Risultati della ricerca per: 2005

“Cream “White Room/Crossroads/Badge” Live-2005″


~Poetyca

Annunci

Non è più ieri


Non è più ieri

Sprazzi di luce
illuminano il tempo
tra ticchettìo d’immagini
ed iridi sparse
oltre i sospiri
Sparuti attimi
cogli e respiri
come rugiada silente
proiettando volute d’anima
tra eterne speranze
E non è più ieri
mentre svanisce l’oggi
e racconterai il domani
in una danza d’eterno presente
in intreccio d’emozioni

06.05.2005 Poetyca


No longer yesterday

Flashes of light
light time
between ticking image
and irises scattered
beyond sighs
Meager moments
Take breaths and
Silent as dew
projecting volutes soul
between eternal hope
It is no longer yesterday
vanishes while today
and tell tomorrow
in a dance of eternal present
in the intertwining of emotions

06.05.2005 Poetyca

Essere essenza


Essere essenza

Nell’ascolto
mille immagini
– strategie e percorsi –
per essere vita
che proietta
nuovi universi
nella sfida del tempo
che tutto contiene

Filo sottile
avvolge il respiro
e trama segmenti
di un nuovo universo
per essere essenza
che sperimenta
ali aperte senza confine

24.06.05 Poetyca


Be essential

Listen
thousand images
– Strategies and routes –
for life
projecting
new worlds
the challenge of time
that contains all

Thin wire
wraps breath
and weft segments
a new universe
for essence
experimenting
wings without border

06/24/2005 Poetyca

Interconnessione


Interconnessione

Quel che fai a te non è solo per te ,
lo offri ad altri .

Quel che fai ad altri ,
è quanto offri a te stesso .

Chi sorriderebbe se dentro stesse male ?

Anche sull’orlo del baratro si è capaci
di cogliere il precipizio…Non è gettandosi
dentro che si evita .

Ad ogni azione corrisponde una reazione ;
Cosa raccoglierai per te stesso ?

L’indignazione non è rabbia senza controllo :
se sai osservare e dirigere in forma costruttiva
diventa reazione che possa condurre
a finalità che sappiano risvegliare l’essere costruttivi .

Meglio scavare per nascondere la rabbia
che ad un nuovo alito di vento si svela
o farla parlare restando in ascolto ?

Cosa saprà indicare se vorresti condurla
verso il retto sentiero ?

Cosa incide dentro se ci si indigna per la sorte
di chi è violato con ingiustizia ?

La consapevolezza che ci sia sofferenza .

Germoglierebbe un sorriso dove hanno aggredito il terreno?

Quel che fanno ad altri ,
lo ricevi anche tu .

Quel che fanno a te ,
lo ricevono anche altri .

I n t e r c o n n e s s i o n e :
in questo la consapevolezza.

30.09.2005 Poetyca


Interconnection

What you do is not just for you
offered it to others.

What do others,
is what you give to yourself.

Who within the same smile, if bad?

Even on the edge you are able
to grasp the abyss … It is not throwing
in that it avoids.

For every action there is a reaction;
Do you collect for yourself?

The outrage is not rage out of control:
If you can observe and manage in mounting
becomes reactions which could lead
purposes that are able to arouse be constructive.

Better dig to hide the anger
that a new breeze is revealed
or get her to talk to listen?

What will indicate whether you want to lead
towards the right path?

What impact in if you are indignant about the fate
who is violated by injustice?

The awareness that there is suffering.

Germinate a smile where they attacked the ground?

What they do to others,
receive it too.

What are you,
receiving the other.

I n t e r c o n n e s s i o n e:
this awareness.

30.09.2005 Poetyca

Domani


Domani

Cosa sono le briciole di tempo chiamate Ieri, Oggi, Domani? 
Granelli di sabbia in una clessidra! 
Eppure ci appigliamo, le cerchiamo come fotografie da stringere 
o da comporre nello schermo della nostra mente. 

Paure,ferite,desideri mai appagati e cerchiamo, soffriamo, 
accumuliamo ancora deserti di miliardi di granelli che ci schiaffeggiano. 
Ma chi vive l’attimo, l’intensità di un’ emozione? 
Chi ne colora i contorni? basta lacrime! 

Ora si potrebbe aprire quella mano, se il cuore si sente fragile, indifeso 
come un passero tremante nel nido …che importa ? 

E’ tutto qui, non ti accorgi? 
Sono qui le emozioni, è qui la vita, le opportunità, il coraggio, la forza 
per rialzarti se cadi. 

E’ qui quella tua anima che trattieni e non fai respirare, che desideri rendere muta 
piuttosto che alimentarne il valore : ” Qui ed ora “- adesso! 

Scaccia via tutte le illusioni, i borbottii della mente, le sue dinamiche, sciogliti, 
vibra, ascolta sussurri d’anima e palpiti. 

Ti accorgi ora che è questa la vita? 
Ti accorgi che è questa la tua vera forza? 

Spalanca le ali e comincia a volare! 
Sii gabbiano che dipinge il cielo. 

Non te ne dimenticare, fallo anche domani. 

20.04.2005 Poetyca 

 

Tomorrow

What are the crumbs of time called Yesterday, Today, Tomorrow?
Grains of sand in an hourglass!
Yet we hold, to try to squeeze as photographs
or to dial the screen of our mind.

Fears, wounds, never satisfied and we want, we suffer,
accumulate even deserts of billions of grains that slap.

But those who live the moment, the intensity of an ‘emotion?
Who paints the outlines? just tears!

Now you could open that hand, if the heart feels weak, helpless
trembling like a bird in the nest … who cares?

It ‘s all here, do not you realize?
Here are the emotions, life is here, the opportunities, the courage, strength
to get up if you fall.

And ‘here that you hold your soul and you do not breathe, you want to make changes
nourish rather than the value: “Here and Now” – now!

Shake off all the illusions, the grunts of the mind, its dynamics, dissolution,
vibrates, throbs, and hear whispers of the soul.

You realize now that this is the life?
You realize that this is your true strength?

He opens his wings and starts flying!
Be gull that paints the sky.

Do not you forget, do the same tomorrow.

20.04.2005 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 (/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

Oltre le apparenze


Oltre le apparenze

Non servono gli occhi
per vedere oltre le apparenze.
La vera guida è in quel sentire
che supera ogni ragione.

