Risultati della ricerca per: 2003

R.E.M. – Best of R.E.M. – In Time (1988 – 2003) – Full album.


I R.E.M. sono stati un gruppo rock statunitense attivo dal 1980 al 2011.[2]

Formatosi ad Athens (Georgia) il 5 aprile 1980 (data riconosciuta dalla stessa band come atto di fondazione vera e propria del gruppo, che provava assieme sotto diversi nomi già dal 1979), la sigla R.E.M. sta per rapid eye movement, la fase del sonno in cui si sogna; i componenti del gruppo scelsero tale nome anche perché “suonava bene”. La pronuncia inglese è lettera per lettera (/ɑː iː ɛm/), ma in italiano viene generalmente pronunciata come acronimo (“rèm”).

Nell’arco degli ultimi 25 anni, i R.E.M. sono stati riconosciuti come uno dei gruppi più importanti per la definizione dell’estetica della musica underground e indie degli Stati Uniti.[3] La loro influenza, infatti, si estende ancora oggi su moltissime formazioni, etichette e scene musicali.[4]

Il gruppo ha virtualmente definito l’espressione “rock alternativo” degli anni ottanta (college rock)[5], dimostrando alle stazioni radio, un po’ alla volta, che trasmettere brani con prevalente uso delle chitarre non era una cosa negativa.[6]

Nella loro trentennale carriera hanno venduto all’incirca 85 milioni di dischi.[7]

http://it.wikipedia.org/wiki/R.E.M._%28gruppo_musicale%29

R.E.M. was an American rock band from Athens, Georgia, formed in 1980 by singer Michael Stipe, guitarist Peter Buck, bassist Mike Mills, and drummer Bill Berry. One of the first popular alternative rock bands, R.E.M. released its first single, “Radio Free Europe“, in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band’s first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single “The One I Love“. The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.

By the early 1990s, when alternative rock began to experience broad mainstream success, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre and released its two most commercially successful albums, catapulting it to international fame, Out of Time (1991) and Automatic for the People(1992), which veered from the band’s established sound. R.E.M.’s 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three band members. In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. Its 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than expected. The following year, Bill Berry left the band, while Buck, Mills, and Stipe continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million records worldwide and becoming one of the world’s best-selling music artists of all time.[4] In 2007, the band was inducted into the Rock and Roll Hall of Fame. R.E.M. disbanded amicably in September 2011, announcing the split on its website.

http://en.wikipedia.org/w/index.php?title=R.E.M.&oldid=655457124

Annunci

La vita si nasconde


La vita si nasconde

…La vita incredibile scoperta
che ci conduce a viaggiare sui binari del cuore
e molto spesso alle domande della ragione
solo in seguito si trova risposta
con il sentire dell’anima …

Molte strade con porte chiuse alle spalle
e mille altre che si aprono, ancora…
Sta a noi cercare nell’attimo da cogliere
ogni suo tesoro – eppure tutto è presente
anche se spesso
… si nasconde

17.12.2003 Poetyca

 

Life is hidden
The amazing life … explore
which leads us to travel on the tracks of the heart
and very often the questions of reason
only after it finds an answer
with the feeling of the soul …Many roads behind closed doors
and a thousand others that are open, even …
It’s up to us to try to grasp in the moment
all his treasure – and yet everything is
although often
… it hides

17.12.2003 Poetyca

 
 
 

Cream Live in Royal Albert Hall


I Cream sono stati una band rock britannica attiva tra il 1966 e il 1968, che, rivisitando vecchi schemi del blues, riuscì ad innovare il rock in generale,[3] influenzando molti artisti, tra i quali Jimi Hendrix,[3] Queen[4], Black Sabbath[5] e Van Halen.[6] Formati dal chitarrista Eric Clapton, dal bassista Jack Bruce e dal batterista Ginger Baker, furono il primo power trio ad aver avuto notevole successo[1][7][8] e uno dei primi supergruppi della storia.[1][3][7][8]

Nei soli tre anni di attività il gruppo riuscì a pubblicare tre album[9] e a vendere 15 milioni di dischi.[3][8] Dopo lo scioglimento del gruppo, i tre componenti ebbero delle carriere molto diverse tra loro: Clapton divenne uno dei musicisti più conosciuti del mondo, grazie a canzoni come Layla e Cocaine, Bruce collaborò con artisti jazz, mentre Baker si dedicò alla world music.[3] Tuttavia, la band si riunì in due occasioni: nel 1993, per suonare alla cerimonia della loro introduzione nel Rock and Roll Hall of Fame, e nel 2005, esibendosi in quattro concerti al Royal Albert Hall di Londra e in due al Madison Square Garden di New York.[8]

In una classifica stilata nel 2003 dalla rivista Rolling Stone, sono tra i 100 migliori artisti di sempre, figurando al 67º posto.[10] L’emittente VH1 ha classificato il gruppo al sedicesimo posto tra i 100 migliori artisti hard rock di sempre.

