejà vu
Dejà vu
Verità si nasconde
dietro dune di
silenzio
Domande si proiettano
in una mente
incerta
Passi nell’ombra
varcano un confine
ignoto
Spezzate catene
restano ricordo
Imperturbabile
la luna
occhieggia
poche tracce
di dejà vu
riflettono la notte
nessuna titubanza
frena il passo
Vortici silenti
rapiscono il tempo
In una ricomposta
aurora
ricomincia il viaggio
12.10.2002 Poetyca
Dejà vu
Truth is hidden
behind dunes
silence
Questions are projected
in a mind
uncertain
steps in the shadows
crossing a border
unknown
broken chains
still remember
unperturbed
the moon
peeps
few traces
of déjà vu
reflect the night
no hesitation
slows the pace
vortices silent
abduct the time
In a recomposed
aurora
the journey begins
12.10.2002 Poetyca
Negli occhi – In the eyes
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
-Searches-
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
Ora vivo – Now I live
Ora vivo
Cercavo l’alba
nel cielo terso
chiedendomi
il senso
delle stelle
e del cammino.
Nessuno a darmi
risposte alle domande
che affondavo
nelle tasche.
Non voglio più
essere bagnata
dalla pioggia
di parole.
Nel silenzio
cerco i raggi
del mio sole.
Depongo
per terra i sogni
-saranno presto germogli-
Con questi
nuovi semi
ORA VIVO.
11.06.2002 Poetyca
Now I live
I was looking for the dawn
in the clear sky
wondering
sense
stars
and walking.
Nobody gave me
answers to questions
sinking
pockets.
I do not want more
be wet
rain
of words.
In the silence
Seeking rays
of my sun.
I place
ground for the dreams
-will soon sprout-
With these
new seeds
I now live.
11.06.2002 Poetyca
Nove sutra sulla pace – Nine sutras on Peace – Raimon Panikkar
Nove sutra sulla Pace
I sutra sono fili di un’unica collana.
Insieme formano il gioiello chiamato Pace.
1. La pace è partecipazione all’armonia del ritmo dell’Essere
La pace non altera il ritmo della realtà. Non è statica, né dinamica. Non è nemmeno un movimento dialettico. E non significa assenza di forze o di polarità. L’Essere è ritmico, è ritmo, integrazione a-dualista del movimento e del riposo. La cultura tecnocratica occidentale, coltivando l’accelerazione, ha sconvolto i ritmi naturali: è senza pace.
2. È difficile vivere senza pace esterna; impossibile senza pace interna.
Ogni giorno, dopo l’ultima guerra mondiale, mille persone muoiono vittime della guerra. In tutto il mondo vi sono milioni di profughi, bambini nelle strade e persone che muoiono di fame. Non si deve minimizzare questa degradazione umana della nostra razza. Ma se la pace interna sussiste c’è ancora speranza. D’altronde non si può godere di una pace interna se il nostro ambiente umano ed ecologico è vittima di violenze e di ingiustizie. In tal caso la pace interna è un’illusione. E nessun autentico saggio (da Buddha a Cristo) si rinchiude nell’egoismo e nell’autosufficienza.
3. La pace: non la si conquista per se stessi, né la si impone agli altri. È dono dello Spirito
La pace non proviene né da spiritualità masochiste, né da pedagogie sadiche. I regimi imposti non fondano la pace per chi li riceve: bambino, povero, famiglia o nazione che sia. A noi manca l’atteggiamento più femminile del ricevente. La natura della pace è d’essere grazia, dono. È frutto di una rivelazione: dell’amore, di Dio, della bellezza della realtà, è esistenza della provvidenza, bontà della creazione, speranza, giustizia. È Gabe e Aufgabe, dono e responsabilità.
4. La vittoria ottenuta con la sconfitta violenta del nemico non conduce mai alla pace
La maggior parte delle guerre ha trovato giustificazione come risposta a trattati di pace anteriori. I vinti riappaiono ed esigono ciò che è stato loro rifiutato. La stessa repressione del male non ha risultati durevoli. La pace non è il risultato di un processo dialettico del bene contro il male. Il giovane rabbino di Nazaret invitava a far crescere insieme grano e zizzania. La pace fugge il campo dei vittoriosi (Simone Weil). La vittoria è sempre sulle persone; e le persone non sono mai assolutamente cattive.
5. Il disarmo militare richiede un disarmo culturale
La civiltà occidentale ha sviluppato un arsenale di armamenti, qualitativamente e quantitativamente; deve esservi un che di inerente a questa cultura: spirito di competizione, soggettività, tendenza a trascurare il campo dei sentimenti, senso di superiorità, di universalità, ecc.. Il fatto che i discorsi [per la pace, nella civiltà occidentale] si concentrino sulla distruzione degli armamenti, senza prestare attenzione alle questioni più fondamentali, costituisce un esempio di questo stato spirituale. Allora il disarmo culturale – prerequisito per la pace – è difficile almeno come quello militare. Implica una critica alla cultura e un approccio autenticamente interculturale.
6. Nessuna cultura, religione o tradizione può risolvere isolatamente i problemi del nostro mondo
Oggi nessuna religione potrebbe fornire risposte universali (se non altro perché le domande non sono le stesse). Purtroppo nel momento in cui gran parte delle religioni tradizionali tendono a deporre il manto dell’imperialismo, del colonialismo e dell’universalismo, la cosiddetta visione “scientifica” del mondo sembra raccogliere l’eredità culturale di questi atteggiamenti. Qui bisognerebbe citare la parola pluralismo.
7. La pace appartiene principalmente all’ordine del mythos, non del logos
Shalom, pax, eirene, salam, Friede, shanti, píng-an…: la Pace è polisemica; ha numerosi significati. La mia nozione di pace può non essere pacifica per qualcun altro. La pace non è sinonimo di pacifismo. È un mito, qualcosa in cui si crede in quanto dato. Ma non è irrazionale, anzi rende intelligibile l’atto di intendere. Un tempo la pace veniva firmata in nome di Dio; nella nostra epoca la pace sembra un mito unificante emergente ed è anche in suo nome che si fa guerra. Il mythos non dev’essere separato dal logos, ma i due non dovrebbero venire identificati.
8. La religione, via verso la pace
La religione è stata sempre considerata in passato come via di salvezza. Perciò le religioni erano fattori di pace interiore per i propri adepti e di guerre per gli altri. È un fatto che gran parte delle guerre nel mondo sono state guerre religiose. Oggi siamo testimoni di una trasformazione della nozione stessa di religione: le religioni sono modi di raggiungere la pace (non significa ridurle ad un unico denominatore). E la strada per la pace è rivoluzionaria: esige l’eliminazione dell’ingiustizia, dell’egoismo e della cupidigia.