04.12.2005 Poetyca

Beyond appearances

You do not need eyes
to see beyond appearances.
The real driving feel that is
beyond all reason.

04.12.2005 Poetyca

Senza domande


Senza domande

Ed è cercare
tra rigagnoli di tempo
il tuo esistere
oltre ogni allargato cerchio
che d’apparente
dona riflesso

E vita
che scorre
come pennellata lieve
come capriole di fumo
nell’attimo
d’un respiro
per la danza delle ore

E’ scoperta
dell’attimo fuggente
per essere
senza più domande

05.05.2005 Poetyca

No questions asked

And is trying
between streams of time
your existence
extended beyond the circle
that of apparent
gives a reflection

And life
flowing
as mild stroke
somersaults as smoke
in the moment
of breath
for dance of the hours

It is discovery
of fleeting moment
to be
no more questions

05.05.2005 Poetyca

Un sorriso


Un sorriso

… Ed è un sorriso che ti voglio donare
tu prendilo e conservalo nel cuore
servirà per i passi stanchi
servirà per le notti senza luna

Non temere mai il buio della notte
e raccogli la voglia di cambiare
ogni attimo seguente
non è facile ma il mio sorriso
ti resterà accanto

11.12.2005 Poetyca

A smile

… And a smile that you want to donate
you get it and keep it in the heart
serve for the tired steps
serve on moonless nights

Do not ever fear the dark of night
and collect the desire to change
every next moment
is not easy but my smile
will be next you

11.12.2005 Poetyca

Le illusioni dell’amico


Tema le illusioni dell’amico
***
«Il primo dovere dell’amicizia è di preservare le
illusioni dell’amico». Che cosa ne pensi?
***
Svolgimento:

Formulerei in questo modo la frase, per come la sento: «Il
primo dovere dell’amicizia è di preservare dalle illusioni
l’amico».
Forse nel dialogo del cuore, senza reticenze e senza tema
di giudizio si possono liberare parti di sé che in altri
ambiti, distanti dalla vera amicizia, troppo uniformati
alla competività, si trattengono. Tra queste i sogni, le
speranze e quei desideri che non sono brama, ma filo
sottile che fa toccare una parte che altrimenti non avrebbe
voce. Poi il rapporto d’amicizia è “prenderdersi cura”
dell’altro e non solo di se stessi; è fare affidamento in
chi ci cammina accanto, con lealtà e quella fiducia in noi
riposta deve avere il discernimento e la capacità di
cogliere e indicare dove ci si stia spingendo oltre il
sogno (non fa male sognare) per sfociare nelle illusioni.
Illudere o illudersi, lasciare che chi ha fiducia in noi
cada nei tranelli è qualcosa che tradisce la lealtà, non
solo verso noi stessi, ma sopratutto verso gli altri.
Evitare che si inciampi nelle buche delle illusioni non
significa che si debba avere un atteggiamento rigido o che
si debbe criticare; si deve avere la capacità quasi
pedagogica dell’ascolto profondo e del formulare domande
per indurre la persona a riflettere e a cogliere i tranelli
da sola. Non si dovrebbe mostrare chiusura ad ogni
entusiasmo giudicandolo vano; capire piuttosto se ci sia
fuga dalla realtà ed essere elastici; cogliere che a volte
ci si possa abbandonare all’immaginazione. Non possiamo
sostituirci a nessuno, è vero, ma neppure restare
indiferenti e spesso sono i sentimenti di empatia e
com-passione a venirci in aiuto per la ricerca della
miglior formula per “restare accanto” a chi ci cerca.

30.10.2005 Poetyca


Theme illusions of  friend

***
“The first duty is to preserve the friendship
illusions of his friend. ” What do you think?
***

Schedule:

Raised in this way the sentence as we hear: ‘The
first duty is to preserve the illusion of friendship
the friend. ”

Perhaps the dialogue of the heart, without restraint and without fear
trial can be released in other parts of himself
areas, far from true friendship, too uniform
to competitiveness, they stay. Among these dreams,
those hopes and desires that are not longing, but wire
subtle touch that makes a part that would not otherwise
voice. Then the relationship of friendship is “prenderdersi care”
other and not just himself, and rely on
who walks beside us, with loyalty and trust in us
response must have the discernment and the ability to
take and indicate where you’re pushing beyond
dream (does not hurt to dream) to result in illusions.
Deceived or deluded, let those who trust in us
fall in the traps is something that betrays his loyalty, not
only to ourselves, but especially to others.
Avoid stumbling into holes no illusions
means that you should have a rigid attitude or
you ought to criticize, you must have the capacity almost
pedagogy of deep and ask questions
to induce the person to reflect and understand the pitfalls
alone. You should not show any closure
enthusiasm judging vain quite understand whether there is
escape from reality and be flexible, understand that sometimes
we can leave to the imagination. We can not
replace anyone, it is true, but even remain
indifferently and often have feelings of empathy and
compassion to come to our aid in the search for
best formula to “stay close” to whom we seek.

30.10.2005 Poetyca

Nick Cave Full – Royal Albert Hall, London May 3 2015


[youtube https://youtu.be/14zqRhtcb5c]

Nick Cave, all’anagrafe Nicholas Edward Cave (Warracknabeal, 22 settembre 1957), è un cantautore, compositore, scrittore, sceneggiatore e attore australiano.

Grazie ad una serie di notevoli album e intense esibizioni dal vivo, ha coniato uno stile lirico e musicale inconfondibile che lo ha imposto come una delle figure più influenti e carismatiche della musica contemporanea.

Dagli esordi post-punk ai lavori recenti, più vicini al cantautorato, Cave ha sviluppato una personalissima rielaborazione dei generi cardine della musica nata negli Stati Uniti (blues, gospel, country), affrontati con lo spirito cupo e sperimentale della new wave e del gothic rock, anche grazie alla sua caratteristica voce gutturale dabaritono. I suoi testi, attraversati da una forte tensione religiosa e da un costante senso di apocalisse imminente, affrontano tematiche quali il ruolo del divino nella vita dell’uomo, la ricerca della redenzione, l’angoscia esistenziale e l’amore perduto

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

 

Nicholas EdwardNickCave (born 22 September 1957) is an Australian musician, songwriter, author, screenwriter, composer and occasional film actor. He is best known as the frontman of Nick Cave and the Bad Seeds, established in 1983, a group known for its diverse output and ever-evolving line-up. Prior to this, he fronted the Birthday Party, one of the most extreme and confrontational post-punk bands of the early 1980s. In 2006, he formed the garage rock band Grinderman, releasing its debut album the following year.