https://it.wikipedia.org/wiki/Cream

Cream were a 1960s British rock supergroup power trio consisting of bassist/singer Jack Bruce, drummer Ginger Baker, and guitarist/singer Eric Clapton. Their unique sound was characterised by a hybrid of blues rock, hard rock and psychedelic rock,[1] combining psychedelia themes, Clapton’s blues guitar playing, Bruce’s powerful, versatile vocals and prominent bass playing, Baker’s pulsating, jazz-influenced drumming and Pete Brown’s poetry-inspired lyrics. The group’s third album, Wheels of Fire, was the world’s first platinum-selling double album.[2][3] The band is widely regarded as being the world’s first successful supergroup.[4][5][6][7] In their career, they sold over 15 million albums worldwide.[8] Their music included songs based on traditional blues such as “Crossroads” and “Spoonful”, and modern blues such as “Born Under a Bad Sign”, as well as more eccentric songs such as “Strange Brew”, “Tales of Brave Ulysses” and “Toad”.

The band’s biggest hits are “I Feel Free” (UK, number 11),[3] “Sunshine of Your Love” (US, number 5),[9] “White Room” (US, number 6),[9] “Crossroads” (US, number 28),[9] and “Badge” (UK, number 18).[10] The band made a significant impact on the popular music of the time, and, along with Jimi Hendrix, and Terry Kath of Chicago, popularised the use of the wah-wah pedal. They provided a heavy yet technically proficient musical theme that foreshadowed and influenced the emergence of British bands such as Led Zeppelin, The Jeff Beck Group and Black Sabbath in the late 1960s and the early 1970s. The band’s live performances influenced progressive rock acts such as Rush.[11] The band was inducted into the Rock and Roll Hall of Fame in 1993.[12] They were included in both Rolling Stone and VH1’s lists of the “100 Greatest Artists of All Time,” at number 67 and 61 respectively.[13][14] They were also ranked number 16 on VH1’s “100 Greatest Artists of Hard Rock”

https://en.wikipedia.org/wiki/Cream_(band)

Due cuori


illusione

Due cuori

Era un cuore solo
o forse due
ma non si sa tuttora
correva come il vento
nelle notti d’autunno
alla ricerca di vita
– lo chiamavano Lupo –
ma non era solitario
sapeva solo sentire
quella musica leggera
che accarezzava la vita
e la stringeva forte
senza aver mai paura
Solo una notte di luna
pensò che era meglio sparire
perché era presto
ma era anche tardi
ed allora ascoltava il brivido
di un tempo indeciso
e mentre sorrideva
era tutto un attimo d’emozione
che come una corsa d’infinito
dentro lui vivere
e non chiese a nessuno la strada
e dopo la seconda luna
trovò anche l’altro cuore
ed è ancora lì che lo abbraccia
senza più parole

02.09.2003 Poetyca

Two hearts

It was a single heart
or perhaps two
but still do not know
running like the wind
in the autumn nights
in search of life
– Called him Wolf –
but he was not lonely
could only hear
the pop music
caressing life
and hugged
without fear
Only a moonlit night
thought it best to disappear
because it was soon
but it was too late
and then listened to the thrill
of a time undecided
and while smiling
was all a moment of emotion
that as a race of infinite
him to live in.
and did not ask anyone the way
and after the second moon
also found the other heart
and is still there, hugged him
no more words

02.09.2003 Poetyca

 

Compagno di viaggio


Compagno di viaggio

Ali aperte
– pensieri nuovi –
a raccontar la vita
le sfumature
Colori che restano
ventate di gioia
o di tormento
Impigliate immagini
senza confine
che accarezzano l’anima
e ne restituiscono
ogni stupore

Silenzi e parole
che anche oggi
accompagnano il cammino

31.08.2003 Poetyca

Travel companion

wing opened
– New thoughts –
to recount the life
the nuances
Colors that remain
waves of joy
or torment
entangled images
no border
that caress the soul
and return
any wonder

Silence and Words
that even today
accompany the way

31.08.2003 Poetyca


Accendi la speranza


Accendi speranza 

Non ho più 
note da spargere 
nella piazza ridente 
dei sogni 

Non ho neppure 
la musica 
che intoni canti 
in memoria 

E se rendi scivolosa 
la strada 
perchè non afferri 
più i petali 

Se non accogli 
il battito del tuo cuore 
non son io capace 
di cambiarti la storia 

Ranicchiati pensieri 
non li srotoli 
senza la voglia 
di essere ancora 

Voli d’angelo 
non li raccogli 
nelle iridi stanche 
se non accendi speranza 

12.04.2003 Poetyca

Turn on hopeI no longer
known to be spread
laughing in the square
of dreamsI do not even
the music
who sings songs
in memory

And if you make it slippery
the road
why not grab
more petals

If not you welcome
the beating of your heart
I am not able
to change your story

crouched thoughts
do not unroll
without the will
still be

Flights of Angel
do not collect
tired in the irises
If you turn on hope

12.04.2003 Poetyca

 
 
 

Led Zeppelin III and IV Sessions *RARE OUTTAKES*


I Led Zeppelin sono stati un gruppo musicale britannico formato nel 1968, considerato tra i grandi innovatori del rock e tra i principali pionieri dell’hard rock.