9. Perdono, riconciliazione, dialogo: solo essi conducono alla pace
Punizione, indenizzo, restituzione, riparazione e cose simili non portano alla pace, non spezzano la legge del karma. Credere che ristabilire l’ordine spezzato risolva la situazione è un modo di pensare grossolano, meccanicistico e immaturo. L’innocenza perduta esige la redenzione e non il sogno di una paradiso ritrovato. La via verso la pace è in avanti e non indietro. La storia umana esige perdono. Per perdonare ci vuole una forza che vada oltre l’ordine meccanico di azione-reazione, ci vuole lo Spirito Santo, Amore pilastro dell’universo.
Da: Raimon Panikkar, Pace e interculturalità, Jaca Book, Milano 2002. (Adattamento. Col permesso dell’A.)
Da: http://www.saveriani.bs.it/cem/Rivista/arretrati/2003_03/sutra.htm
Nine sutras on Peace
The sutras are strings of single necklace.
Together they form the jewel called Peace.
1. Peace is the harmony of the participation rate of Being
Peace does not alter the rhythm of reality. Is not static nor dynamic. It is not a dialectical movement. It does not mean lack of power or polarity. Being is rhythmic, it’s rhythm, integration-dualist movement and rest. Western technocratic culture, cultivating the acceleration, has disrupted the natural rhythms: it is no peace.
2. It’s hard to live without external peace; impossible without inner peace.
Every day after the last world war, a thousand people die of war victims. Throughout the world there are millions of refugees, children in the streets and people dying of hunger. We must not minimize this degradation of our human race. But if there is internal peace, there is still hope. On the other hand you can not enjoy internal peace if our human and ecological environment is the victim of violence and injustice. In this case, the inner peace is an illusion. And no authentic essay (from Buddha to Christ) to be contained in self and selfishness.
3. The peace is won not by themselves, nor can it imposes on others. It is a gift of the Spirit
Peace does not come as spirituality or masochistic, sadistic nor pedagogies. The regimes imposed do not establish peace for those who receive them: child poverty, family or nation it is.We miss the attitude of the recipient female. The nature of peace is to be grace, a gift. It is the result of a revelation of love, of God, the beauty of reality is existence of providence, the goodness of creation, hope, justice. It’s Gabe and Aufgabe, gift and responsibility.
4. The violent victory with the defeat of the enemy never leads to peace
Most wars have been justified as a response to earlier peace treaties. The vanquished reappear and demand what they have been refused. The same repression of evil has no lasting results. Peace is not the result of a dialectical process of good versus evil. The young rabbi from Nazareth invited to wheat and weeds grow together. Peace fled the camp of the victors (Simone Weil). The victory is always on people, and people are never quite bad.
5. The military disarmament disarmament requires a cultural
Western civilization has developed an arsenal of weapons, both qualitatively and quantitatively, there must be something inherent in this culture: the spirit of competition, subjectivity, a tendency to overlook the range of feelings, a sense of superiority, universality, etc. .. The fact that the speeches [for peace in Western civilization] focus on the destruction of weapons, while ignoring the more fundamental issues, is an example of this spiritual state. Then disarmament culture – a prerequisite for peace – at least as hard as military. Implies a critique of culture and intercultural approach authentically.
6. No culture, religion or tradition alone can solve the problems of our world
Today, no religion could provide universal answers (if only because the questions are not the same). Unfortunately, when most of the traditional religions tend to lay the mantle of imperialism, colonialism and universalism, the view of so-called “scientific” in the world seems to collect the cultural heritage of these attitudes. Here one should mention the word pluralism.
7. Peace belongs mainly to the order of the mythos, not the logos
Shalom, Pax, Eirene, salam, Friede, shanti, Ping-an …: Peace is polysemic; has many meanings. My notion of peace can not be peaceful for someone else. Peace is not a synonym for pacifism. It is a myth, something you believe as facts. But it is not irrational, even the act of understanding makes it intelligible.Once peace was signed in the name of God, peace in our time seems to be a unifying myth and it is also emerging in his name that makes war. The mythos should not be separated from the logos, but the two should not be identified.
8. Religion, on the road to peace
Religion has always been considered in the past as a way of salvation. Therefore, religions were factors of inner peace for their followers and other wars. It is a fact that most wars were religious wars in the world. We are witnessing a transformation of the very notion of religion: the religions are ways of achieving peace (means do not reduce them to a common denominator).And the path to peace is revolutionary: it requires the elimination of injustice, selfishness and greed.
9. Forgiveness, reconciliation, dialogue: they alone lead to peace
Punishment, indemnification, restitution, reparation and things like that do not lead to peace, do not break the law of karma.Believe that restoring order to resolve the situation is a broken way of thinking crude, mechanistic and immature. The innocence lost and do not require the redemption of the dream of a paradise regained. The road to peace is forward and not backward. Human history requires forgiveness. To forgive takes a force that goes beyond a mechanical action-reaction, we want the Holy Spirit, Love pillar of the universe.
From: Raimon Panikkar, Peace and Interculturalism, Jaca Book, Milan 2002. (With permission from the A Adattament..)
From: http://www.saveriani.bs.it/cem/Rivista/arretrati/2003_03/sutra.htm
The Who – Greatest Hits Ultimate Best Of – HQ
The Who è uno storico gruppo musicale rock britannico originario di Londra, considerato tra le maggiori band Rock ‘n Roll di tutti i tempi, con oltre 100 milioni di dischi venduti.[7] Le prime apparizioni dal vivo degli Who risalgono al 1964,[8] con quella che è considerata la storica formazione del gruppo: Pete Townshend (chitarrista e autore della maggior parte delle canzoni), Roger Daltrey (voce), John Entwistle (basso elettrico) e Keith Moon (batteria).
Dopo un breve periodo da portabandiera del movimento Mod inglese, gli Who raggiungono il successo nel 1965, con l’uscita dell’album My Generation, il cui omonimo brano si dimostra essere il primo inno generazionale,[9] nonché uno dei pezzi ancor oggi più conosciuti e rappresentativi della band,[10] oltre ad essere inserito nel 2004 dalla rivista Rolling Stone all’undicesimo posto tra le 500 migliori canzoni secondo Rolling Stone.[11] Gli Who nel corso della loro carriera hanno piazzato 27 singoli nei primi 40 posti delle classifiche di vendita britanniche e statunitensi, oltre a raggiungere la top ten con 17 album (ottenendo nel contempo 18 dischi d’oro, 12 di platino, e 5 multi-platino solamente negli Stati Uniti).
Gli Who raggiungono il grande pubblico a partire dal 1965 con una serie di singoli di successo, grazie anche alle trasmissioni di alcune radio pirata di oltremanica come Radio Caroline, tra i quali vanno ricordati I Can’t Explain e Substitute. In A Quick One, pubblicato nel 1966, è possibile notare il progredire della ricerca musicale di Townshend verso la realizzazione di un’opera rock a carattere teatrale, che si concretizzerà poi in Tommy (1969) e nella più matura Quadrophenia (1973), nel cui film associato si fece notare un giovanissimo Sting.