Referred to as rock music’s “Prince of Darkness”, Cave’s music is generally characterised by emotional intensity, a wide variety of influences, and lyrical obsessions with death, religion, love and violence. NME described him as “the grand lord of gothic lushness”.

Cave has also worked as a composer for films, often in collaboration with fellow Australian musician Warren Ellis. Their films together include The Proposition (2005, based on a screenplay by Cave), The Assassination of Jesse James by the Coward Robert Ford (2007) and The Road (2009). Cave is the subject and co-writer of the semi-fictional “day in the life” documentary 20,000 Days on Earth (2014).

Upon Cave’s induction into the ARIA Hall of Fame, ARIA Awards committee chairman Ed St John said: “Nick Cave has enjoyed—and continues to enjoy—one of the most extraordinary careers in the annals of popular music. He is an Australian artist like Sidney Nolan is an Australian artist—beyond comparison, beyond genre, beyond dispute.”

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

 

Mix – Fairport Convention


[youtube https://youtu.be/O3RMut_8IxQ?list=RDavX5VlU7MXM]

I Fairport Convention sono un gruppo folk rock inglese. Fondati da Simon Nicol, Richard Thompson, Ashley Hutchings e Shaun Frater, i Fairport Convention, iniziando come gruppo di cover di rock della West Coast, sviluppano presto un loro stile che mescola il rock con la musica tradizionale folk inglese, contendendosi il titolo di più grande folk rock band inglese con i Pentangle. Dopo numerosi cambi di formazione si sciolgono nel 1979 per riformarsi per un concerto nel 1985, da allora continuano a suonare e pubblicare dischi. In parte il continuo successo che ancora oggi hanno i Fairport Convention è dovuto all’annuale festival di Cropredy, nell’Oxfordshire, ora rinominato Fairport’s Cropredy Convention e che riunisce ogni anno almeno 20.000 fan sin dal 1974.

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

Fairport Convention are an English folk rock and electric folk band. Formed in 1967, they are widely regarded as a key group in the English folk rock movement.[1]

Their seminal album Liege & Lief is considered to have launched the electric folk or English folk rock movement, which provided a distinctively English identity to rock music and helped awaken much wider interest in traditional music in general. The large number of personnel who have been part of the band are among the most highly regarded and influential musicians of their era and have gone on to participate in a large number of significant bands, or enjoyed important solo careers.

Since 1979, they have hosted the Cropredy Festival, which is the largest such annual event in England. Individually and collectively the members of Fairport Convention have received numerous awards recognizing their contribution to music and culture. As of 2015, they continue to record and tour.

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

The Best of Echo & The Bunnymen



Gli Echo & the Bunnymen sono un gruppo musicale britannico post-punk formatosi a Liverpool nel 1978.
Inizialmente il gruppo era composto da Ian McCulloch, Will Sergeant e Les Pattinson. Sono diventati famosi
per album come Heaven Up Here, Porcupine e Ocean Rain in cui è contenuta la canzone The Killing Moon.

https://it.wikipedia.org/wiki/Echo_%26_the_Bunnymen

Echo & the Bunnymen are an English rock band formed in Liverpool in 1978.
The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bass player Les Pattinson,
supplemented by a drum machine. By 1980, Pete de Freitas joined as the band’s drummer.

Their 1980 debut album, Crocodiles, met with critical acclaim and made the UK Top 20.
Their second album, Heaven Up Here (1981), again found favour with the critics and reached number 10 in the UK Album chart.
The band’s cult status was followed by mainstream success in the mid-1980s, as they scored a UK Top 10 hit with “The Cutter”,
and the attendant album, Porcupine (1983), reached number 2 in the UK. Their next release, Ocean Rain (1984),
continued the band’s UK chart success, and has since been regarded as their landmark release, spawning the hit singles
“The Killing Moon”, “Silver” and “Seven Seas”. One more studio album, Echo & the Bunnymen (1987), was released
before McCulloch left the band to pursue a solo career in 1988.
The following year, in 1989, de Freitas was killed in a motorcycle accident,
and the band re-emerged with a new line-up. Original members
Will Sergeant and Les Pattinson were joined by Noel Burke as lead singer,
Damon Reece on drums and Jake Brockman on keyboards.
This new incarnation of the band released Reverberation in 1990,
but the disappointing critical and commercial reaction it received culminated
with a complete split in 1993.
After working together as Electrafixion, McCulloch and Sergeant
regrouped with Pattinson in 1997 and returned as Echo & the Bunnymen
with the UK Top 10 hit “Nothing Lasts Forever”. An album of new material,
Evergreen, was greeted enthusiastically by critics and the band made a successful
return to the live arena. Though Pattinson left the group for a second time,
McCulloch and Sergeant have continued to issue new material
as Echo & the Bunnymen, including the albums What Are You Going
to Do with Your Life? (1999), Flowers (2001), Siberia (2005), The Fountain (2009)
Meteorites (2014).
In 2012 Ian McCulloch released his fourth solo LP, Pro Patria Mori
and a live album Holy Ghosts in 2013.[4] In 2013 Will Sergeant
and Les Pattinson formed a group called “Poltergeist” and released
an album called Your Mind Is A Box (Let Us Fill It With Wonder)
in June 2013.

https://en.wikipedia.org/wiki/Echo_%26_the_Bunnymen

Tema le illusioni dell’amico


Tema le illusioni dell’amico

***
«Il primo dovere dell’amicizia è di preservare le
illusioni dell’amico». Che cosa ne pensi?
***

Svolgimento:

Formulerei in questo modo la frase, per come la sento: «Il
primo dovere dell’amicizia è di preservare dalle illusioni
l’amico».