La loro musica, le cui radici affondano in generi diversi tra cui blues, rockabilly e folk, ha costituito una formula completamente inedita per l’epoca, finendo con l’influenzare in qualche modo tutti i gruppi rock del loro tempo e del futuro.[5][6]

Il gruppo, scioltosi nel 1980, anno della morte del batterista, fu composto per l’intero periodo della sua attività da Robert Plant (voce, armonica), Jimmy Page (chitarre), John Paul Jones (basso, tastiere) e John Bonham (batteria, percussioni).

La discografia del gruppo comprende nove album in studio pubblicati dal 1969 al 1982.[7] A partire dagli anni novanta hanno visto la luce diverse raccolte di brani, editi e inediti, e alcune incisioni di spettacoli dal vivo risalenti al periodo di attività. Degna di segnalazione è anche la circolazione di un cospicuo numero di bootleg sul mercato “non ufficiale”.

In seguito alla morte di Bonham, Page e Plant hanno proseguito la propria attività musicale come solisti,[8] incidendo insieme gli album No Quarter: Jimmy Page and Robert Plant Unledded e Walking into Clarksdale e ritrovandosi occasionalmente per esibirsi dal vivo nel corso di eventi commemorativi o celebrativi. I Led Zeppelin sono tra i gruppi di maggior successo commerciale nella storia della musica moderna: dal 1968 ad oggi il gruppo ha venduto oltre 300 milioni di dischi.[9]

Il 12 gennaio 1995 i Led Zeppelin sono stati introdotti nella Rock and Roll Hall of Fame.

In una classifica stilata nel 2003 dalla rivista Rolling Stone, i Led Zeppelin risultano al 14º posto tra i 100 musicisti più importanti di tutti i tempi:[10] la stessa Rolling Stone ha avuto modo di definire a più riprese i Led Zeppelin come “Il gruppo più pesante di tutti i tempi, indiscutibilmente uno dei gruppi più duraturi della storia del rock” e “il gruppo più importante degli anni settanta.[11][6]

Nella stessa misura, la Rock and Roll Hall of Fame ha affermato che l’influenza che il gruppo ha esercitato negli anni settanta è «rilevante come quella che i Beatles hanno avuto nel decennio precedente»[12] e l’emittente VH1 ha definito i Led Zeppelin come «il più importante gruppo rock della storia».[13]

Nel 2007, a seguito dell’incredibile richiesta di biglietti per la loro esibizione all’The O2 Arena di Londra (oltre 20 milioni di prenotazioni in circa 24 ore), il gruppo è entrato nel Guinness dei primati per la “maggior richiesta di biglietti per una singola esibizione dal vivo”.

https://it.wikipedia.org/wiki/Led_Zeppelin

Led Zeppelin were an English rock band formed in London in 1968. The group consisted of guitarist Jimmy Page, singer Robert Plant, bassist and keyboardist John Paul Jones, and drummer John Bonham. The band’s heavy, guitar-driven sound, rooted in blues and psychedelia on their early albums, has earned them recognition as one of the progenitors of heavy metal, though their unique style drew from a wide variety of influences, including folk music.

After changing their name from the New Yardbirds, Led Zeppelin signed a deal with Atlantic Records that afforded them considerable artistic freedom. Although the group was initially unpopular with critics, they achieved significant commercial success with albums such as Led Zeppelin (1969), Led Zeppelin II (1969), Led Zeppelin III (1970), their untitled fourth album (1971), Houses of the Holy (1973), and Physical Graffiti (1975). Their fourth album, which features the track “Stairway to Heaven”, is among the most popular and influential works in rock music, and it helped to secure the group’s popularity.

Page wrote most of Led Zeppelin’s music, particularly early in their career, while Plant generally supplied the lyrics. Jones’ keyboard-based compositions later became central to the group’s catalogue, which featured increasing experimentation. The latter half of their career saw a series of record-breaking tours that earned the group a reputation for excess and debauchery. Although they remained commercially and critically successful, their output and touring schedule were limited during the late 1970s, and the group disbanded following Bonham’s death from alcohol-related asphyxia in 1980. In the decades that followed, the surviving members sporadically collaborated and participated in one-off Led Zeppelin reunions. The most successful of these was the 2007 Ahmet Ertegun Tribute Concert in London, with Jason Bonham taking his late father’s place behind the drums.