Del 1979 è anche il documentario sulla storia del gruppo Uragano Who (The Kids Are Alright). Tra i protagonisti della Swinging London, furono molto influenzati dalla musica dei loro contemporanei Beatles e Rolling Stones, di cui continuarono il fenomeno della British invasion. Ebbero una notevole influenza su altre band a loro volta, lasciando un’onda lunga che va dai Led Zeppelin[12] ai Sex Pistols,[13] dagli U2[14] agli Oasis[1] passando per i Pearl Jam.[15]
È particolarmente discusso l’inserimento degli Who all’interno del genere proto-punk, ovvero a quella derivazione del garage rock che a metà anni settanta porterà Ramones, Sex Pistols, The Clash[1] ed altre band a creare il punk rock ed in particolare il punk rock delle origini. La distanza stilistica degli Who con altre band appartenenti al proto punk è evidente, tuttavia le innovazioni stilistiche apportate dagli Who al rock, soprattutto nell’uso della batteria fanno propendere alcune fonti[2] a ritenere che la band possa essere considerata come seminale rispetto al genere suddetto.
Dopo la scomparsa di Keith Moon, morto nel 1978, e di John Entwistle, nel 2002, Townshend e Daltrey continuano a proporre dal vivo i loro brani più classici, accompagnati da Pino Palladino al basso e Zak Starkey (figlio di Richard, meglio conosciuto come Ringo Starr) alla batteria. Nel 2006, gli Who hanno pubblicato il loro primo disco registrato in studio da It’s Hard del 1982, intitolato Endless Wire.
Il gruppo appare alla posizione 29 della lista dei 100 migliori artisti secondo Rolling Stone.[16] Tutti i membri della band fanno inoltre parte individualmente di una delle classifiche di Rolling Stone, di cui tre nella top ten del proprio strumento: Roger Daltrey alla posizione 61 della lista dei 100 migliori cantanti secondo Rolling Stone,[17] Pete Townshend alla 10ª della lista dei 100 migliori chitarristi,[18] Keith Moon alla 2ª tra i migliori batteristi di tutti i tempi scelti dai lettori della rivista[19] e John Entwistle è al primo posto nella classifica dei migliori bassisti di tutti i tempi scelti dai lettori.
http://it.wikipedia.org/wiki/The_Who
The Who are an English rock band that formed in 1964. Their classic line-up consisted of lead singer Roger Daltrey, guitarist Pete Townshend, bassist John Entwistle, and drummer Keith Moon. They are considered one of the most influential rock bands of the 20th century, selling over 100 million records worldwide and establishing their reputation equally on live shows and studio work.
The Who developed from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, “I Can’t Explain”, reached the UK top ten, followed by a string of singles including “My Generation”, “Substitute” and “Happy Jack”. In 1967, they performed at the Monterey Pop Festival and released the US top ten single “I Can See for Miles”, while touring extensively. The group’s fourth album, 1969’s rock opera Tommy, included the single “Pinball Wizard” and was a critical and commercial success. Live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live at Leeds, cemented their reputation as a respected rock act. With their success came increased pressure on lead songwriter and visionary Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up 1971’s Who’s Next, which included the hit “Won’t Get Fooled Again”. The group released the album Quadrophenia in 1973 as a celebration of their mod roots, and oversaw the film adaptation of Tommy in 1975. They continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You in 1978 was overshadowed by the death of Moon shortly after.
Kenney Jones replaced Moon and the group resumed activity, releasing a film adaptation of Quadrophenia and the retrospective documentary The Kids Are Alright. After Townshend became weary of touring, the group split in 1982. The Who occasionally re-formed for live appearances such as Live Aid in 1985, a 25th anniversary tour in 1989 and a tour of Quadrophenia in 1996. They resumed regular touring in 1999, with drummer Zak Starkey. After Entwistle’s death in 2002, plans for a new album were delayed. Townshend and Daltrey continued as the Who, releasing Endless Wire in 2006, and continued to play live regularly.
The Who’s major contributions to rock music include the development of the Marshall stack, large PA systems, use of the synthesizer, Entwistle and Moon’s lead playing styles, and the development of the rock opera. They are cited as an influence by several hard rock, punk rock and mod bands, and their songs still receive regular exposure.
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]
http://it.wikipedia.org/wiki/Tim_Buckley
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.
The Best of the Doors
I Doors sono stati un gruppo musicale statunitense, fondato nel 1965 da Jim Morrison (cantante), Ray Manzarek (tastierista), Robby Krieger (chitarrista) e John Densmore (batterista), e scioltosi definitivamente dopo otto anni di carriera effettiva nel 1973[2], due anni dopo la morte di Jim Morrison (avvenuta il 3 luglio del 1971). Sono considerati uno dei gruppi più influenti e controversi nella storia della musica, alla quale hanno unito con successo elementi blues, psichedelia[2] e jazz[3][4]. Molti dei loro brani, come Light My Fire, The End, Hello, I Love You e Riders on the Storm, sono considerati dei classici e sono stati reinterpretati da numerosi artisti delle generazioni successive.
I Doors hanno venduto più di 100 milioni di dischi in tutto il mondo.[5][6] Tre album in studio della band, The Doors (1967), L.A. Woman (1971) e Strange Days (1967), sono presenti nella lista dei 500 migliori album, rispettivamente alle posizioni 42, 362 e 407. Nel 1993 i Doors furono inseriti nella Rock and Roll Hall of Fame.
http://it.wikipedia.org/wiki/The_Doors
The Doors were an American rock band formed in 1965 in Los Angeles, with vocalist Jim Morrison, keyboardist Ray Manzarek, drummer John Densmore and guitaristRobby Krieger. The band took its name from the title of Aldous Huxley‘s book The Doors of Perception,[2] which itself was a reference to a William Blake quote: “If the doors of perception were cleansed every thing would appear to man as it is, infinite.”[3] They were among the most controversial, influential and unique rock acts of the 1960s and beyond, mostly because of Morrison’s wild, poetic[4] lyrics and charismatic but unpredictable stage persona. After Morrison’s death on 3 July 1971, aged 27, the remaining members continued as a trio until disbanding in 1973.[5]
Signing with Elektra Records in 1966, the Doors released eight albums between 1967 and 1971. All but one hit the Top 10 of the Billboard 200 and went platinum or better. The 1967 release of The Doors was the first in a series of top ten albums in the United States, followed by Strange Days (1967), Waiting for the Sun (1968), The Soft Parade (1969), Morrison Hotel (1970), Absolutely Live (1970) and L.A. Woman (1971), with 21 Gold, 14 Platinum and 5 Multi-Platinum album awards in the United States alone.[6] The band’s biggest hits are “Light My Fire” (US, number 1), “People Are Strange” (US, number 12), “Love Me Two Times” (US, number 25), “Hello, I Love You” (US, number 1), “The Unknown Soldier“, (US, number 39), “Touch Me” (US, number 3), “Love Her Madly” (US, number 11), and “Riders On The Storm” (US, number 14). After Morrison’s death in 1971, the surviving trio released two albums Other Voices and Full Circle with Manzarek and Krieger sharing lead vocals. The three members also collaborated on the spoken-word recording of Morrison’s An American Prayer in 1978 and on the “Orange County Suite” for a 1997 boxed set. Manzarek, Krieger and Densmore reunited in 2000 for an episode of VH1’s “Storytellers” and subsequently recorded Stoned Immaculate: The Music of the Doors with a variety of vocalists.