Forse nel dialogo del cuore, senza reticenze e senza tema
di giudizio si possono liberare parti di sé che in altri
ambiti, distanti dalla vera amicizia, troppo uniformati
alla competività, si trattengono. Tra queste i sogni, le
speranze e quei desideri che non sono brama, ma filo
sottile che fa toccare una parte che altrimenti non avrebbe
voce. Poi il rapporto d’amicizia è “prenderdersi cura”
dell’altro e non solo di se stessi; è fare affidamento in
chi ci cammina accanto, con lealtà e quella fiducia in noi
riposta deve avere il discernimento e la capacità di
cogliere e indicare dove ci si stia spingendo oltre il
sogno (non fa male sognare) per sfociare nelle illusioni.
Illudere o illudersi, lasciare che chi ha fiducia in noi
cada nei tranelli è qualcosa che tradisce la lealtà, non
solo verso noi stessi, ma sopratutto verso gli altri.
Evitare che si inciampi nelle buche delle illusioni non
significa che si debba avere un atteggiamento rigido o che
si debbe criticare; si deve avere la capacità quasi
pedagogica dell’ascolto profondo e del formulare domande
per indurre la persona a riflettere e a cogliere i tranelli
da sola. Non si dovrebbe mostrare chiusura ad ogni
entusiasmo giudicandolo vano; capire piuttosto se ci sia
fuga dalla realtà ed essere elastici; cogliere che a volte
ci si possa abbandonare all’immaginazione. Non possiamo
sostituirci a nessuno, è vero, ma neppure restare
indifferenti e spesso sono i sentimenti di empatia e
com-passione a venirci in aiuto per la ricerca della
miglior formula per “restare accanto” a chi ci cerca.

30.10.2005 Poetyca

Theme
the illusions of friend

***
“The first duty is to preserve the friendship
illusions of his friend. ” What do you think?
***

Schedule:

Raised in this way the sentence as we hear: ‘The
first duty is to preserve the illusion of friendship
the friend. “

Perhaps the dialogue of the heart, without reserve and without fear
trial can be released in other parts of himself
areas, far from true friendship, too uniform
to competitiveness, they stay. Among these dreams,
those hopes and desires that are not longing, but wire
subtle touch that makes a part that would not otherwise
voice. Then the relationship of friendship is “prenderdersi care”
other and not just himself, and rely on
who walks beside us, with loyalty and trust in us
response must have the discernment and the ability to
take and indicate where you’re pushing beyond
dream (does not hurt to dream) to result in illusions.
Deceive or delude themselves, let those who trust in us
fall in the traps is something that betrays his loyalty, not
only to ourselves, but especially to others.
Avoid stumbling into holes no illusions
means that you should have a rigid attitude or
you ought to criticize, you must have the capacity almost
pedagogy of deep and ask questions
to induce the person to reflect and understand the pitfalls
alone. You should not show any closure
enthusiasm judging vain quite understand whether there is
escape from reality and be flexible, understand that sometimes
we can leave to the imagination. We can not
replace anyone, it is true, but even remain
indifferent and often have feelings of empathy and
compassion to come to our aid in the search for
best formula to “stay close” to whom we seek.

30.10.2005 Poetyca

The Kinks – Kinda Kinks (1965)


I Kinks sono stati un gruppo musicale rock degli anni sessanta, formatosi a Londra. Sono considerati tra i gruppi più influenti della British invasion.[1]

La formazione originale del gruppo era composta da Ray Davies (1944), cantante, e suo fratello Dave, chitarrista. A completare la band Mick Avory (batteria e percussioni) e Pete Quaife (basso).

La band inglese ha all’attivo brani entrati nella leggenda come You Really Got Me (da molti ritenuto il primo pezzo hard-rock della storia, uscito nell’agosto 1964), All Day and All of the Night, A Well Respected Man, Sunny Afternoon, Lola, Death of a Clown e Waterloo Sunset.

Davies si specializzò nel ritrarre con pungente ironia quadretti di vita quotidiana del suo paese, stigmatizzandone vizi e comportamenti e affrontando spesso argomenti tabù per l’epoca (la Lola della celeberrima canzone, ad esempio, era un travestito incontrato dal protagonista in un sordido locale di Soho “dove ti danno champagne che sembra coca cola”).[2][3]

Nel 1968 (circa un anno prima del celebre Tommy dei The Who) compose le musiche di una delle primissime opere rock, The Kinks Are the Village Green Preservation Society, e pochi mesi dopo con lo stesso spirito diede alle stampe il suo capolavoro maturo, Arthur (Or the Decline and Fall of the British Empire): tuttavia, l’opera non venne mai rappresentata e per una serie di disguidi il disco uscì in ritardo, compromettendo il suo primato.[3] Il nuovo stile, molto diverso dal verace garage degli esordi, è adesso orientato verso il vaudeville, il music hall e il pop da camera, una mescolanza che influenzerà il glam rock del decennio successivo.[2] Negli anni settanta orienteranno la propria attività musicale e concertistica in funzione soprattutto del mercato americano.

Ebbero un’incalcolabile influenza su molti gruppi successivi, a partire dai Clash arrivando fino a Blur, Oasis e gli altri gruppi brit pop, genere di cui si possono considerare i principali ispiratori.[1]

Nel 1990 vennero inseriti nella Rock and Roll Hall of Fame. Si sciolsero nel 1996.

Nonostante i continui rumours nel corso degli anni novanta e duemila, i piani di riunione della band naufragarono. Purtroppo, Peter Quaife, sottoposto a dialisi renale da più di dieci anni, è morto il 23 giugno 2010. Ray Davies ha dedicato la sua performance del 27 giugno al festival di Glastonbury in suo onore, spiegando alla folla: «Io non sarei qui oggi se non fosse stato per lui»

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

The Kinks were an English rock band formed in Muswell Hill, North London, by brothers Dave Davies and Ray Davies with Pete Quaife in 1963. The band, which rose to fame
during the mid-1960s and were part of the British Invasion of the US, are recognised as one of the most important and influential rock groups of the era.[1][2]

Their music was influenced by a wide range of genres, including rhythm and blues, British music hall, folk and country. Ray Davies (lead vocals, rhythm guitar) and Dave Davies (lead guitar, vocals) remained members throughout the group’s 32-year run. Longest serving member Mick Avory (drums and percussion) was replaced by Bob Henrit formerly of Argent in 1984. Original bassist Pete Quaife was replaced by John Dalton in 1969 and Dalton was in turn replaced by Jim Rodford in 1978. Session keyboardist Nicky Hopkins accompanied the band in the studio for many of their recordings in the mid-late 1960s. In 1969 keyboardist John Gosling joined the band, making them an official five-piece, while Ian Gibbons replaced him in 1979, playing in the band until its eventual demise.