Led Zeppelin are widely considered one of the most successful, innovative, and influential rock groups in history. They are one of the best-selling music artists in the history of audio recording; various sources estimate the group’s record sales at 200 to 300 million units worldwide. With RIAA-certified sales of 111.5 million units, they are the second-best-selling band in the United States.[1] Each of their nine studio albums placed in the top 10 of the Billboard album chart and six reached the number-one spot.[2] Rolling Stone magazine described them as “the heaviest band of all time”,[3] “the biggest band of the ’70s”,[4] and “unquestionably one of the most enduring bands in rock history”.[5] They were inducted into the Rock and Roll Hall of Fame in 1995; the museum’s biography of the band states that they were “as influential” during the 1970s as the Beatles were during the 1960s.

https://en.wikipedia.org/wiki/Led_Zeppelin

Nove sutra sulla pace


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

E non trovi


E non trovi

Troppe le cose
non comprese
in quei perchè senza risposte
Sentimenti soffocati
che non hanno voce
Che sia questa
la tua preghiera silensiosa
verso un cielo
che appare muto
Muto come te
che ascolti grida
e non trovi più parole
per chi cieco
non guarda
il grondar sangue
di chi soffre

30.01.2003 Poetyca

Not found

Too many things
not included
because in those without answers
Feeling suffocated
who have no voice
Whether this
your prayer silense
to a sky
that is dumb
Dumb like you
you hear screams
and can not find more words
for blind people
does not look
the Dripped Blood
of those who suffer

30.01.2003 Poetyca

Percorso


Percorso

Si sciolgono paure
percorrono il tempo
nell’attimo infinito
che attraversa un sogno

Si sgretolano certezze
e dubbi ansimano
come draghi
che bruciano la pelle

Si raccoglie in gocce
la rugiada attesa
che scivolando
incontra speranze

S’assopiscono silenzi
mentre s’eleva
con forza in cuore
una preghiera

27.03.2003 Poetyca

Path
Melt fears
travel time
infinity in the moment
through a dream

Certainties crumble
and doubts pants
like dragons
burning skin

It collects in drops
waiting for the dew
slipping
meets expectations

S’assopiscono silences
and rises
strongly in the heart
a prayer

27.03.2003 Poetyca

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 balladAgainst 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]

https://en.wikipedia.org/wiki/Phil_Collins

Armonia


Armonia

Impercettibile canto
con colori di vita
nell’essenzialità
dei sogni
Memorie ritornano
a colorarne il senso
con lo sfiorare
di brezze antiche
Rinascita riporta
consapevole passo
che annulla distanze
dalle emozioni
…E l’armonia
rincorre

06.08.2003 Poetyca

Harmony

Invisible hand
with colors of life
the essentiality
dreams
Memories return
to color the way
with tap
breezes of ancient
Rebirth reports
conscious step
which cancels distances
emotions
… and harmony
chases

06.08.2003 Poetyca

Quando scrivi


Quando scrivi

Quando scrivi puoi sentire dentro sensazioni accese da quello che vedi intorno,
da emozioni che prorompono e ti ci adagi piano…
Tendi l’orecchio del cuore e assapori ogni istante.
Comunicare è desiderio di portare quanto hai scoperto,
quanto è inciso e temi di perdere come i cristalli
di ghiaccio che perdono le loro geometrie se compare il sole,
eppure il sole riscalda e si dona.
Ogni attimo è ricchezza che sfiori piano, per paura di perdere
ogni cosa…
Ti accorgi che se racconti o scrivi quello che giace semiaddormentato dentro di te
hai la capacità magica di dar vita agli stessi sorrisi o alle stesse paure
in chi assorbe e raccoglie le tue parole,ti accorgi che se leggi o ti raccontano
di paure o sogni tu stessa sei capace di raccoglierne ogni aspetto.
Un pensiero è una freccia scagliata che attraversa l’infinito e annulla
il tempo se lo scrivi e lo regali a chi lo raccoglie.
Ti accorgi di quanto sia illusione credere distante altre persone
che possono leggerti dentro se solo raccolgono quanto scrivi.
Allora nulla è distante se tutti possono attraversare la strada che porta
al tuo cuore…
Basta uno spazio bianco da riempire con tanti caratteri che composti insieme
possono dare senso a parole e immagini interiori,
basta proiettarsi verso lo spazio e restituire a se stessi e agli altri
la dimensione dei pensieri nati improvvisi come lampi da catturare.

Tutto questo è un percorso magico che apre la porta che da cuore a cuore
permette una comunicazione oltre le parole e quanto è possibile dire.
Scrivere non deve mai essere usato come arma,si deve infatti sempre servire
la coerenza e la verità, abbiamo infatti un’opportunità per donare il meglio possibile, nel rispetto di se stessi e degli altri, della Poesia e dell’Arte che non vanno strumentalizzate come mezzo di offesa ma vanno rispettate apportando un contributo sincero, senza competizioni,
senza disprezzare il lavoro degli altri,senza derubare quanto altri condividono.
Scrivere è confronto con se stessi,trasmettere sentimenti è una responsabilità che ci deve insegnare ad avere la mente sgombra, ad offrire sempre coerenza e la parte migliore di noi stessi, per portare sempre amorevolezza e compassione.