Although the Doors’ active career ended in 1973, their popularity has persisted. According to the RIAA, they have sold 36.6 million certified units in the US[7] and over 100 million records worldwide,[8] making them one of the best-selling bands of all time.[9] The Doors has been listed as one of the greatest artists of all time by many magazines, including Rolling Stone, which ranked them 41st on its list of The 100 Greatest Artists of All Time.[10] The Doors were the first American band to accumulate eight consecutive gold and platinum LPs.[11]
In 2002 Manzarek and Krieger started playing together again, branding themselves as the Doors of the 21st Century, with Ian Astbury of the The Cult on vocals. Densmore opted to sit out and, along with the Morrison estate, sued the duo over proper use of the band name and won. After a short time as Riders On the Storm, they settled on the name Manzarek-Krieger and continued to tour until Manzarek’s death in 2013, at the age of 74.
Three of the band’s studio albums, The Doors (1967), L.A. Woman (1971), and Strange Days (1967), were featured in the Rolling Stone list of The 500 Greatest Albums of All Time, at positions 42, 362 and 407 respectively.
The band, their work, and Morrison’s celebrity are considered important to the counterculture of the 1960s.[12][13][14][15][16]
The Doors were inducted into the Rock and Roll Hall of Fame in 1993.
Ragione – Reason – Arturo Graf
🌸Ragione🌸
Il sapere e la ragione parlano,
l’ignoranza e il torto urlano.
Arturo Graf
🌸🌿🌸#pensierieparole
🌸Reason
Knowledge and reason speak,
ignorance and wrong scream.
Arturo Graf
Fluire – In the flow
Fluire
Sensibile vibrare
-sensazioni-
scambio di sottili emozioni
-respiro del cuore-
gioiosa intesa
cattura vita.
Sottili scaglie di luce
percorrono l’infinito
-avvolgono il fluire-
ci legano vibrando.
Amore assoluto
in una catena d’oro.
08.03.2002 Poetyca
In the flow
Sensitive vibrate
-Sensation-
exchange of subtle emotions
Breath-of-heart
Understanding joyful
capture life.
Thin slivers of light
run through the infinite
The flow-wrap-
bind us vibrating.
Absolute love
a gold chain.
08.03.2002 Poetyca
Amare – Love
🌸Amare🌸
Amare è offerta
dono senza rimpianto
e tutto viaggia in armonia
se poi sul più bello
non spezzeremo l’incanto
con dubbio,gelosia e rabbia
o l’amore sarà spodestato
13.10.2022 Poetyca
🌸🌿🌸#Poetycamente
🌸Love
To love is an offer
gift without regret
and everything travels in harmony
if then on the most beautiful
we will not break the spell
with doubt, jealousy and anger
or love will be ousted
13.10.2022 Poetyca
Grazie vita – Thanks Life
Grazie Vita
Ringrazio oggi la vita
per tutto quel che ha dato:
le gioie e i dolori
che non sempre ho compreso.
i sogni e i desideri,
le albe e i tramonti.
I giorni lieti e quelli stanchi.
Ringrazio le speranze
che vestono colori,
le mille sfumature
che nutrono emozioni.
Tutto il tempo andato
senza rimpianto alcuno
e quello che verrà
senza lasciarmi solo.
Le ottime parole
d’un amico vero,
il cuore impazzito
per ogni nuovo amore.
Le volte in cui
nel cielo grigio
nasceva arcobaleno.
Le delusioni e la rabbia,
anche loro hanno insegnato
che non per tutti
un ideale è mito.
Le idee diverse
tra confronto e accettazione
di chi non crede
o vuole comprensione.
Le ore in ascolto
del mio impercettibile sentire
oppure della pioggia lieve.
Di tante cose ancora
sono qui per ringraziare.
Elevo oggi un canto
a cui non servono parole,
basta leggere negli occhi
tutta la mia emozione.
“ GRAZIE VITA!”
06.05.2002 Poetyca
Thanks Life
I thank the lives
for all he has given:
the joys and pains
I have not always understood.
dreams and desires,
the sunrises and sunsets.
The happy days and those tired.
Thank hopes
that dress color
the many shades
that feed on emotions.
All the time went
without any regret
and what will
not leave me alone.
The good words
of a true friend,
crazy heart
for each new love.
The times
into the gray sky
Rainbow was born.
The disappointment and anger,
they also taught
that not all
ideal is a myth.
Different ideas
Comparison between acceptance and
those who do not believe
or want to understand.
The hours listening
I hear the subtle
or the light rain.
Of all the things yet
I’m here to thank.
Today I raise a hand
which do not need words,
just read in your eyes
all my emotion.
“THANKS LIFE!”
06.05.2002 Poetyca
Nove Sutra sulla Pace – Nina Sutras of Peace – Raimond Panikkar
Nove sutra sulla Pace
I sutra sono fili di un’unica collana.
Insieme formano il gioiello chiamato Pace.
1. La pace è partecipazione all’armonia del ritmo dell’Essere
La pace non altera il ritmo della realtà. Non è statica, né dinamica. Non è nemmeno un movimento dialettico. E non significa assenza di forze o di polarità. L’Essere è ritmico, è ritmo, integrazione a-dualista del movimento e del riposo. La cultura tecnocratica occidentale, coltivando l’accelerazione, ha sconvolto i ritmi naturali: è senza pace.
2. È difficile vivere senza pace esterna; impossibile senza pace interna.
Ogni giorno, dopo l’ultima guerra mondiale, mille persone muoiono vittime della guerra. In tutto il mondo vi sono milioni di profughi, bambini nelle strade e persone che muoiono di fame. Non si deve minimizzare questa degradazione umana della nostra razza. Ma se la pace interna sussiste c’è ancora speranza. D’altronde non si può godere di una pace interna se il nostro ambiente umano ed ecologico è vittima di violenze e di ingiustizie. In tal caso la pace interna è un’illusione. E nessun autentico saggio (da Buddha a Cristo) si rinchiude nell’egoismo e nell’autosufficienza.