The band first came to prominence in 1964 with their third single, “You Really Got Me”, written by Ray Davies.[2][3] It became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States.[3][4] Between the mid-1960s and early 1970s, the group released a string of singles and LPs most of which were critically successful but commercial failures, and gained a reputation for songs and concept albums reflecting English culture and lifestyle, fuelled by Ray Davies’ observational writing style.[2] Albums such as Face to Face, Something Else, The Kinks Are the Village Green Preservation Society, Arthur, Lola Versus Powerman and the Moneygoround and Muswell Hillbillies, along with their accompanying singles, are considered among the most influential recordings of the period.[1][3][5]

The band’s subsequent theatrical concept albums met with less success, but the band experienced a revival during the late 1970s and early 1980s with albums Sleepwalker, Misfits, Low Budget, Give the People What They Want and State of Confusion. In addition, groups such as Van Halen, the Jam, the Knack, the Pretenders and the Fall covered their songs, helping to boost the Kinks’ record sales. In the 1990s, Britpop acts such as Blur and Oasis cited the band as a major influence.[1] The Kinks broke up in 1996, a result of the commercial failures of their last few albums and creative tension between the Davies brothers.[6]

The group had five Top 10 singles on the US Billboard chart. Nine of their albums charted in the Top 40.[7] In the UK, the group had seventeen Top 20 singles and five Top 10 albums.[8] Four of their albums have been certified gold by the RIAA. Among numerous honours, they received the Ivor Novello Award for “Outstanding Service to British Music”.[9] In 1990, the original four members of The Kinks were inducted into the Rock & Roll Hall of Fame,[2][3] as well as the UK Music Hall of Fame in November 2005.

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

Roy Harper Full Concert – London 1990


[youtube https://youtu.be/MvvmDWqM7SM]

 

Roy Harper (Rusholme, 12 giugno 1941) è un cantautore inglese. Il suo stile è caratterizzato da lunghe digressione strumentali, da un particolare uso della voce e da testi spesso bizzarri.

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

Roy Harper (born 12 June 1941) is an English folk rock singer, songwriter and guitarist who has been a professional musician since 1964. Harper has released 22 studio albums and 10 live albums across his 50-year career.

Harper’s earliest musical influences were American blues musician Lead Belly and folk singer Woody Guthrie and, in his teens, jazz musician Miles Davis. Harper was also exposed to classical music in his childhood and has pointed to the influence of Jean Sibelius’s Karelia Suite. Lyrical influences include the 19th century Romantics, especially Shelley, and Keats’s poem “Endymion”. Harper has also cited the Beat poets as being highly influential, particularly Jack Kerouac. As a musician, Harper is known for his distinctive fingerstyle playing and lengthy, lyrical, complex compositions, a result of his love of jazz and Keats.

His influence upon other musicians has been acknowledged by Jimmy Page, Robert Plant, Pete Townshend, Kate Bush, Pink Floyd, and Ian Anderson of Jethro Tull, who said Harper was his “…primary influence as an acoustic guitarist and songwriter.” Neil McCormick of The Daily Telegraph described him as “one of Britain’s most complex and eloquent lyricists and genuinely original songwriters.”[7] His influence reached across the Atlantic where he was acknowledged by Seattle-based acoustic band Fleet Foxes, American musician and producer Jonathan Wilson and Californian harpist Joanna Newsom with whom he has also toured.

In 2005, Harper was awarded the MOJO Hero Award, and in 2013 a Lifetime Achievement Award at the BBC Radio 2 Folk Awards. In 2011, to celebrate his 70th birthday, he performed a celebratory concert at London’s Royal Festival Hall. His most recent album, Man and Myth, was released in 2013.

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

Big Star


[youtube https://www.youtube.com/watch?v=KHoJK7F-KSM&list=PLYOdV_0yTuqV3Eb7HGNAsCzgtBpthEXl3]

I Big Star sono un gruppo statunitense indicato come progenitore del power pop.[1] La formazione nasce a Memphis, nel 1971, da un’idea di Alex Chilton (19502010), già voce nei Box Tops, e Chris Bell (19511978).

Esordiscono nel 1972 con #1 Record, disco pubblicato dall’etichetta soul Stax. La loro musica univa le armonie vocali dei Beatles e dei Beach Boys con le melodie e gli arpeggi di chitarra dei Byrds, il tutto filtrato attraverso un’energia rock che, solo a posteriori, i critici e gli storici definiranno come power pop.[1][2]

L’ingombrante personalità creativa dei due leader porta Bell a lasciare la band nel 1973, subito prima di registrare il secondo disco, Radio City (1974) che, fondandosi sulla scrittura del solo Chilton, denota molte più influenze soul e r’n’b.

Lo scarso successo di pubblico crea un’inevitabile crisi che porta la band – ovvero, Chilton, il bassista Andy Hummell e il batterista Jody Stephens – allo scioglimento. Era il 1975 ed era appena stato registrato un disco che vedrà la luce solo tre anni più tardi, per onorare la prematura scomparsa di Chris Bell, morto nel 1978 in un incidente d’auto. Il disco sarà Third/Sister Lovers e chiude la prima fase della carriera dei Big Star.

Dalla fine degli anni settanta in poi, i Big Star diventano quello che si definisce un gruppo di culto. Moltissime formazioni citano Chilton e Bell tra le influenze della loro musica (ricordiamo i R.E.M., i Replacements, i Posies, i Teenage Fanclub, i Jesus and Mary Chain dei primi due dischi) e l’attenzione degli appassionati verso quei tre dischi dimenticati diventa spinta per un vero e proprio passaparola che fa conoscere – in un circuito pur sempre circoscritto – le canzoni del gruppo.