08.04.2003 Poetyca


When you write

When you write you feel inside burning sensations from what you see around,
burst of emotions that we sit and we plan …
I listen and savor every moment of the heart.
Communicating is the desire to bring what you have discovered,
what is recorded and themes of losing as the crystals
ice to lose their geometry if the sun appears,
yet the sun warm and giving.
Each moment has richness that touches floor, for fear of losing
everything …
You realize that if you write stories or what lies half asleep inside of you
you have the magical ability to create the same smiles and the same fears
who absorbs and collects in your words, you realize that if you read or tell you
fears and dreams of yourself you are able to collect every aspect.
A thought is an arrow shot through the infinite void
the time if you write it and give it to whoever picks it up.
Do you realize how far illusion to believe other people
that can read in only if you collect what you write.
So far nothing is whether anyone can cross the road
to your heart …
Just a blank space to be filled with so many characters that all compounds
can give meaning to words and images within,
just projected into space and return to themselves and others
the size of the thoughts born as sudden flashes to capture.

All this is a magical journey that opens the door from heart to heart
allows a communication beyond words, and how much you can say.
Writing should never be used as a weapon, it must always serve
consistency and truth, in fact we have an opportunity to give the best possible, respecting themselves and others, of poetry and art that can not be exploited as a means of offense, but must be respected by making a sincere contribution, without competition ,
no disrespect to the work of others, without robbing the others share.
Writing is compared with themselves, convey feelings is a responsibility that should teach us to have an open mind, to offer more consistency and the best part of ourselves, to bring more kindness and compassion.

08.04.2003 Poetyca

Gocce d’incanto


Gocce d’incanto

Un bimbo è il più bel dono
che la vita ci fà
ma ricordiamo
che non c’appartiene
ed anche lui insegnare
a noi potrà
Occhi stupiti
e profumo di sogno
mano che stringe
il nostro universo
Dondolio di culla
nel sussurrare d’un canto
è per noi oceano d’amore
Un bimbo è corsa su prati
con la gioia del tempo
che scorre impalpabile
Gocce d’incanto
che espande sorriso
al suon d’una voce

19.12.2003 Poetyca

Enchanted Drops

A child is the best gift
that life makes us
but remember
that does not c’appartiene
and he also taught
we can
astonished eyes
and fragrance of a dream
hand gripping
our universe
Rocking the cradle
the whisper of a song
ocean of love for us
A child ran on lawns
with the joy of
flowing impalpable
Enchanted Drops
that expands smile
the sound of a voice

19.12.2003 Poetyca


Solo se vivi


Solo se vivi

Solo se la vivi la vita :
nebbia fitta tra contrasti
tra realtà ( quale realtà? )
e i sogni, tu impari a conoscerla

Non serve avere il destino svelato
non serve fuggire l’incontro
con essa: non vivresti e il vivere
è l’esperienza che manca
per poter conoscere se stessi
ed offrire in dono la propria presenza
Vivi ed impara….ad Amare

30.12.2003 Poetyca

 

Only if you live

Only if you live your life:
contrasts between dense fog
between reality (what reality?)
and dreams, you may learn to know

You do not need to have the fate of unveiled
no need to flee the encounter
with it: would you live and not live
experience is lacking
to know yourself
and offer the gift of your presence
You live and learn to love ….

30.12.2003 Poetyca

 
 
 

Carezza di cielo


 

Carezze di cielo

Nell’unità di vite
i sogni saranno uguali
– specchio magico –
come acque placide
ed occhi nel lago
Riconosciuto sentire
che sorregga i passi
in un mondo nuovo

Svaniranno le ombre
tra vesti chiare
e scalzi su prati
saremo tutti
– la stessa musica-
in arpeggi armonici
sorrisi di stelle
e carezze di cielo

20.08.2003 Poetyca

Caresses of Heaven

In the unity of life
dreams will be the same
– Magic Mirror –
as placid waters
and eyes into the lake
recognized feel
underpinning the steps that
in a new world

Vanish the shadows
between light clothes
and barefoot on lawns
we will all
– The same music-
arpeggios in harmonics
smiles of stars
and caresses of Heaven

20.08.2003 Poetyca

Cuori di cristallo


Cuori di cristallo

Tracce di cristallo
segnano labirintici percorsi
per ricondurre al sogno
perduto nell’oblio

Stelle che evocano
appannate ricerche
di tempi andati
srotolando mappe

Notte riconduce
evocati misteri
in eteree voci
che solcano Universo

30.12.2003 Poetyca

Hearts of Crystal

Traces of crystal
mark labyrinthine paths
to bring the dream
lost in oblivion

Stars that evoke
misty search
of times gone by
unrolling maps

night brings
evoked mysteries
in ethereal voices
sailing in Universe

30.12.2003 Poetyca


Senza catene


Senza Catene

Segnali di fumo
pentagramma in cielo
per un saluto
dalla tastiera d’oro
di un pianoforte sospeso
come anima leggera
senza catene

Snodati percorsi
che sono musica
senza frontiere

nel ritrovarsi
al ritmo avvolgente
di un cuore solo

18.11.2003 Poetyca

Without Chains

Smoke Signals
pentagram in the sky
for a Greeting
of gold from the keyboard
a piano suspended
light as a soul
without chains

articulated pathways
that are music
without frontiers

find in
wrap to the rhythm
a heart

18.11.2003 Poetyca

Best Of Bob Marley


[youtube https://www.youtube.com/watch?v=K69A1lL1PHQ]