3. La pace: non la si conquista per se stessi, né la si impone agli altri. È dono dello Spirito
La pace non proviene né da spiritualità masochiste, né da pedagogie sadiche. I regimi imposti non fondano la pace per chi li riceve: bambino, povero, famiglia o nazione che sia. A noi manca l’atteggiamento più femminile del ricevente. La natura della pace è d’essere grazia, dono. È frutto di una rivelazione: dell’amore, di Dio, della bellezza della realtà, è esistenza della provvidenza, bontà della creazione, speranza, giustizia. È Gabe e Aufgabe, dono e responsabilità.
4. La vittoria ottenuta con la sconfitta violenta del nemico non conduce mai alla pace
La maggior parte delle guerre ha trovato giustificazione come risposta a trattati di pace anteriori. I vinti riappaiono ed esigono ciò che è stato loro rifiutato. La stessa repressione del male non ha risultati durevoli. La pace non è il risultato di un processo dialettico del bene contro il male. Il giovane rabbino di Nazaret invitava a far crescere insieme grano e zizzania. La pace fugge il campo dei vittoriosi (Simone Weil). La vittoria è sempre sulle persone; e le persone non sono mai assolutamente cattive.
5. Il disarmo militare richiede un disarmo culturale
La civiltà occidentale ha sviluppato un arsenale di armamenti, qualitativamente e quantitativamente; deve esservi un che di inerente a questa cultura: spirito di competizione, soggettività, tendenza a trascurare il campo dei sentimenti, senso di superiorità, di universalità, ecc.. Il fatto che i discorsi [per la pace, nella civiltà occidentale] si concentrino sulla distruzione degli armamenti, senza prestare attenzione alle questioni più fondamentali, costituisce un esempio di questo stato spirituale. Allora il disarmo culturale – prerequisito per la pace – è difficile almeno come quello militare. Implica una critica alla cultura e un approccio autenticamente interculturale.
6. Nessuna cultura, religione o tradizione può risolvere isolatamente i problemi del nostro mondo
Oggi nessuna religione potrebbe fornire risposte universali (se non altro perché le domande non sono le stesse). Purtroppo nel momento in cui gran parte delle religioni tradizionali tendono a deporre il manto dell’imperialismo, del colonialismo e dell’universalismo, la cosiddetta visione “scientifica” del mondo sembra raccogliere l’eredità culturale di questi atteggiamenti. Qui bisognerebbe citare la parola pluralismo.
7. La pace appartiene principalmente all’ordine del mythos, non del logos
Shalom, pax, eirene, salam, Friede, shanti, píng-an…: la Pace è polisemica; ha numerosi significati. La mia nozione di pace può non essere pacifica per qualcun altro. La pace non è sinonimo di pacifismo. È un mito, qualcosa in cui si crede in quanto dato. Ma non è irrazionale, anzi rende intelligibile l’atto di intendere. Un tempo la pace veniva firmata in nome di Dio; nella nostra epoca la pace sembra un mito unificante emergente ed è anche in suo nome che si fa guerra. Il mythos non dev’essere separato dal logos, ma i due non dovrebbero venire identificati.
8. La religione, via verso la pace
La religione è stata sempre considerata in passato come via di salvezza. Perciò le religioni erano fattori di pace interiore per i propri adepti e di guerre per gli altri. È un fatto che gran parte delle guerre nel mondo sono state guerre religiose. Oggi siamo testimoni di una trasformazione della nozione stessa di religione: le religioni sono modi di raggiungere la pace (non significa ridurle ad un unico denominatore). E la strada per la pace è rivoluzionaria: esige l’eliminazione dell’ingiustizia, dell’egoismo e della cupidigia.
9. Perdono, riconciliazione, dialogo: solo essi conducono alla pace
Punizione, indenizzo, restituzione, riparazione e cose simili non portano alla pace, non spezzano la legge del karma. Credere che ristabilire l’ordine spezzato risolva la situazione è un modo di pensare grossolano, meccanicistico e immaturo. L’innocenza perduta esige la redenzione e non il sogno di una paradiso ritrovato. La via verso la pace è in avanti e non indietro. La storia umana esige perdono. Per perdonare ci vuole una forza che vada oltre l’ordine meccanico di azione-reazione, ci vuole lo Spirito Santo, Amore pilastro dell’universo.
Da: Raimon Panikkar, Pace e interculturalità, Jaca Book, Milano 2002. (Adattamento. Col permesso dell’A.)
❤ ❤ ❤
Nine sutras of Peace
The sutras are strings of single necklace.
Together they form the jewel called Peace.
1. Peace is the harmony of the participation rate of Being
Peace does not alter the rhythm of reality. Is not static nor dynamic. It is not a dialectical movement. It does not mean lack of power or polarity. Being is rhythmic, it’s rhythm, integration-dualist movement and rest. Western technocratic culture, cultivating the acceleration, has disrupted the natural rhythms: it is no peace.
2. It’s hard to live without external peace; impossible without inner peace.
Every day after the last world war, a thousand people die of war victims. Throughout the world there are millions of refugees, children in the streets and people dying of hunger. We must not minimize this degradation of our human race. But if there is internal peace, there is still hope. On the other hand you can not enjoy internal peace if our human and ecological environment is the victim of violence and injustice. In this case, the inner peace is an illusion. And no authentic essay (from Buddha to Christ) to be contained in self and selfishness.
3. The peace is won not by themselves, nor can it imposes on others. It is a gift of the Spirit
Peace does not come as spirituality or masochistic, sadistic nor pedagogies. The regimes imposed do not establish peace for those who receive them: child poverty, family or nation it is.We miss the attitude of the recipient female. The nature of peace is to be grace, a gift. It is the result of a revelation of love, of God, the beauty of reality is existence of providence, the goodness of creation, hope, justice. It’s Gabe and Aufgabe, gift and responsibility.
4. The violent victory with the defeat of the enemy never leads to peace
Most wars have been justified as a response to earlier peace treaties. The vanquished reappear and demand what they have been refused. The same repression of evil has no lasting results. Peace is not the result of a dialectical process of good versus evil. The young rabbi from Nazareth invited to wheat and weeds grow together. Peace fled the camp of the victors (Simone Weil). The victory is always on people, and people are never quite bad.
5. The military disarmament disarmament requires a cultural
Western civilization has developed an arsenal of weapons, both qualitatively and quantitatively, there must be something inherent in this culture: the spirit of competition, subjectivity, a tendency to overlook the range of feelings, a sense of superiority, universality, etc. .. The fact that the speeches [for peace in Western civilization] focus on the destruction of weapons, while ignoring the more fundamental issues, is an example of this spiritual state. Then disarmament culture – a prerequisite for peace – at least as hard as military. Implies a critique of culture and intercultural approach authentically.