La band decide quindi di tornare sulle scene nel 1993. Chilton e Stephens decidono di suonare dal vivo accompagnati da Jon Auer e Ken Stringfellow dei Posies. I risultati di questa riunione si possono sentire nel live Columbia: Live at Missoury University. Ma per aspettare un nuovo disco di canzoni devono passare altri dodici anni. Tanti ne distano tra il sopracitato disco e il nuovo In Space. Pubblicato nel 2005 per la Rykodisc con la stessa formazione del 1993. Il 15 settembre 2009 esce la prima raccolta del gruppo Keep an Eye on the Sky, box set di quattro dischi pubblicato dalla Rhino Records.[3]

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

Big Star was an American power pop band formed in Memphis, Tennessee, in 1971 by Alex Chilton, Chris Bell, Jody Stephens, and Andy Hummel. Despite exceptional reviews from critics and widely acknowledged influence upon numerous notable musicians, Big Star attained only cult status, lacking commercial success. The group broke up in 1974, but reorganized with a new line-up nearly 20 years later. In its first era, the band’s musical style drew on the vocal harmonies of The Beatles, as well as the swaggering rhythms of The Rolling Stones and the jangling guitars of The Byrds. To the resulting power pop, Big Star added dark, existential themes, and produced a style that foreshadowed the alternative rock of the 1980s and 1990s. Before it broke up, Big Star created a “seminal body of work that never stopped inspiring succeeding generations” in the words of Rolling Stone,[1] as the “quintessential American power pop band” and “one of the most mythic and influential cult acts in all of rock & roll”.[2]

Big Star’s first album—1972’s #1 Record—was met by enthusiastic reviews, but ineffective marketing by Stax Records and limited distribution stunted its commercial success. Frustration took its toll on band relations: Bell left not long after the first record’s commercial progress stalled, and Hummel left to finish his college education after a second album, Radio City, was completed in December, 1973. Like #1 Record, Radio City received excellent reviews,[3] but label issues again thwarted sales—Columbia Records, which had assumed control of the Stax catalog, likewise effectively vetoed its distribution. After a third album was deemed non-commercially viable and shelved before receiving a title, the band broke up late in 1974. Four years later, the first two Big Star LPs were released together in the UK as a double album. The band’s third album was finally issued soon afterward; entitled Third/Sister Lovers, it found limited commercial success. Shortly thereafter, Chris Bell was killed in a car accident at the age of 27.

The Big Star discography drew renewed attention in the 1980s when R.E.M., and The Replacements as well as other popular bands cited the group as an influence. In 1992, interest was further stimulated by Rykodisc‘s reissues of the band’s albums, complemented by a collection of Bell’s solo work.[4] In 1993, Chilton and Stephens reformed Big Star with recruits Jon Auer and Ken Stringfellow of The Posies, and gave a concert at the University of Missouri.[5] The band remained active, performing tours in Europe and Japan,[6] and released a new studio album, In Space, in 2005. Chilton died on March 17, 2010, after being admitted to a New Orleans hospital with heart problems.[7] Hummel, who was diagnosed with cancer in 2008, died on July 19, 2010.[8] These deaths left Stephens as the sole surviving founding member.

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

Dimmi


Dimmi 

Dimmi cosa 
potrebbe sublimare 
il nostro dolore
– orme sulla neve
e passo incerto – 
per cercare riposo
tra pietre e silenzio

Dimmi cosa resta 
inciso tra le braccia
di questa croce
che dicono essere 
per tutti riscatto 

E sono domande 
che non cancellano 
dubbi o timore 
che questo faticoso 
e lungo cammino 
non sia stato 
una semplice illusione

Ed è ora 
sottile alito 
d’un vento nuovo
è raggio di sole 
che riscalda l’anima
a porgere speranza 
che sappia mutare 
le incertezze

Dimmi che sei tu Signore
che hai ascoltato 
la mia anima in attesa 
e porterò con te 
questo muto fardello 
senza aver timore 
sarà la gioia 
delle braccia spalancate
nel mattino 
inondato d’amore

05.05.2005 Poetyca

Tell me
Tell me what
could sublimate
our sorrow
– Footprints in the snow
and unsteadily –
to seek rest
between stones and silence

Tell me what is
recorded in the arms
of this cross
it said
ransom for all

And they are questions
who do not cancel
doubt or fear
this arduous
and long path
has not been
an illusion

It is now
thin breath
a new wind
is ray of sunshine
that warms the soul
to give hope
who knows how to life in its changing
the uncertainties

Tell me are you Lord
you heard
waiting for my soul
and bring with you
This silent burden
without fear
will delight
arms wide open
in the morning
showered with love

05.05.2005 Poetyca

Brivido caldo


Brivido caldo

Occhi che sono specchio

del tuo esistere

segnali d’ un tempo

che non si cancella

– brivido caldo –

che attraversa in lampo

un cielo inesplorato

dentro la tua attesa

27.11.2005 Poetyca


Warm thrill

Eyes that are mirror

your existence

signals’ time

you do not remove

– Warm thrill –

crossing in flash

sky unexplored

in your waiting

27.11.2005 Poetyca

Tuffo nel passato


Tuffo nel passato

Un olio come balsamo
aloe o mirra
che in silenzio penetra
nel cuore d’ una ferita antica
lenendo incise parole
vecchie spade che trafiggono

Un tempo già percorso
dove si celava
dietro ad ogni curva
un tranello ad arte
per soffiare fragilità
che scheggia l’anima

Cristallo trasparente
infranto da chi giudica
e mette in risalto ogni incertezza
imbrattando l’animo
con risata e sarcasmo
per non farmi essere me stessa

Accesa solitudine a sospirare
ancora attesa
tra sogni e visione di un tempo
da vivere
con la forza dell’orgoglio
ed accesa tenerezza

Trascinata goffaggine
senza alcuna mano
che oltre ogni lacrima
s’ allungasse in carezza
questo è tuffo nel passato
che si manifesta

07.04.2005 Poetyca

A dip in the past

Oil as a balm
myrrh and aloes
in silence penetrates
in the heart of ‘old wound
soothing words engraved
old swords that pierce

Already come a time
where concealed
behind every corner
a trap for art
blow to fragile
that the soul shard

Crystal Clear
broken by those who judge
and highlights any uncertainty
fouling soul
with laughter and sarcasm
will not let me be myself

Loneliness turned to sigh
still waiting
between dreams and vision of a time
living
with the power of pride
tenderness and burning

Dragged clumsiness
no hand
that beyond all tears
s’ elongated caress
this is back in time
manifested