Robert Nesta Marley, detto Bob (Nine Mile, 6 febbraio 1945Miami, 11 maggio 1981), è stato un cantautore, chitarrista e attivista giamaicano.

generalmente identificato con il genere musicale reggae, che peraltro lo rese popolare fuori dalla Giamaica anzi, è più esatto affermare che grazie a Bob Marley questo genere (il reggae) fu apprezzato in tutto il mondo. In riconoscimento dei suoi meriti, un mese dopo la morte fu insignito del prestigioso Jamaican Order of Merit. In molte delle sue canzoni Marley denuncia l’emarginazione dei poveri da parte del potere.

La sua attività ha inizio nel 1961 con il suo primo singolo Judge Not prodotta per l’etichetta Beverley’s del produttore Leslie Kong, ma questa canzone, anche se molto innovativa, non ebbe grande successo e quindi nel 1964 Bob decise di formare la band The Wailers (Piagnoni); dopo il loro scioglimento, nel 1974, riforma la band reclutando nuovi elementi, ma continua a suonare e a pubblicare dischi con il nome Bob Marley and The Wailers. Nel 2008 è stato posizionato al 19º posto nella lista dei 100 migliori cantanti secondo Rolling Stone e tra le sue migliori “tracce vocali” ci sono I Shot the Sheriff, No Woman, No Cry, e Redemption Song

http://it.wikipedia.org/wiki/Bob_Marley

Robert Nesta “Bob” Marley, OM (6 February 1945 – 11 May 1981) was a Jamaican reggae singer, songwriter, musician, and guitarist who achieved international fame and acclaim.[1][2] Starting out in 1963 with the group the Wailers, he forged a distinctive songwriting and vocal style that would later resonate with audiences worldwide. The Wailers would go on to release some of the earliest reggae records with producer Lee Scratch Perry.[3] After the Wailers disbanded in 1974,[4] Marley pursued a solo career that culminated in the release of the album Exodus in 1977, which established his worldwide reputation and produced his status as one of the world’s best-selling artists of all time, with sales of more than 75 million records.[5][6] He was a committed Rastafari who infused his music with a sense of spirituality

http://en.wikipedia.org/wiki/Bob_Marley

Tu sei quel che sei


Tu sei quel che sei

Credere di valere
per un segno d’assenso
un percorso
che possa dare forza
è come restare appeso
ad un aquilone
in balia del vento

Tu sei
quel che sei…
Che sia
accolto
o scartato
dal mondo
che non sa capire

A volte gli altri
reggono in mano
per noi
uno specchio
dove trovare anche
il nostro sguardo
ed il nostro cuore

Spesso siamo noi
a reggere lo specchio,
dove, nel dare un senso
al nostro Essere
permettiamo ad altri
di scoprirsi
e di leggerci dentro

07.11.2011 Poetyca

You are what you are

Believe to be worth
for a sign of assent
a route
that can give strength
is like being hanged
to a kite
at the mercy of the wind

You are
what you are …
Which it is
received
or discarded
from the world
that can not understand

Sometimes other
hold in hand
for us
a mirror
where find even
our gaze
and our heart

Often we are
to hold the mirror,
where, in giving a sense
to our Being
we allow to others
to uncover
and to read within us

07.11.2011 Poetyca

Crosby, Stills & Nash – Crosby, Stills & Nash (Full Album)


[youtube https://www.youtube.com/watch?v=GT_H-Cz3v8Y]

Crosby, Stills & Nash è l’album di debutto dell’omonimo gruppo folk rock Crosby, Stills & Nash, pubblicato nel 1969 dalla Atlantic Records.

Il disco contiene due singoli di successo, Marrakesh Express e Suite: Judy Blue Eyes, che raggiunsero rispettivamente la posizione numero 28 e la 21 nella classifica statunitense Billboard Hot 100. L’album stesso si classificò al numero 6 della Billboard Top Pop Albums.

Nel 2003, l’album si è classificato alla posizione numero 259 nella lista dei 500 migliori album di tutti i tempi redatta dalla rivista Rolling Stone.