6. No culture, religion or tradition alone can solve the problems of our world
Today, no religion could provide universal answers (if only because the questions are not the same). Unfortunately, when most of the traditional religions tend to lay the mantle of imperialism, colonialism and universalism, the view of so-called “scientific” in the world seems to collect the cultural heritage of these attitudes. Here one should mention the word pluralism.
7. Peace belongs mainly to the order of the mythos, not the logos
Shalom, Pax, Eirene, salam, Friede, shanti, Ping-an …: Peace is polysemic; has many meanings. My notion of peace can not be peaceful for someone else. Peace is not a synonym for pacifism. It is a myth, something you believe as facts. But it is not irrational, even the act of understanding makes it intelligible.Once peace was signed in the name of God, peace in our time seems to be a unifying myth and it is also emerging in his name that makes war. The mythos should not be separated from the logos, but the two should not be identified.
8. Religion, on the road to peace
Religion has always been considered in the past as a way of salvation. Therefore, religions were factors of inner peace for their followers and other wars. It is a fact that most wars were religious wars in the world. We are witnessing a transformation of the very notion of religion: the religions are ways of achieving peace (means do not reduce them to a common denominator).And the path to peace is revolutionary: it requires the elimination of injustice, selfishness and greed.
9. Forgiveness, reconciliation, dialogue: they alone lead to peace
Punishment, indemnification, restitution, reparation and things like that do not lead to peace, do not break the law of karma.Believe that restoring order to resolve the situation is a broken way of thinking crude, mechanistic and immature. The innocence lost and do not require the redemption of the dream of a paradise regained. The road to peace is forward and not backward. Human history requires forgiveness. To forgive takes a force that goes beyond a mechanical action-reaction, we want the Holy Spirit, Love pillar of the universe.
From: Raimon Panikkar, Peace and Interculturalism, Jaca Book, Milan 2002. (With permission from the A Adattament..)
Visione – Vision
Visione
In rivoli d’attesa
tra i peggiori anfratti,
mulinelli d’ira
piagati sorrisi consumano,
metamorfosi
di ceneri sparse.
In visione d’incanto,
petali dai mille colori
mettono le ali,
alla brezza del nulla
sciolgono dolori.
Balsamo soave
impercettibile vibra
in fonti nuove.
04.05.2002 Poetyca
Vision
In streams of waiting
among the worst in ravines,
eddies of anger
sore smiles consume
metamorphosis
ashes scattered.
In view of charm,
petals of many colors
give wings,
the cool of nothing
dissolve pain.
Sweet balm
imperceptible vibrations
in new wells.
04.05.2002 Poetyca
Nel silenzio – In the silence
Nel silenzio
Da questa duna
cerco delle stelle la luce.
Le conosco ad una ad una
per aver sempre guardato
l’immensità del cielo.
Quando ero triste
accarezzavo la più grande
e mi ci afferravo.
Le persone che mi scrutano
mi offrono un po’ di nulla,
lo servono in una tazza d’oro.
Con un sorriso valuto
se prenderla come sempre
o smettere di accettare.
Ho fatto un lungo viaggio,
affrontato mille paure
per cercare oltre
l’inebriante profumo,
per afferrare oltre
i confini della mente,
per scrutare oltre
le leggi del nulla.
Ad ogni passo nuovo
trovavo una contraddizione
e se nulla mi restava
che mi potesse bastare,
dalle fatiche ho imparato
di ogni cosa il valore.
Dai miei passi incerti
ho imparato dove
poggiare il piede.
Per proteggermi da quello
che non volevo affrontare
ho costruito la mia prigione.
Il mio errore ho scoperto
quando ho saputo aprire il cuore,
è da quel giorno che
questa chiave porto al collo.
Io che tanto ho imparato
non ho nulla da insegnare.
Cerca tu la tua strada,
dopo un inverno gelido
c’è sempre un mandorlo in fiore.
01.02.2002 Poetyca
In the silence
From this dune
I seek the light of the stars.
I know them one by one
have always looked for
the immensity of the sky.
When I was sad
stroked the largest
and I grabbed it.
The people that I stare
I offer a bit ‘of anything,
serve it in a cup of gold.
With a smile I rate
if you take it as always
or stop accepting.
I made a long journey,
dealt with a thousand fears
to look beyond
the heady perfume,
to grab more than
the boundaries of the mind,
to look beyond
the laws of nowhere.
At each new step
I found a contradiction
and if I was left with nothing
I could suffice,
I learned from the strain
every thing its value.
From my uncertain steps
I learned where
rest the foot.
To protect myself from that
I did not want to face
I built my prison.
I discovered my mistake
when I heard opening the heart,
And from that day that
this key on my neck.
I’ve learned that both
I have nothing to teach.
You look your way,
after a cold winter
there is always an almond tree in bloom.
01.02.2002 Poetyca
Tom Petty greatest hits
[youtube https://www.youtube.com/watch?v=TsH4CrwExCQ&list=PLupOSjd2mAJDGEqaZeac4zWVQtJyFQRQY]
Thomas Earl Petty è nato a Gainesville, in Florida, e non aveva nessuna aspirazione musicale finché Elvis Presley non visitò la sua città natale. Dopo aver fatto parte di alcune band come The Sundowners, The Epics, e Mudcrutch (di cui facevano parte i futuri membri degli Heartbreakers Mike Campbell e Benmont Tench) inizia la sua carriera discografica come Tom Petty & the Heartbreakers, quando la band irrompe nella scena musicale nel 1976 con l’album omonimo di debutto. La canzoneBreakdown, pubblicata come singolo, entra nella Top 40 nel 1977.
Il secondo album You’re Gonna Get It! uscito nel 1978 conferma le buone musicalità dell’album di debutto, ma i singoli tratti da questo album (Listen To Her Heart e I Need To Know non ripetono il successo di Breakdown. Petty stesso racconta che in quel periodo erano considerati troppo hard per gli amanti del mainstream e troppo soft per i punk.
Nel periodo successivo la sua casa discografica fallisce, scatenando l’apertura di una causa giudiziaria con la nuova per la proprietà dei diritti d’autore delle sue canzoni. Petty finanzierà le spese della causa con un nuovo tour chiamato appunto Lawsuite Tour. In questo stato precario nasce il suo album di maggior successo, Damn the Torpedoes, che raggiunge negli USA il triplo platino. L’album successivo, Hard Promises, ottiene un buon giudizio di critica, ma un minor successo di pubblico, risultando tuttavia un buon lavoro.
Sul suo quinto album Long After Dark (1982), il bassista Ron Blair è sostituito da Howie Epstein, che completa la line-up degli Heartbreakers. Petty in quel periodo ha problemi di stress dovuto al successo e si prende un periodo di pausa dalle scene.