07.04.2005 Poetyca

Tutto è Uno


Tutto è Uno

Il giudizio verso se stessi e verso gli altri è una traccia che spesso si percorre per sentirci migliori e sminuire gli altri, si raccoglie una visione in cui ” buono” o ” cattivo” – “giusto ” o ” sbagliato” sono i paradigmi necessari per rafforzare il nostro sentirci a posto.
Eppure amare, amarci, è accoglienza, capacità di non innescare aspettative o attaccamento al risultato. A giudicare, a frammentare la realtà è spesso la mente, il cuore non ha questi attributi, non si mette a dare giudizi, Amare non conosce attaccamento, aspettative e giudizio. La mente ha i suoi attaccamenti, il suo ego. Da questo nasce il dolore: desiderio di attenzione, attaccamento, aspettative e timore di non essere accetti dagli altri, paura di perdere l’oggetto d’amore, senso di abbandono.
Siamo immersi in una società ” giudicante”, dove piuttosto che essere costruttivi e leggersi dentro si ama sfuggire proprie responsabilità, si proiettano su altri.
Si agisce d’impulso e il rancore e la rabbia sono quella forza distruttiva che prende origine dalla frustrazione, dal sentirsi non apprezzati. Il senso di giustizia frustrato nasce dal sentirsi ” buoni” ( a volte nascondendo sotto il tappeto le proprie responsabilità) e non adeguatamente ricompensati. Ora, io non considero che si debba vivere ” a briglia sciolta”, semplicemente è importante proprio l’apprendere il valore delle responsabilità – del mettere in moto un meccanismo che non trova ” giudicanti e punizioni” ma una legge di causa ed effetto per cui se si compiono atti nocivi si è responsabili del loro effetto. Se sappiamo accogliere gli eventi senza vederli – Buoni o Cattivi per noi, ma come opportunità e guida al nostro cammino interiore, raccogliendone l’insegnamento possiamo imparare anche l’accoglienza. E’ difficile in molte situazione accettare una perdita, eppure nulla dura per sempre, non si dovrebbe provare attaccamento al passato o alle illusioni o aspettative del futuro – la vita è attimo da raccogliere ora, in questo istante. Arricchendoci con l’attenzione verso quel che ci attraversa dentro, con il ” non giudizio” ma da osservatori si impara una forma di distacco che è comunque partecipazione lucida, questo ci insegna una nuova prospettiva che allontana il timore. La Speranza è la gioia e la capacità di non temere, di avere fiducia negli eventi e nella nostra Luce interiore. Come si potrebbe vivere in un mondo ” diviso” che vede tutto come dualismo e non sa poggiare sulla Divina presenza?
Abbiamo dimenticato molte cose, tra queste che non dobbiamo temere, tutto è legato alla Presenza e non ce ne accorgiamo. Vaghiamo come bimbi smarriti e la paura ci fa separare tutto in Bene e Male, eppure tutto è Uno.

12.04.2005 Poetyca


All is One

The opinion to themselves and to others is a track that often go along to feel better and belittle others, gathers a vision in which “good” or “bad” – “right” or “wrong” are the paradigms needed to strengthen our feeling fine.
But love, love is acceptance, not ability to trigger or attachment to outcome expectations. To judge, to fragment the reality is often the mind, the heart does not have these attributes, it begins to make judgments, love knows no attachment, expectations and assessment. The mind has its attachments, his ego. From this comes the suffering: desire of attention, affection, expectation and fear of not being accepted by others, fear of losing the love object, a sense of abandonment.
We are immersed in a society “judging”, where rather than be constructive and read in one loves to escape their responsibilities, are projected onto others.
He acts on impulse and resentment and anger that are destructive force that stems from frustration, from feeling unappreciated. The sense of justice comes from feeling frustrated “good” (sometimes hiding their responsibilities under the carpet) and not adequately rewarded. Now, I do not think that we should live “free rein”, but it is important to learn the value of its responsibilities – the setting in motion a mechanism that is not “judging and punishment” but a law of cause and effect that if you commit acts harmful is responsible for their effect. If we accept the event without seeing them – good or bad for us, but as an opportunity and guide our inner journey, collecting teaching we learn also welcome. It ‘difficult to accept a loss in many situations, but nothing lasts forever, you should not feel attachment to the past or expectations or illusions of the future – life is a moment to collect now, at this moment. Enriched with attention to what we in crosses with non-judgment, “but observers learn a form of detachment that participation is still shining, this teaches us a new perspective that removes the fear. Hope is the joy and the ability to not be afraid to trust in the events and our Inner Light. How could we live in a world “divided” as a dualism that sees everything and can not rest on Divine presence?
We have forgotten many things, among these that we need not fear, everything is tied to the presence and do not realize it. We wander like lost children and fear to separate us all in good and evil, yet everything is One.

12.04.2005 Poetyca

Segreto


Segreto


S’intona il canto

dell’anima in festa

tra note ed armonie

nel risveglio d’alba

Soavi accordi

per nutrire di vita

un cuore che si sveglia

di colori e sogni

Turbinio di voci

che vibrano e danzano

per raccogliere respiri

in melodie d’amore

Occhi si spalancano

tra mille sfumature

che inebriando attimi

svelano il candore

E tutto racconta

un segreto racchiuso

e sprigionato

da attese e Primavere


01.07.2005 Poetyca


Secret


Blends in the song

soul Party

between notes and harmonies

in the wake of dawn

Smooth chords

to nourish life

a heart that wakes

Color and dreams

Flurry of rumors

that vibrate and dance

breaths to collect

in love songs

Eyes open wide

thousand shades

moments that inebriate

reveal the whiteness

It tells all

a secret enclosed

and radiated

from expectations and Springs


01.07.2005 Poetyca

Frammenti di stelle


Frammenti di stelle


Frammenti di stelle

ritorneranno a colorare

in piccoli bagliori questi occhi.


Palpiti di luna contorneranno

il cielo di ricordi …ancora.


Saranno lacrime

e forse stagioni

a raccontare del tempo

andato via.


Sarai tu a ravvivare

questo silenzio

di note e speranze

per ritrovarne il senso.


Ed intanto tutto

prende vita oltre la notte.

Rinasce l’attimo

per essere attesa.


Amore dai passi di velluto

accarezza i pensieri

e vanifica ogni timore.


Io ci sono, tra queste cortine

di accattivante scia:

respiro oltre lo spazio

e ti offro frammenti di stelle.


17.08.2005 Poetyca



Fragments of stars

Fragments of stars

return to color
in such a glittering eyes.

Surround the moon beats
memories of the sky … again.

Will be tears
and perhaps seasons
telling time
gone.

To you to revive
this silence
notes and hopes
to find his way.

And while all
comes to life over night.
Reborn the moment
to be expected.

Love by walking velvet
Shakes thoughts
and destroys all fear.