L’album fu un debutto importante per la band, catapultandoli istantaneamente nei posti alti delle classifiche e rendendoli delle star. Il disco, insieme a Sweetheart of the Rodeo dei Byrds e Music from Big Pink della The Band dell’anno precedente, contribuì al cambiamento radicale nella musica popolare anglosassone che si distaccò dalla formula più volte sperimentata negli anni sessanta dei tanti gruppi che suonavano musica rock influenzata dal blues con una massiccia dose di chitarre elettriche.Crosby, Stills & Nash presentò un nuovo modo di intendere le proprie radici rock, utilizzando folk, blues, e persino il jazz senza assomigliare specificatamente a qualche artista del passato, e senza indugiare nella mera duplicazione di formule standard. I tre musicisti, non solo armonizzavano all’unisono le proprie voci, ma miscelarono anche le loro personalità ed influenze stilistiche differenti, Crosby incentrato sul commento sociale e i pezzi d’atmosfera, Stills per l’utilizzo di elementi folk e country in complesse strutture rock, e Nash per l’accattivante gusto melodico pop; per creare un amalgama di sicuro successo. In aggiunta ai singoli sopramenzionati, Crosby, Stills & Nash include alcune delle canzoni più conosciute del gruppo, come Wooden Ships e Helplessly Hoping. Suite: Judy Blue Eyes venne composta per Judy Collins, e Long Time Gone era una risposta al recente assassinio di Robert F. Kennedy.

http://it.wikipedia.org/wiki/Crosby,_Stills_%26_Nash_%28album%29

Crosby, Stills & Nash is the first album by Crosby, Stills & Nash, released in 1969 on the Atlantic Records label. It spawned two Top 40 hit singles, “Marrakesh Express” and “Suite: Judy Blue Eyes,” which peaked respectively at #28 the week of August 23, 1969, and at #21 the week of October 25, 1969, on the Billboard Hot 100 singles chart. The album itself peaked at #6 on the Billboard Top Pop Albums chart.

The album was a very strong debut for the band, instantly lifting them to stardom. Along with the Byrds’ Sweetheart of the Rodeo and The Band’s Music From Big Pink of the previous year, it helped initiate a sea change in popular music away from the ruling late sixties aesthetic of bands playing blues-based rock music on loud guitars.Crosby, Stills & Nash presented a new wrinkle in building upon rock’s roots, utilizing folk, blues, and even jazz without specifically sounding like mere duplication. Not only blending voices, the three meshed their differing strengths, Crosby for social commentary and atmospheric mood pieces, Stills for his diverse musical skills and for folding folk and country elements subtly into complex rock structures, and Nash for his radio-friendly pop melodies, to create an amalgam of broad appeal. Eventually going multi-platinum, in addition to the above mentioned singles, Crosby, Stills & Nash features some of their best known songs in “Wooden Ships” and “Helplessly Hoping“. “Suite: Judy Blue Eyes” was composed for Judy Collins, and “Long Time Gone” was a response to the assassination of Robert F. Kennedy.

Stills dominated the recording of the album. Apart from drums, handled by Dallas Taylor, he played nearly all of the instruments on the album. Nash did acoustic guitar on two tracks and Crosby rhythm guitar on a few. Stills played all the bass, organ, and lead guitar parts, as well as acoustic guitar on his own songs.[2] “The other guys won’t be offended when I say that one was my baby, and I kind of had the tracks in my head,” Stills said.[3]

David Crosby bristled over the plan for “Long Time Gone” as he thought he should at least play rhythm guitar on his own song. Stills convinced him to go home for a while and when he returned Crosby was won over by the music track that Stills and Taylor had recorded.[4]

The group performed songs from the album at the Woodstock Festival in August 1969. In late 1969 the group appeared on the Tom Jones TV show and performed “Long Time Gone” with Tom Jones sharing vocals.

This album proved very influential on many levels to the dominant popular music scene in America for much of the 1970s. The success of the album generated gravitas for the group within the industry, and galvanized interest in signing like acts, many of whom came under management and representation by the CSN team of Elliot Roberts and David Geffen. Strong sales, combined with the group’s emphasis on personal confession in its writing, paved the way for the success of the singer-songwriter movement of the early seventies. Their utilization of personal events in their material without resorting to subterfuge, their talents in vocal harmony, their cultivation of painstaking studio craft, as well as the Laurel Canyon ethos that surrounded the group and their associates, established an aesthetic for a number of acts that came to define the “California” sound of the ensuing decade, including The Eagles, Jackson Browne, post-1974 Fleetwood Mac, and others.

The album has been issued on compact disc three times: mastered by Barry Diament at Atlantic Studios in the mid-1980s;[5] remastered by Joe Gastwirt at Ocean View Digital and reissued on August 16, 1994; reissued again by Rhino Records as an expanded edition using the HDCD process on January 24, 2006. On December 6, 2011, a gold compact disc edition of the album was released on the Audio Fidelity label.

http://en.wikipedia.org/wiki/Crosby,_Stills_%26_Nash_(album)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

http://en.wikipedia.org/wiki/Bruce_Cockburn

Parole d’amore


Parole d’amore

Amico che cerchi
a te intorno
raggi di sole
acque cristallo
in aurei riflessi
ascolta della vita
ogni dolcissima nenia

Nel silenzio denso
di ogni magico istante
saranno leggere
saranno importanti
tutte le parole
che come eco
ti vibrano dentro

Ascolta amico
tutte le intonazioni
in crome ed ottave
ascolta il fruscio lieve
di ogni sonorità prigioniera
dentro l’alito d’amore
e sii iride disciolta

Amico sia gioia per te
ogni ascoltato suono
che ti cattura
ed innalza alla ricerca
della purezza nell’anima
che mai tradisce e ti sfiora