Con il suo album del ritorno Southern Accents (1985) Tom Petty & The Heartbreakers ricominciano lì da dove avevano interrotto. Secondo il progetto iniziale il disco doveva essere doppio, avendo una parte più acustica dedicata alla riscoperta del sud degli Stati Uniti e una parte più sperimentale alla quale collabora Dave Stewart. Durante le registrazioni si verificano problemi e Petty a, causa della frustrazione, si frattura la mano sinistra, tirando un pugno contro il muro. Per questo incidente l’artista non potrà suonare la chitarra per circa otto mesi e questo farà tramontare del tutto l’idea dell’album doppio. Il singolo tratto dall’album èDon’t Come Around Here No More prodotto da Dave Stewart, il video della canzone vede Tom vestito come il Cappellaio Matto dal libro Alice nel Paese delle Meraviglie.
Il tour è un successo, e verrà documentato sull’album Pack Up The Plantation: Live! (1986). Le capacità live della band vengono ulteriormente confermate quando Bob Dylan invita Tom Petty & the Heartbreakers a unirsi a lui durante il True Confessions Tour attraverso USA, Australia, Giappone nel (1986) ed Europa nel (1987).
Durante il 1987, il gruppo incide anche l’album Let Me Up (I’ve Had Enough), un album in studio che presenta sonorità assimilabili a quelle di un album dal vivo, registrato utilizzando tecniche prese in prestito da Bob Dylan. L’album include Jammin’ Me, che Petty scrive con Dylan.
Prima di Full Moon Fever, Lynne e Petty lavorano insieme nella all-stars band Traveling Wilburys, nella quale sono presenti anche Bob Dylan, George Harrison e Roy Orbison.[1] I Traveling Wilburys nascono per gioco per registrare il lato B di un singolo di George Harrison, ma Handle with Care, la canzone che ne viene fuori, è considerata troppo valida per essere relegata sul lato B di un singolo e infatti ha un tale successo che i membri decidono di registrare un intero album. Traveling Wilburys Vol. 1 esce nel 1988 ma pochi mesi dopo la morte improvvisa di Roy Orbison fa calare un’ombra sul successo dell’album, visto anche che Del Shannon, con il quale il gruppo avrebbe intenzione di sostituirlo, si suicida. Nonostante ciò un secondo album, curiosamente chiamato Traveling Wilburys Vol. 3 segue nel 1990.
Nel 1989, Petty registra Full Moon Fever, solo nominalmente un progetto solista, infatti altri membri degli Heartbreakers e altri musicisti famosi partecipano alla produzione. Mike Campbell co-produce l’album con Petty e Jeff Lynne. Il disco raggiunge la Top Ten della rivista Billboard e vi rimane per più di 34 settimane, raggiungendo il triplo disco di platino, insieme ai singoli I Won’t Back Down, Free Fallin’ e Runnin’ Down A Dream.
Petty si riunisce con gli Heartbreakers per l’album successivo, Into the Great Wide Open nel 1991. È prodotto di nuovo da Jeff Lynne e include i singoli Learning to Fly e la title-track Into the Great Wide Open, che vede gli attori Johnny Depp, Gabrielle Anwar e Faye Dunaway nel video.
Nel 1994, Petty registra il suo secondo album solista, Wildflowers prodotto da Rick Rubin, che include i singoli You Don’t Know How It Feels, You Wreck Me, It’s Good to Be King, A Higher Place e Honey Bee. Petty considera questo uno dei suoi album più riusciti, parere condiviso anche dalla critica.
Due anni dopo 1996 realizza la colonna sonora del film Il senso dell’amore del regista Edward Burns. Nominato direttore artistico del progetto, non riusce però a trovare nessun altro musicista disposto a fornirgli brani validi e decide quindi di usare insieme alle canzoni nuove composte per l’occasione, anche brani non usati nel disco precedente.
Dovranno passare ancora tre anni, periodo travagliato del divorzio dalla prima moglie, prima che esca il successivo album in studio Echo, con cui Petty ottiene un buon successo soprattutto negli USA. Nonostante in questo periodo conosca Dana, quella che diventerà la sua seconda moglie, l’album ha testi molto tristi e sofferti.
Dopo che nel 2000 esce un’altra antologia in doppio CD, nel 2002 esce The Last DJ, in cui parte dei testi esprimono una critica all’industria discografica, che a suo parere schiaccia la vera arte per cercare solo l’utile economico. La critica musicale non è tenera e giudica l’album il peggiore in assoluto della sua carriera, giudizio senz’altro severo visto che il disco benché sia distante dai picchi della sua produzione, resta un disco ascoltabile con qualche pezzo discreto. L’artista stesso si stupirà di come tutte le critiche siano rivolte ai testi senza nessun accenno alla qualità delle canzoni.
Il 24 luglio 2006 è uscito Highway Companion, nuovo album solista dell’artista, realizzato nuovamente con Jeff Lynne e il fido Mike Campbell.[2] L’album prodotto come l’album solista Wildflower del 1994 da Rick Rubin, è il primo inciso per la American Recordings, etichetta del produttore stesso, che fa parte della Warner con la quale Tom Petty incide da più di dieci anni. Si tratta di un album certamente migliore da un punto di vista musicale rispetto al precedente anche se certi capolavori sembrano oramai irripetibili.
Nella primavera del 2008 Tom Petty riunisce la sua prima band, i Mudcrutch, con cui non aveva mai inciso alcun disco e pubblica l’album Mudcrutch, che stilisticamente non si discosta troppo dalle sue recenti produzioni.
Nel giugno 2010 Petty pubblica, nuovamente con gli Heartbrakers, l’album Mojo, seguito nel luglio 2014 da Hypnotic Eye.
http://it.wikipedia.org/wiki/Tom_Petty
Thomas Earl “Tom” Petty (born October 20, 1950) is an American musician, singer, songwriter, multi-instrumentalist, and record producer. He is best known as the lead vocalist of Tom Petty and the Heartbreakers, but is also known as a member and co-founder of the late 1980s supergroup the Traveling Wilburys (under the pseudonymsof Charlie T. Wilbury, Jr. and Muddy Wilbury) and Mudcrutch.
He has recorded a number of hit singles with the Heartbreakers and as a solo artist, many of which remain heavily played on adult contemporary and classic rock radio. His music has been classified as rock and roll, heartland rock and even stoner rock. His music, and notably his hits, have become popular among younger generations as he continues to host sold-out shows.[1] Throughout his career, Petty has sold more than 80 million records worldwide, making him one of the best-selling music artists of all time.[2] In 2002, he was inducted into the Rock and Roll Hall of Fame.
Preghiera – Prayer
Preghiera
« Il pregare è nella religione ciò che il pensiero è nella filosofia. Il senso religioso prega come l’organo del pensiero pensa »
Novalis
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).