I am here, among these curtains
captivating trail:
breathing space over
and I offer fragments of stars.

17.08.2005 Poetyca

Presenza – Presence – Rumi


🌼Presenza🌼

Riesco a percepire
la tua presenza
nel mio cuore.
Anche se appartieni
a tutto il mondo.

Rumi
🌼🌿🌼#pensierieparole
🌼Presence

I can perceive
your presence
in my heart.
Even if you belong
to all the world.

Rumi

Oltre l’aurora


Oltre l’aurora

Un attimo di vita
che raccoglie le fronde
di pensieri ed anima
che come brezza
s’involano oltre confine

Sono figli del cielo
che si donano oltre l’apparire
e non è tempo
non è lotta
ma solo vibrare sommesso
di quel che non conosci ancora
ma t’accarezza per essere tu
seme di gioia che sconfina
oltre l’aurora

Non è timore
non è forza
ma sono intimo vibrare
di pace che si proietta
senza resa e senza estremi
per cogliere soltanto
infinito ed Amore
tra le nuovole ridenti
che di te si fan gioco
coprendo la Luce
con l’illusione

Ma tutto attendi
e tutto speri
per far germogliare
nel tuo silenzio
dorate trine di speranza
che ti conduce lontano
partendo da soffi d’anima
che schiudono alla brina
le corolle del cuore

15.05.2005 Poetyca

Besides the dawn

A moment of life
that collects the leaves
of thought and soul
and as a breeze
flees across the border

They are sons of heaven
giving themselves over the appearance
it is not time
not fight
but only vibrate softly
of what you do not know yet
but caresses you to be you
seed of joy that borders
over the dawn

It is not fear
is not strength
but it is vibrating underwear
peace that is projected
no surrender and no extremes
to capture only
Love and infinite
between cloudy laughing
that mock of you
covering the Light
with the illusion

But you wait for
and all hope
to sprout
in your silence
gold lace of hope
that takes you far away
starting from blasts of soul
which opens up to frost
the flowers of the heart

15.05.2005 Poetyca

A volte…


A volte ….

A volte
è nel silenzio il nostro ascolto
e non possiamo fare nulla
– Consapevoli che solo tacendo
si possa realmente aiutare –

Lacrime che bagnano
quelle strade tortuose
che altri imboccano
e non ci vogliono ascoltare

Ed è allora
che vorremmo impedire
cadute in abissi
a chi confuso
non sa più da che parte andare
Ma non possiamo nulla

Restiamo fermi in un angolo
con l’anima piagata
per non essere capaci
di superare invisibili barriere
Muri di gomma
che fanno rimbalzare
ogni gesto sincero

A volte
siamo noi a dover capire
che lasciando aperta
la nostra mano
accettando il cadere di foglie
per il mutare di stagioni
saremo capaci d’esser pronti
per l’amore che non trattiene

31.08.2005 Poetyca

Sometimes ….

sometimes
Silence is in our listening
and we can not do anything
– Aware that only silence
you can really help –

Tears that bathe
those winding roads
others start off
and we do not want to hear

It is then
we want to prevent
fallen into the abyss
confusing to those who
no longer knows which way to go
But we can do nothing

We remain stuck in a corner
plagued with the soul
for not being able
to overcome invisible barriers
Rubber Walls
that bounce
every gesture sincere

sometimes
we have to understand
leaving it open
our hand
accepting the falling leaves
for the change of seasons
we are capable of being ready
for the love that does not hold

31.08.2005 Poetyca

Nel cerchio del tempo


image

Nel cerchio del tempo

Nessuna fatica
nel cerchio
del tempo
Semplicemente
Essere se stessi
con chi
non attende altro

20.05.2016 Poetyca

In circle of time

Any effort
in the circle
weather
Simply
Be yourself
with who
does not wait for another

05/20/2016 Poetyca

Qui/Ora


image

Qui/Ora

Silenzi e parole
ordito e trama
del nostro andare
Tuffo all’interno
dove l’essenza
manifesta
ogni sottile palpito

20.05.2016 Poetyca

Here now

Silences and words
warp and weft
our go
dip into
where the essence
manifested
every subtle throb

05/20/2016 Poetyca

Apri le ali


image

Apri le ali

Regalami
ancora
un raggio di sole
gocce di vita
impresse nel cuore
La tua presenza
intenso battito
nel silenzio
incapace
di abbandonare
Apri le ali
vola con slancio
dove tutto
ė al di sopra
di questo mondo
Nessuno
ė distante
se sai cercare
pienezza
nel tuo Essere
Respiriamo
insieme
soltanto
incondizionato
amore

20.05.2016 Poetyca

Open your wings

Gift to me
yet
a ray of sunshine
drops of life
imprinted in the heart
Your presence
intense heartbeat
in the silence
unable
to abandon
Open your wings
flies with momentum
where everything
ė above
of this world
Nobody
it’s faraway
if you know look
fullness
Being in your
breathe
together
only
unconditional
love

05/20/2016 Poetyca

A volte


A volte

A volte
è nel silenzio il nostro ascolto
e non possiamo fare nulla
– Consapevoli che solo tacendo
si possa realmente aiutare –

Lacrime che bagnano
quelle strade tortuose
che altri imboccano
e non ci vogliono ascoltare

Ed è allora
che vorremmo impedire
cadute in abissi
a chi confuso
non sa più da che parte andare
Ma non possiamo nulla

Restiamo fermi in un angolo
con l’anima piagata
per non essere capaci
di superare invisibili barriere
Muri di gomma
che fanno rimbalzare
ogni gesto sincero

A volte
siamo noi a dover capire
che lasciando aperta
la nostra mano
accettando il cadere di foglie
per il mutare di stagioni
saremo capaci d’esser pronti
per l’amore che non trattiene

31.08.2005 Poetyca

Sometimes

Sometimes
is silent in our ear
and we can not do anything
– Aware that only silence
can really help –

Tears that bathe
those winding roads
others taking
and we do not want to listen

It is then
we want to prevent
fallen into the abyss
who confused
does not know which way to go
But we can do nothing

We remain firm in the corner
with the wounded soul
for not being able
to overcome invisible barriers
Rubber Walls
that bounce
every gesture sincere

Sometimes
we have to understand
that leaving open
our hand
by accepting the falling leaves
for the change of seasons
we are capable of being ready
for the love that will not

31.08.2005 Poetyca