16.09.2003 Poetyca


Words of love

Friend are looking for
around you
sunbeams
crystal waters
in gold reflections
listen in the Life
every sweet lullaby

In the dense silence
of every magical moment
shall be light
shall be important
all the words
that as an echo
will vibrate inside

Listen friend
all the tones
in eighth notes and eighth
listen the slight rustle
of each prisoner sound
inside the breath of love
and be dissolved iris

Friend both joy for you
listened to each sound
that will capture you
and raises the research
of purity in the soul
that never betrays and touch you

16.09.2003 Poetyca

Nulla si perde


Nulla si perde

Nulla si perde
nel valore di sentimenti
e di parole
nelle vibrazioni
che nell’universo
senza emetter suono
tutto accompagna
come carezza lieve
e d’iride colora
stemperando l’anima

19.08.2003 Poetyca

Nothing is lost

Nothing is lost
in the value of feelings
and words
in the vibrations
that the universe
no sound will emit
everything goes
as a mild stroke
and rainbow color
dissolving the soul

19.08.2003 Poetyca

Il costante mezzo


Il costante mezzo

Chi è idealista vede tutto luminosamente utopico,
chi è realista o pessimista
si impiega a vedere ombre,
come se la luce non avesse spazio.
Ma tutto ha significato
ed è equilibrato nella danza
di luci ed ombre.
Il costante mezzo
è il saper vedere
in modo equilibrato
la presenza degli opposti
e accettare.

08.01.2018 Poetyca

The constant middle

Who is idealist sees everything brightly utopian,
who is a realist or a pessimist
it takes to see shadows,
as if the light had no space.
But everything has meaning
and is balanced in the dance
of lights and shadows.
The constant middle
it is knowing how to see
in a balanced way
the presence of opposites
and accept.

08.01.2018 Poetyca

Te stesso


Te stesso

Da bambino
ti specchiavi
nelle pozzanghere
e volevi
essere grande
manifestando te stesso
Hai contato
tutte le stelle
e davi voce
ad occhi chiusi
ai tuoi desideri
nascosti
Allora
ti hanno detto
soltanto
di aspettare
di smettere
di sognare
Agitavi
il tuo pugno
nell’aria
e ti strappavi
con rabbia
il cuore
Tu tuffati
nella calma
al centro della tua anima
e si placheranno
le maree turbinanti
a te intorno

08.01.2018 Poetyca

Yourself

When you was a child
you looked at yourself
in the puddles
and you wanted
to be great
manifesting yourself
You counted
all stars
and gave voice
with eyes closed
to your wishes
hidden
Then
they told you
only
to wait
to dismiss
to dream
You troubledst
your fist
in the air
and you tore up
with anger
your heart
You dive
in the calm
in the center of your soul
and then swirling tides
to you around
will calm down

08.01.2018 Poetyca

Ombra e luce – Lev Tolstoy


Ombra e luce

“Tutta la varietà, tutta la delizia, tutta la bellezza della vita è composta d’ombra e di luce”.

Lev Tolstoj, Anna Karenina

Shadow and light

“All the variety, all the delight, all the beauty of life is composed of shadow and light”.

Lev Tolstoy, Anna Karenina

Nuovo percorso


Nuovo percorso

Non cancelli ricordi
e bruciano come freccia
conficcata in cuore
ma apri la mano
e fai scivolare
il tuo muto dolore
Non trattenere nulla
e ascolta nel silenzio
la brezza che lieve
ti regala una carezza
una mano sfiora
e tu socchiudi gli occhi
per aprirli in un alba
che sia nuovo percorso

06.10.2003 Poetyca

New Path

Do not delete memories
and burn like an arrow
stuck in the heart
but you open hand
and slide
your silent sorrow
hold nothing back
and listen in silence
the slight breeze
that gives you a pat
one hand touches
and you close your eyes
to open them in a dawn
that is new path

06.10.2003 Poetyca

Pagliaccio


Pagliaccio

Amaramente
è a quello specchio
che non puoi mentire
tra i colori del trucco
ti metti in faccia
un sorriso troppo grande
per crederlo sincero

Sei pantomimica figura
tra mille invenzioni
ogni paradosso
prende subito vita
– salti e capriole –
per ingannare tutti
sul tuo buonumore

Ma dimmi ora
che cosa ti resta
chi ti è accanto
mentre una lacrima
scivola sulle tinte
del tuo strano volto

Ricomincia
come sempre
lo spettacolo
t’osserva la solitudine
che non applaude

28.10.2003 Poetyca

Clown

Bitterly
is to that mirror
that you can not lie
between colors of makeup
you get in your face
a smile too big
to believe it sincere

You are figure pantomimic
among a thousand inventions
every paradox
immediately takes life
– jumps and somersaults –
to fool everyone
cause your mood

But tell me now
what’s left
Who is next
while a tear
glides on color
your funny face

Start again
as ever
the show
observed loneliness
that do not applauded

28.10.2003 Poetyca