Bibliografia
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
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
Bible
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
Judaism
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.
Christianity
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
Pentecostalism
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
Islam
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.
Bahá’í
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
Buddhism
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
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.
Jainism
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.
Shinto
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.
Sikhism
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
Taoism
Prayer in Taoism is less common than Fulu, which is the drawing and writing of supernatural talismans
Animism
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.
America
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
Australia
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
Neopaganism
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
http://it.wikipedia.org/wiki/Preghiera
http://en.wikipedia.org/wiki/Prayer
Phil Collins – En Concert Complet a (Paris 2004)
Philip David Charles Collins (Londra, 30 gennaio 1951) è un cantautore, polistrumentista e musicista britannico, noto sia come solista sia come componente dello storico gruppo dei Genesis.
Collins è uno dei tre artisti (insieme a Paul McCartney e Michael Jackson), ad aver venduto oltre 150 milioni di album in tutto il mondo sia come solisti che come membri principali di una band[1].
https://it.wikipedia.org/wiki/Phil_Collins
Philip David Charles “Phil” Collins, LVO (born 30 January 1951),[6] is an English singer, songwriter, multi-instrumentalist, music producer and actor. He gained fame as both the drummer and lead singer for the rock group Genesis, and he also gained worldwide fame as a solo artist.
Collins is one of the most successful songwriters and performers of all time, singing the lead vocals on dozens of hit albums and singles in the UK and the US between 1976 and 2010, either as a solo artist or with Genesis. His solo singles, sometimes dealing with lost love and often featuring his distinctive gated reverb drum sound, ranged from the atmospheric “In the Air Tonight“, dance-rock of “Sussudio“, piano-driven power ballad “Against All Odds“, to the political and religious connotations of “Another Day in Paradise“. Collins has been described by AllMusic as “one of the most successful pop and adult contemporary singers of the ’80s and beyond”.[1]
Collins joined Genesis in 1970 as the group’s drummer and became their lead vocalist in 1975 following the departure of the original lead singer Peter Gabriel. His solo career, which was launched in 1981 and was heavily influenced by his personal life and soul music, brought both himself and Genesis greater commercial success. Collins’s total worldwide sales as a solo artist are 150 million.[7] Collins has won numerous music awards throughout his career, including seven Grammy Awards, six Brit Awards—winning Best British Male three times, three American Music Awards, an Academy Award, two Golden Globe Awards and a Disney Legend Award in 2002 for his solo work.[8][9][10] He received a star on the Hollywood Walk of Fame in 1999, was inducted into the Songwriters Hall of Fame in 2003, and into the Rock and Roll Hall of Fame as a member of Genesis in 2010.[11][12] Collins was listed at number 22 in Rolling Stone magazine’s list of the “100 Greatest Drummers of All Time”.[13]
Collins is one of only three recording artists (along with Paul McCartney and Michael Jackson) who have sold over 100 million albums worldwide both as solo artists and (separately) as principal members of a band.[14] During his most successful period as a solo artist between 1981 and 1990, Collins had three UK number-one singles and seven number-one singles on the Billboard Hot 100 in the United States, as well as a U.S. number one with Genesis in 1986. When his work with Genesis, his work with other artists, as well as his solo career is totalled, Collins had more top 40 hits on the Billboard Hot 100 chart during the 1980s than any other artist.[15] In 2008, Collins was ranked the 22nd most successful artist on the “Billboard Hot 100 All-Time Top Artists”.[16] Although one of the world’s best-selling recording artists and a highly respected drummer, Collins has garnered significant criticism over the years from music journalists and fellow artists. He announced his retirement in 2011 to focus on his family life,[17][18] though he continued to write songs and in 2013 he said he was considering a return to the music industry.[19]
Ellissi – Ellipses
Ellissi
Si diradano
le mie nebbie
mentre
ritrovo sorriso
Mi sfiorano
i tuoi occhi
-antichi-
vengono da lontano
-stesso mio luogo-
cerchi i miei
p e n s i e r i
che ti accarezzano
scavalcando argini
ora che nel tempo
restano bambini
Ellissi perenni
scivolando
nei luoghi
di memorie distanti
e nel flusso del nulla
tutto si riempie
20.08.2002 Poetyca
Ellipsis
Thin out
my fogs
while
Meeting smile
Touch me
your eyes
-Old
from afar
My same-place-
my rims
t h o u g h t s
you caress
bypassing banks
now and in time
children remain
Ellipses perennial
slipping
places
distant memory
and in the flow of anything
everything is filled
20.08.2002 Poetyca
Mandala
Mandala
Sono globo
che scava la roccia
stilla
a stilla
per trovare percorso
Sono rugiada
che scivola
goccia
a goccia
a dissetare la rosa
Sono lacrima
che cade
silenziosa
disperdendosi
in un nuovo sorriso
23.08.2002 Poetyca
• Mandala è una forma che rappresenti un diagramma geometrico rituale,spesso con forma di cerchio molto frequente nella religione Indiana,serve per rappresentare un attributo divino e per concentrare la coscienza.Presente in costruzioni architettoniche e nei miti.Per C.G. Jung si trovano mandala anche in molti sogni e visioni.
Mandala
I’m globe
that digs the rock
drop
by drop
to find path
I am dew
that slips
drop
drop
to quench rose
I am tear
that falls
silent
dispersing
a new smile
23.08.2002 Poetyca
• Mandala is a form that represents a geometric diagram ritual, often in the shape of a circle very common in Indian religion, is used to represent a divine attribute and to concentrate coscienza.Presente in architectural constructions and CG miti.Per Jung found mandalas in many dreams and visions.
Cadere – To fall – Nelson Mandela
🌸Cadere🌸
La maggior gloria nella vita
non è non cadere mai,
ma rialzarsi ogni volta che si cade.
Nelson Mandela
🌸🌿🌸#pensierieparole
🌸To fall
The greatest glory in living lies
not in never falling,
but in rising every time we fall
Nelson Mandela
Animo sensibile – Sensitive soul
Animo sensibile
Parole
che dipingono la vita
e tra le foglie
sfiorano il cuore
Nella stretta
che è solidarietà
abbracciate
condividono la sorte
Piccole foglie
tremule al vento
cosa conoscete
della vita?
Soffio
e calore
gelo e tormento
ma siamo gioiose
ed emettiamo
un canto:
La vita è Amore!
26.06.2002 Poetyca
Sensitive soul
Words
depicting life
and the leaves
touch the heart
In close
solidarity that is
embrace
share the fate
Small leaves
flickering in the wind
what you know
of life?
Breath
and heat
frost and torment
but we are joyful
and emit
a song:
Life is Love!
26.06.2002 Poetyca
tavolozza di vita 
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